LIVE REVIEWS

TransAtlantic Sessions @ National Concert Hall Tues 7 Feb 2012

2012-02-09T19:18:29Z

While it might have seemed an unusual venue for the Celtic Connections crowd the Concert Hall worked just fine as the musicians transformed it from a formal setting into a casual evening with music from a bunch of companions who all happen to be superb musicians. There were (I’m pretty sure) 16 musicians with 7 featured singers. I won’t attempt to list each number but will pick out my personal highlights.

The band opened with a fast tune – unannounced, but sizzling, which left everyone eager for more – and they were followed by Tim O’Brien who was, as always a delight. Ruth Moody of the Wailin’ Jennys beautifully sang Nest from her album and a Jennys tune, Asleep at Least switching neatly from guitar to banjo. Eddi Reader was a crowd delight with her perfect voice; she started with a Burns song before singing Declan O’Rourke’s Love is the Way and introducing Declan himself who received a rousing reception, as a home-town boy should before he went into Galileo.

Aly Bain led the amazing ‘band’ - although it is almost silly to count musicians of their calibre as merely band members – through a set of tunes before turning the stage over to the great Karen Matheson who triumphed with Si Kahn’s Aragon Mill which Karen noted she had learned from Andy Irvine.

The extraordinary Raul Malo came next and his two songs here were, for me, the highpoint of the night. He opened with JD Souther’s You’re Only Lonely making me feel that JD had written it for Raul and then blew me away with a version of Every Little Thing about You. Raul Malo’s voice over Jerry Douglas’ lap steel and the astonishing Michael McGoldrick’s uillean pipes was a perfect experience for me in what was a powerful night of music. Tim O’Brien wrapped up the first half with a singalong version of Woody Guthrie’s This Land is Your Land to honour Guthrie’s centenary.

Eavesdropping at the interval I heard that some thought last year was better, some thought this year was much better. And someone else was…bored. Bored?! Please.

The second half started with a rippling Jerry Douglas resonator solo followed by Bruce Molsky’s 2 lovely old time songs – I only wish I could have worked up the nerve to introduce myself to him – followed by Raul crooning, as only he can, Around the World, the theme to Around the World in 80 Days a choice that puzzled many. Perhaps it was the mention of County Down? All the singers came out again, we had guitar wizard Russ Barenburg’s jazzy Hallowe’en Rehearsal which featured all the musicians . Phil Cunningham, who had only joined the tour the night before, gave us a lovely, wistful Cajun flavoured Lake Charles Waltz just before Karen Matheson again triumphed with Diamond Ring. The band then ripped into Frankie/The Crossing before the encore when Paul Brady and Ciaran Tourish joined the multitude for a Raul Malo led romp through Hank Williams’ classic Hey, Good Lookin.

It was a great evening for music and it is hard to convey how amazing musicians were throughout. Guitarist John Doyle was both rocksteady and imaginative, a hard combination he carried off superbly. The fiddlers – Aly Bain and John McCusker, occasionally joined by Tim O’Brien and Bruce Molsky – were both sweet and tough. Danny Thompson on bass was, as expected, magisterial and perfect. Tim O’Brien, Russ Barenberg and Bruce Molsky played (I think) 5 or 6 different instruments amongst themselves switching around without a care. Phil Cunningham switched between accordion and piano with Donald Shaw and drummer James Mackintosh was a subtle yet constant and necessary presence.

I thought it was a night of exceptional music and also great fun. Bring on next year

Thanks to Denis Finnegan for the set list.

