Ray LaMontagne & Natalie Jane Hill @ Waterfront Hall Belfast - 22 May 2026

Ray LaMontagne has come a long way with his stage craft since the early days when he couldn’t even face the audience, choosing to stand stage right, facing the void opposite, so crippling was his shyness. Tonight the Belfast audience in the sold-out 2,000 capacity Waterfront Hall were in a buoyant mood, not having had a visit from LaMontagne for several years. Shouts of 'Keep ‘er lit, Ray' may have been somewhat lost in translation, but the warmth they conveyed must have been obvious to him and his three piece band. Giving his band equal billing by arranging them in a row across the stage alongside himself is an unusual layout, but he seemed quite comfortable when he emerged and asked the audience to indulge him by listening to a few recent songs. Roll Me Mama, Roll Me, It Takes Me Back and Such A Simple Thing followed without further ado, and just a simple 'Thank you' from LaMontagne.

Then the backdrop changed to the familiar and iconic Jason Holley image of a blindfolded woman dancing with the devil and we knew that he was going to play his 2004 debut album TROUBLE - the tour was, after all, billed as the “Trouble 20th Anniversary Tour”. (I’m not sure why he’s two years late getting here, but no-one was complaining tonight). He launched into Trouble, and then proceeded to play the whole record, all ten songs. He opened up surprisingly and briefly, just before this. He told us that he is still amazed at how these songs have gone on to have a life of their own, so long after he wrote them as a young man and father of two little boys aged 2 and 4, ‘just trying to figure it all out'. And he has 'just celebrated his 30th wedding anniversary, and his boys are now older than when he wrote those  songs' in his mid-twenties. In response to an audience member shouting up that he had seen him playing in Chicago in the early days, he laughed and explained that he was ’so full of rage in those days’ and that he still has that first guitar that has blood dried into it. In fact, he admitted, at one stage he came home after being on the road forever and pulled the guitar out from under the bed to realise that his wife had driven a steak knife into it. He laughingly said that he decided to stay home for a while after that!

Each song from TROUBLE was greeted with whoops from the audience and they sang along quietly with the choruses. The supporting musicians were all multi - instrumentalists, and added backing vocals behind LaMontagne’s raspy vocals when needed. Mat Davidson (Big Thief, The Low Anthem) switched effortlessly from pedal steel to fiddle to keyboards, while the percussionist switched to guitar occasionally, and the electric bass player also played a floor drum. Most of the time, Ray characteristically stood rooted to the spot, moving only to accept a change of acoustic guitar from his guitar tech. He looked exactly as he always did - bearded, lanky and dressed in a check shirt. After a standing ovation, the band returned to the stage for a generous three song encore, which included Yearning from 2024’s LONG WAY HOME.

Opening act Natalie Jane Hill is pretty much unknown to Irish audiences, although the Texan native has just released her third album, HOPEFUL WOMAN. Her set consisted mainly of songs from that record, and her quiet presence belied the fact that this was the biggest audience she had ever played in front of. She accompanied her thoughtful, slow paced, folk songs with some deft fingerpicking and her sweet yet powerful voice achieved a hushed reverence from the audience. Every song was met with considerable applause and the long queue at her merch table afterwards set her apart as ‘one to watch’.

Review and images by Eilís Boland

Kaitlin Butts @ Whelan’s Dublin - 22nd May 2026

A booking at the Highways Festival at the Royal Albert Hall in London last week afforded Nashville-based Kaitlin Butts the opportunity to extend her visit in Europe and play shows in England, Scotland, Belfast and tonight’s gig in Dublin. Her stage presence is far removed from when we first witnessed the Tulsa, Oklahoma-born artist perform an acoustic solo at AmericanaFest in Nashville almost a decade ago. An entertainer in the true sense of the word, Butts combines seriously crafty songwriting with a powerful vocal, often self-deprecating humour, and a sure-footed stage presence, all fashioned from a work ethic and touring relentlessly, both as a headline and support act. Billed as The EUROPEAN Cowgirl Experience, she’s backed by her crack touring band, The Mules, in what is the last date of her current tour.

Opening with Cher’s million-seller single Bang, Bang and closing eighty minutes later with an extended, raucous version of Shania Twain’s Any Man Of Mine, Butts and her band sign off their tour powerfully. White River and Roadrunner, the title track from her 2024 album, follow at breakneck speed, and Butts then explains the backstory to the next song, Come Rest Your Head On My Pillow. An adept storyteller, she recounts that at her first appearance at The Grand Ole Opry, she was approached by Vince Gill, who, impressed by her performance, ended up contributing to the recording of the song. She also adds hilariously that the title of the song came to mind when she encountered a well-endowed woman at a festival wearing a tank top that read ‘cowboy pillows.’

Tongue-in-cheek murder ballads also feature. She throws down the gauntlet in Hunt You Down (“Just know that if you mess around/Boy, I'll hunt you down”) and addresses a narcissist ex-boyfriend in You Ain’t Gotta Die (To Be Dead To Me), the latter’s title taken from literal words offered to Butts by her mother. Less light-hearted and more explosive, a fiery take on the traditional American folk song In The Pines follows.