Review by Sandy Harsch. Photography by Ronnie Norton

Lindi Ortega @ The Sugar Club - Saturday 4th Feb. 2010

2012-02-05T18:29:01Z

With Zoe Muth playing close by it was a toss-up to decide on which artist to see but on balance we chose to go and see Linda Ortega who had her full band The Wild Wranglers with her. It was the right choice (for us) as it was a great evening with Ortega a force of nature delivering a powerful set that should see her reputation and audience growing in the future. Greeting us with a "It's great to be back" she launched into her first song Angels, one of several songs from her enticing debut album Little Red Boots. Each song was introduced by a short incisive explanation. For instance Lindi told us that I'm No Elvis Presley was written after she did a industry showcase in L.A. and one of the 'men in suits' had contacted her manager to say while she was good she would never be "legendary". Hence the song. And while Lindi Ortega may never achieve "legendary" status she is going to find a lot of devoted fans. Other songs from the album included Black Fly, Little Lie, When All The Stars Align, a stunning Bluebird and heartbreaking Dying Of Another Broken Heart. Heartbreak was a continuing theme through her songs. She told us she had recently brought a crystal on a necklace that was going to bring her some true love.

She played several new songs including one which she said was a public service announcement, its theme was don't use drugs, "use me". Another song In My Backyard was about burying a former lover in that particular location. "Just don't break my heart, boys" she warned us. The band throughout were excellent and had apparently only met for a rehearsal the day before, as although they had individually all played with her before this was their first gig together with this line-up. Double bassist Travis Vance and drummer Tristen Henderson laid down a solid rhythmic foundation, while keyboard player and backing vocalist Sarah Silva (an artist in her own right) filled out the sound. Special mention must go to guitarist James Robertson whose Telecaster playing was precise, twang-filled and fun. His slide playing on the closing Fall Down Or Fly was worthy of Sonny Landreth.

There were two covers of Johnny Cash songs - Folsom Prison Blues and Delia, the latter played solo and she revealed herself to be an accomplished guitarist as well as a stunning vocalist. Live the Dolly Parton comparison was more pronounced, though I don't think Parton has ever delivered her songs with such force and ferocity. Her fifteen song set had the enthusiastic audience totally with her and ensured that when she returns so will these fans. She promised a new album later this year and this Irish-Mexican (the Irish Lindi said was on "the mammy's side") songbird will be back. Can't wait.

Review by Stephen Rapid. Photograph by Ronnie Norton

Secret Sisters@ The Sugar Club, Dublin - Tues 24th Jan 2012

2012-01-29T15:48:26Z

Sisters Laura and Lydia Rogers are no longer a secret judging by the sell-out audience in the Sugar Club on a Tuesday night. The siblings went straight into their first song of a 17 song set and it was obvious that they have a growing confidence and a more astute awareness of an audience. Tonight the fifties-style dresses were replaced by jeans with black tops but the between song banter was very much a part of the act, as are the asides about having to share so much time together and the minor conflict that ensues from that. Laura how happy they were to be back in Dublin.

Laura said that because of the song Tennessee Me many people believed that they were from there rather than from Muscle Shoals, Alabama. Their home state was the subject of one of a number of self-written songs due to be included on their next album that they previewed in the show. The songs included King Cotton, the aforementioned Alabama tribute, Bad Habit, River Jordan, Little Again and a song written and sung by Laura that was a direct reaction to weather disasters in their home state. That song Tomorrow Will Be Kinder was one of the evening’s highlights. They of course included a lot of covers, songs that they loved and heard growing up and singing on their front porch. Songs their father loved like Why Baby Why (a song they stopped in the middle due to a distorted guitar and then faultlessly resumed once it was fixed), Am I That Easy To Forget, Your Cheatin’ Heart as well as a song that Laura had convinced Lydia to sing onstage, it was one of a number of songs that they often sang offstage. You Send Me worked well and got a great reaction - however she said that another song they occasionally did for themselves Careless Whisper would remain that way. They also did Do You Love An Apple? and revealed that when they started singing it neither they nor their father knew what “bugger all” meant. They do now. A highlight for this listener was the Everly Brothers (who they said they have often been compared to) Devoted To You.

As expected the harmonies throughout were sublime and the simple guitar accompaniment, shared by both sisters was effective. I do feel that in the future, after the release of the new album, a couple of additional players, double bass and lap steel perhaps?, would add that extra dimension. But it was a great night that showed that music in its most basic form of voice and guitar (and little light-hearted dialogue) can captivate an audience. The sisters have grown and learned from the large amount of touring they have done and their new album should take them to another level.

Review by Stephen Rapid. Photography by Ronnie Norton

Sarah Savoy and the Francadians @ Whelans, Dublin - Sat 21st Jan 2012

2012-01-23T16:44:21Z

Cajun came to Camden Street in the formidable shape of Sarah Savoy and the Francadians - a quartet of David Rolland on accordion, Manolo Gonzales on upright bass, Vincent Blin on fiddle and the larger than life Sarah Savoy on vocals and guitar. Savoy is the obvious leader and focal point of the band (and from an illustrious family steeped in the cajun traditions and music) but this is a fully integrated band not a backing group and vocalist. Something that was highlighted in the opening song Little Bitty Girl that played with double entendres and ended with the line that “we all play together”. This was one of the few songs delivered in English but that didn’t in any way affect the overall enjoyment of the evening as French is the natural language of cajun and at least half the band are native Frenchmen. This was their first time to play Dublin although they had been in the city before. Many of the songs they featured in tonight’s set were taken from their current Allons Rock ‘n’ Roll album. It takes a mix of classic country songs and one original all delivered in smokey French. For instance the Tex Williams, Merle Travis song Smoke, Smoke, Smoke That Cigarette is now Fume, Fume, Fume. Johnny Can’t Dance and Folsom Prison Blues were two others, the latter got an especially warm response. Savoy who was dealing with a shot voice due to a series of gigs and some bad PAs had to drop the keys of some songs in order to be able to sing them. However her natural exuberance carried her through and won the day. David Rolland took the lead on some songs too and provided a nice balance between the two. It was one of those gigs where both sides of the stage seemed to be enjoying the evening which ran to two sets and ended with the curfew. Throughout Savoy translated the essence of the songs and had an entertaining and funny stream of between song banter. Telling us that “there are blondes, brunettes and girls whose hair is so dark that even the devil don’t want them!” ... Savoy has jet black hair. She has an expressive face that makes her a natural on stage and has a band that are equally adept at what they do. She confided that all have very different tastes and agreeing on what to play in the van is difficult and usually comes down to some classic George Jones, something that they can all agree on. She also told us that cajun music is a very masculine music and so she had written High-Heel Two-Step to help redress the balance. The subject of many of the other songs though revolved around the consumption of alcohol and its subsequent results. Although space didn’t allow it and it only briefly broke out for the last song this is music made for dancing and the whole audience was caught up in its infectious rhythms. They said that they wanted to move to Dublin but true or not they would be welcome back anytime.

Review by Stephen Rapid. Photograph by Ronnie Norton

Glen Campbell @ The Convention Centre Dublin - Nov.19th 2011

2011-11-27T09:35:27Z

Glen Campbell paid a farewell visit to his Irish fans with an a near capacity house at Dublin’s Convention Centre. Supported by his family based band Instant People he gave an almost flawless performance marred and jarred only by the loss of stage lighting about a third of the way into his show and then a constant trickle of totally inconsiderate well-wishers at stage front looking for handshakes, abusing the star’s generosity and good manners, and freaking out most of the rest of the audience. For once I wished for a tighter and more diligent house crew.

The show itself was a credit to all concerned and with Glen’s acknowledged medical condition on everybody’s radar, there was always the possibility of an embarrassing glitch. But under the watchful eyes of mother hen and 35 year veteran musical director T. J. Kuenster and his three children Cal, Shannon and Ashley, that was never allowed to happen. One little guitar fluff in Wichita Lineman was quickly glossed over by the excellent twin lead guitar work of Shannon who shows every sign of becoming a major star in his own right way into the future.

From the start, all the favourite songs were there, By the Time I Get To Phoenix, Where’s the Playground Suzy, Only Make Believe and Rhinestone Cowboy, all drawing huge audience response. They were interspersed with songs from the excellent current album Ghost On The Canvas, especially one called It’s Your Amazing Grace with daughter Ashley. Ashley is also a fine banjo player and together they hit my nostalgia bone with a reprise of the highlight of my first Glen Campbell concert in Dublin’s Carlton Cinema when supported by Anne Murray, Glen had there introduced the world to banjo maestro and future mega producer Carl Jackson with a stunning Dueling Banjos.