Butt performs Elsa solo acoustic, explaining it was inspired by her time singing at a retirement home, where she befriended a woman with dementia. On a later visit, she learned the woman had died. This experience is reflected in the lyrics: “Elsa was from Germany/She loved my songs, she was always smiling/She said she had seen all kinds of war/And she used to play guitar but she don't know how anymore.” Unsurprisingly, the first of three encores is Tulsa Time, a celebration of Butt's hometown.

Described by Butts as the loudest audience they played to on the tour, the beaming smiles of the five on stage matched the audience's embrace of an artist and her standout band, whose career trajectory continues to soar.

Credit also to the opening act, Meels. The Californian artist, playing both guitar and banjo and accompanied by an acoustic guitar player and backing vocalist, held the room's attention during her thirty-minute set. A mix of original songs and covers, the highlights were her self-written Willow Song and Neil Young’s Harvest Moon.

Review and photography by Declan Culliton

Kilkenny Roots Festival - 1st to 4th May 2026

Receiving the baton from previous festival directors John Cleere and Tom Stapleton, Garret Kehoe’s line-up for the 28th Kilkenny Roots Festival was an extremely well-selected roster of acts, both relatively new and emerging, and household names. Texan legendary songwriter Rodney Crowell’s exclusive Irish show at The Set Theatre on Saturday afternoon was a close-to-two-hour trawl through his phenomenal back catalogue, performed to an adoring audience. Accompanied by two outstanding musicians, Eamon McLaughlin on fiddle, who had performed with Emmylou Harris in Dublin last January, and Catherine Marx on piano, his set kicked off with Ain’t No Money and finished with Pancho & Lefty, eighteen songs later. The previous evening at the same location, The Big Star Quintet had power-popped their way through a rousing eighteen-set. Comprising original band member Joey Stephens, Mike Mills (R.E.M), Chris Stamey (The dB’s), Norman Blake (Teenage Fanclub), and Jon Auer (the Posies), and with three electric guitars and four vocalists, they recreated the original band’s material with reverence, creating a joyful experience that they appeared to treasure as much as the full house. Closing the festival on Monday evening, The Long Ryders can also be described as elderly gentlemen, having formed the band over four and a half decades ago. Sid Griffin, Stephen McCarthy, Greg Sowders and Murray Hammond (of the Texan band Old 97s), replacing the deceased Tom Stephens, they ripped through a set of old favourites and selections from their recently released album, HIGH NOON HYMNS, closing with their anthem Looking For Lewis And Clark.

If those three acts represented the ‘older brigade,’ two bands, both coincidentally from Philadelphia, were torchbearers for the newer breed of collectives blending country and indie with a little grunge on the side. Six-piece Florry, fronted by the force of nature and wildly exuberant Francie Medosch, was like a runaway train as they ripped through a set mainly taken from the album SOUNDS LIKE .FLORRY closing with an incendiary take on First It Was a Movie, Then It Was A Book. Slightly less raucous but equally impressive were their city mates, Friendship. A four-piece band fronted by Dan Wriggens, their folk-indie sound ebbed and flowed through a set that drew heavily from their 2025 album CAVEMAN WAKES UP.

A more relaxed event featured Uncut magazine founder Allan Jones, by now a regular festival attendee. He was in conversation with Belfast-born music journalist Stuart Bailie. Bailie’s latest book, The Song Is Nearly Over, shares his thoughts and insights from forty years in the music industry.

A pointer towards the festival’s varied lineup, pedal steel pioneer Joe Harvey-Whyte and psychedelic guitarist Bobby Lee’s fifty-minute instrumental set was a cosmic, reverb-heavy and swirling delight. Pedal steel was indeed prominent over the weekend. Nashville-based via London, Spencer Cullum is a ‘go-to’ player in Nashville and dipped into selections from his COIN COLLECTION album trilogy during his show. Our own maestro, David Murphy, played pedal steel on most of the set, allowing Cullum to concentrate on vocals and acoustic guitar while delivering some traditional folk songs with his own distinctive twist. His bandmate, Annie Williams, also took centre stage with a couple of her own impressive songs.

Chris Eckman performed twice at the festival as his initially announced show sold out. Accompanied by Alistair McNeill, who produced his last two solo albums, THE LAND WE KNEW THE BEST, and WHERE THE SPIRIT RESTS, and with David Murphy joining on pedal steel, the former member of Seattle band The Walkabouts delivered a spellbinding set, including selections from those albums, encored with a powerful rendition of Drinking In America. 

Greazy Alice, recently signed to Loose Music, is the brainchild of New Orleans-based Alex Pianovich, and influences from his adopted home city manifested in their set, which drifts seamlessly from honky tonk to blues. A highlight was the vocal fusion of Pianovich and band member Jo Morris. California-born voice actress and singer-songwriter Grey DeLisle performed four times over the weekend on the Smithwick’s Music Trail, which featured over fifty free gigs. With her band, The Blue Ribbon Boys, DeLisle charmed audiences with extended country sets delivered with class and wit and some dexterous Telecaster twang.