The highlights of the evening for me were a powerful rendering of Jimmy Webb’s The Moon’s A Harsh Mistress and a mini guitar marathon on the break in Galveston. Glen’s poignant visit to A Better Place brought a few tears to his enthralled audience. All in all a very enjoyable farewell concert from one of Americana music’s icons who in his career crossed all the boundaries from bluegrass to country and West Coast to standards and leaves us with no regrets and a shed load of great memories.

On Saturday night Glen Campbell kicked alzheimer’s ass, played guitar like a demon, and lost not one fan in the process. May he have a peaceful journey as he faces the one medical spectre that we all dread, in the company of friends, family and legions of devoted fans.

Review and Photograph by Ronnie Norton

Gillian Welch @ The Grand Canal Theatre, 17th Nov. 2011

2011-11-20T15:13:46Z

Was the Gillian Welch concert one of the gigs of a lifetime? Yes. As a fellow audience member said ‘it was as close to perfect as is possible.’ It was an eager audience – tickets had been sold out for ages. After listening to Gillian’s own mix CD Gil and David came onstage at about 8:15 with Gil in her trademark dress and cowboy boots (a look later nicked by – of all people – Taylor Swift) and David in his neat grey suit and a face-concealing Stetson hat he got from James Monroe, Mr Bill Monroe’s son.

They went back to the very first album, Revival, to start the night with Gil’s Tear My Stillhouse Down and the great contrast of Gillian’s rock-solid flat top guitar rythmn playing against David’s intricate picking on his arch-top Epiphone is as characteristic and gorgeous as it always has been. In two 50 minute sets, plus 5 encores they played most of the new album The Harrow and the Harvest and songs from each of the other albums with particularly strong versions of Elvis Presley Blues, Revelator, No One Knows My Name, the still chilling Caleb Meyer and Look at Miss Ohio.

Their version of Six White Horses from the new album was a particular delight with David playing banjo and harmonica while Gil hamboned (used her body as and hands as a percussion instrument) and clog-danced, wryly commenting afterwards that she had intended to learn a fancy new clog-step ahead of the tour, but that ‘it just hadn’t happened’.

The encores raised the evening even higher – which I’d doubted was possible – with cover versions of O Brother’s I’ll Fly Away followed by the Johnny Cash/June Carter stalwart Jackson but culminating in an extraordinary choice, gorgeously played, of Jefferson Airplane’s White Rabbit. It was incongruous and absolutely…perfect.

While Gillian switched between guitar and banjo – and occasionally added harmonica – Dave stayed with his guitar excepting Six White Horses. His playing, particulary in his solos, continues to astound; I sometimes feel he gets himself into beautiful places that it will be impossible to get out of, but each time he resolves the solo and amazes his listeners. They are two halves whose sum really is greater than its parts. Gil’s singing apart from David, as in O Brother, is wonderful and his playing on his solo album and other projects is great, but I feel that they achieve an energy working together that is unique and unsurpassable – and we in the audience were blown away by it in the Grand Canal Theatre last Thursday. What a night!

Review by Sandy Harsch, Photograph by Ronnie Norton

Steve Earle@The Olympia Theatre Dublin - 6th Nov 2011

2011-11-13T13:27:08Z

Review by Stephen Rapid, Photograph by Ronnie Norton

Bringing the Dukes (and the Duchesses) with him for the first time in an age Steve Earle delivered a two part set that was an appropriate mix of old favourites and new songs from his extensive reportaire. It featured various vocal turns from the band as well as from Earle who's own distinctive and forceful vocals were as powerful as ever. A prompt 8pm start (" Sometimes we are are own support band") was followed, as usual, by a set of back to back songs before Earle spoke to the audience and began his first introductions to the band. The songs in this part of the set included some songs from his MCA days - Hillbilly Highway, My Old Friend The Blues and Someday as well as songs from his latest album. He then introduced his wife Alison Moorer, who had up to this point been playing keyboards. They sang a duet Days Aren't Long Enough after which Moorer sang solo, including a version of Sam Cooke's A Change Is Gonna Come and again proved what a fine vocalist she is, and has always been. The band switched instruments throughout the show with Moorer playing accordion, acoustic and electric guitars. Guitarist Chris Masterson, something of a revelation, played pedal steel, mandolin as well as a variety of six and twelve string guitars and also sang harmony. He is a member of The Mastersons along with partner Eleanor Whitmore who tonight played fiddle, mandolin and guitar, as well as backing vocals. Both were versatile, adaptable and essential parts of the band's sound adding the twang factor when neccessry. The rhythm section was completed by Will Rigby on drums and the only surviving member of previous Dukes line-ups long time bassist Kelley Looney, who also took a turn at the microphone to sing Free Men. In his between song introductions and explanations Earle referenced the Occupy Wall Street campaign and it's Irish offshoots. Indeed the bass drum carried a "We are the 99%" sign. He also prefaced The Devil's Right Hand by telling a tale of how he used to keep a loaded pistol around the house until his son Justin misappropriated it and the lengths which followed to find out where it was. He further talked about the American Civil War and how there were 58,000 casualties at Gettysburg and how even today "the people who start these wars aren't fucking going" before playing Dixieland. This was followed by a rousing Galway Girl and a more acoustic version of The Mountain. Meet Me in the Alleyway had an rough-edged dirty blues sound with Earle playing harmonica and sing through a distorted mic. Another duet from Earle and Moorer, Heaven and Hell was from the current album I'll Never Get out Of This World Alive. Another small point that yet again Earle and band had no onstage mointors. The enthusiastic and invigorated audience demanded and got two encores which included a new song written for Treme, the TV series set in New Orleans that Earle has starred in as well as Taneytown, Johnny Comes Marching Home and Copperhead Road. Steve Earle is a captivating performer in any form but with the Dukes (and Duchess) it encapsulates his career in a better way than any other. This show was up there with the best I've seen him do and after the show they band met fans in the lobby to meet and greet and sign, which was an added bonus for hardcore fans

Eilen Jewell @ Sugar Club, Dublin - 3rd Nov 2011

2011-11-06T11:55:00Z

Queen Jewell told us how excited she was to finally play a date in Dublin, something she had wanted to do, it was she enthused "a magical event". Her previous visits were only to Dublin Airport on the way to other venues. The audience in the Sugar Club were equally delighted to have her and her superb band there. The rhythm section of Jason Beek on drums and backing vocals and Johnny Sciascia on upright bass were solid and sympathetic to the songs throughout, laying down a solid musical bedrock. Because of his role in the music guitarist Jerry Miller gets a lot of attention, and deservedly so, he is an dexterous and dynamic player. This is a band as Jewell says that are "capable of playing anything" and that is proved as the music then touches on classic country, rockabilly, blues and honky-tonk. This tightly focused outfit played songs from all of their albums including a couple of songs from the gospel side project the Sacred Shakers. The 22 song set included two songs from her Loretta Lynn tribute album- Fist City and Deep As Your Pocket - the latter song described as a public service warning. Her relaxed introductions including telling us that cupid wasn't all he was cracked up to be with his scattered aim as outlined in her song Bang Bang Bang, that Jameson is their favourite whiskey before playing High Shelf Booze. That the first song she learned was a blues song that they had adapted their take from previous versions as Nobody's Business. Other covers outside of Miss Lynn's still relevant songs included Arthur Alexander's The Girl That Radiates That Charm, Bob Dylan's Trouble In Mind and the Miller showcase, the Johnny Kidd and the Pirates classic, Shakin' All Over which saw Miller include a slew of riffs from 60's songs like Paint It Black into the mix and the audience singing the chorus. Her own songs are every bit as good and included Sea Of Tears, Boundary County, Santa Fe, Warning Signs and Heartache Boulevard. Eilen Jewell is far more than just a queen of the minor key, the music played before an audience by this tight and thoroughly engaged and engaging quartet is an ideal live experience. They breathe new life into these songs in this setting. Both sides of the stage had fun, which is exactly how it should be.

Review by Stephen Rapid, Photograph by Mark Averill

Rodney Crowell @ The Seamus Ennis Centre 19th October 2011

2011-10-24T20:31:13Z

In a perfect listening setting Rodney Crowell brought his solo Chinaberry Sidewalk tour to the intimate surrounding of the Seamus Ennis Centre. This show was a mix of newer material, old favourites, reminisces and readings from his memoir Chinaberry Sidewalk. As he tuned up he made the comment "I Know what your thinking... I tune with style and panache". He then began a 21 song set that included songs with humour like It's Hard To Kiss The Lips At Night That Chew Your Ass Out All Day Long and poignancy like 'Til I Gain Control Again, songs that show sympathy for others as in Ridin' Out The Storm. His first reading was about his mother's epilepsy and how a group of ladies came to their house to exercise the demon that they considered the affliction to be. It was told with humour, understanding and insight. He was in fine voice and held the audience in his two hour show that included also a slightly unkempt duet with his daughter Chelsea (his opening act) on Why Don't You Love Me Like You Used To Do, the Hank Williams Jr. song. He also took some audience requests that saw him trying a version of I Walk The Line (Revisited), a song he said he doesn't often do for obvious reasons. Other highlights include Closer To Heaven his song that lists the things he now finds favour for and with, Leavin' Louisiana In The Broad Daylight, Ain't Living Long Like This, The Rock Of My Soul and a cover of his friend and mentor Townes Van Zandt's Pancho and Lefty. Two other readings from his book were about his grandfather in his grey wool suit and fedoro and going for a haircut! He also described a fight his parents had that became a turning point in their relationship. All of this highlighted that, though it had taken a long time to finish Chinaberry Sidewalks it is a work that is as rewarding as his songwriting has proved to be on record and live through the years.

Review by Stephen Rapid, photography by Ronnie Norton

Bray Vista@The Cobblestones - Friday 10th September

2011-09-12T13:31:27Z

iPhone photograph by Ronnie Norton

Forced by outside circumstances into a hiatus since the recording and release of their excellent Jim Lauderdale/Leo Pearson produced album Let It Ride Bray Vista played a rare gig at The Cobblestones. With members now living in different continents it meant that only 8 of the 9 members were available, but with such a large line-up, featuring three lead vocalists, meant they had it covered. The lack of gigs and rehearsal, not unexpectedly, showed in places but not to the overall enjoyment of the evening. The solid rhythm section powered the songs along and piano and mandolin added depth, even though the latter was inaudible at times. But special mention must be made of Johnny Evans whose Telecaster and Steel guitar gave the band its direction and focus and he contributed several fine solos to the proceedings. Lead vocalist Neil Tobin writes some strong songs, usually on the nature of love and relationships and in the 25 song set they played many of these including L.O.V.E, First Impressions, Keep On Keepin’ On and the encore Reprise which pledges the friendship of the Bray Vista Social Club, something that is evident onstage. Co-vocalist Alison Byrne also impressed with her soulful voice and took the lead on a number of songs including If It’s Alright, a song she co-wrote with Tobin. Brian O’Dwyer added another vocal texture when he took the lead for a couple of songs and also contributed to the overall sound on rhythm guitar and accordion. Along side their own songs they peppered the set with a number of classic cover including Byrne’s emotive take on Loretta Lynn’s Rated X. Other audience favourites included songs from the Louvin Brothers through to Gram Parson’s Ooh Las Vegas and on the songs of influences like Bill Monroe with Blue Moon Of Kentucky and Waylon Jennings' Good Hearted Woman. The set ended with the song they usually close their shows with, that was Will The Circle Be Unbroken with featured most of the band taking lead vocal on a verse and with the audience joining in on the chorus, as they did on the final encore You Are My Sunshine. That they are not playing regularly is a loss all round as they are that rare band that plays with integrity and passion and with a eight piece band money is definitely not the main focus here. One can only hope that circumstances will change to allow the various members the time and proximity to perform and to record more regularly. For now this one-off gig show how ragged but right good Irish country (rather than Country & Irish) can and should be.

Review by Stephen Rapid