Willi Carlisle won a slew of new fans with his always politically charged and hilarious stream of consciousness between-song patter, his insightful socially aware songs and his instrumental wizardry on banjo, bones, squeeze box and fiddle. Mayo’s folktronica legend Seamus Fogarty debuted his latest album SHIPS for a wildly enthusiastic room of fans in Billy Byrne’s new music space, followed by DJ Edel’s disco. Another highlight was the 2-hour visit to Nick Harper’s childhood home at 58 FORDWYCH RD, where he grew up with his father, Roy Harper, and the inspiration for Nick's latest album. He regaled us with anecdotes from his father and his own memory and played songs from seminal folk artists Davey Graham, Bert Jansch, John Renbourn, Paul Simon, Jackson C. Frank, Marc Bolan, David Bowie and Sandy Denny.

The Equatorial Group played four shows over two days, and drew on material from across their four albums, with their superb harmonies, strong melodies and impressive performance dynamic. Their music is a joy to experience in a live setting with their rhythmic subtleties augmented by engaging guitar, keyboard, and pedal steel colourings. Ben Reel made his customary appearance at the festival and is always great to see in a live setting. His blend of Rock and Roots music is taken from across his wide catalogue of albums and influences. A very accomplished artist and performer.

With close to eighty acts performing, it was not possible to see as many as we would have liked, but the ones referenced above made the weekend a memorable experience. Here’s looking forward to Kilkenny Roots 2027.

Review and photography by the Lonesome Highway Team 

Jesse Sykes & The Sweet Hereafter @ Bello Bar, Dublin 24th April 2026

Jesse Sykes & The Sweet Hereafter last visited Dublin in 2024, sharing the stage with the drone metal band SUNN O))) at the plush National Concert Hall. They performed as a three-piece on that occasion, Sykes and her musical and songwriting partner, Phil Wandscher (former guitarist for Whiskeytown and Nada Surf), were joined by Bill Herzog on bass guitar. Tonight’s show is better suited to a more intimate venue. Sykes sings and plays acoustic guitar, accompanied by Wandscher on electric guitar, harmonica, and backing vocals. The performance is played to pin-drop silence.

FOREVER, I’VE BEEN BORN, released in 2025, was the first album in over a decade from the cosmic Gothic folk/country artist. As Sykes explains this evening, the long gap was a challenging time during which she faced mental struggles, cared for her elderly mother, and endured other hardships. The album's recording began in 2016, and the material, described by her as “sombre and about extremes,” reflects the difficulties and exhaustion experienced during its making. Sykes' trademark themes and fascination with death and the afterlife appear on the album. However, as the title suggests, melancholic though it is, it also rejoices in rebirth and renewal.

Despite recovering from losing her voice earlier in the tour, Sykes is in fine voice tonight, aside from a few coughs. Opening the set with Hard Not To Believe from their 2007 album LIKE LOVE LUST & THE OPEN HALLS OF THE SOUL, they follow with Be It Me Or Be It None, which seamlessly merges into Winter’s Empty Pages, the first inclusion from their new album. The marriage of Sykes’ delicate and otherworldly vocals and Wandscher's guitar skills is quite unique, and the selections from the latest album recreate the ebb and flow and intimacy of the studio recordings. They include Dewayne, and the title track, the former of which Sykes says was inspired by the documentary film Streetwise, which chronicled the plight of homeless teenagers preyed on and abused in Seattle and the subsequent cry for help and suicide by the song’s character. Also performed from the new album is (‘’Another one about death of course’’) is Feather Treasure.

Selections from the back catalogue include Doralee and the stunning Grow A New Heart, the trance-like closing track from OH, MY GIRL. The show ends with Wooden Roses from their MARBLE SON album, where Wandscher extends the studio version with a dazzling display of fuzzy guitar, pedal, and feedback mastery.

Few, if any, can deliver such bleak, haunting and often menacing themes as eloquently and with such passion as Jesse Sykes & The Sweet Hereafter. Combining that skillset with their trademark hauntingly lonesome sound was a joy to behold this evening.

Review and photography by Declan Culliton

Dead Goat @ McKowski Café, The Harrison Hotel, Belfast - 26 March 2026

A new music venue is a rare and welcome happening these days. Mark McKowski recently started a collaboration with The Harrison Chambers of Distinction, an upmarket hotel in Queen's Quarter, Belfast, which sees him running a music lounge most Thursday nights in The Live Lounge, followed by playing records (with optional cocktails!) in the speakeasy bar. The Wedgwood blue and white restored Victorian interiors and candlelight of the Live Lounge provided a cosy welcome in the packed room when Northern Ireland’s Dead Goat foursome took over the club for the launch of their eponymous album on another cold and wet night. 

McKowski himself is one of the members of this recent collaboration. Aka Mark McCausland, an Omagh native and one half of the now disbanded The Lost Brothers, he has adopted the McKowski moniker for his solo work which includes his solo music projects, music production work, collaborations with other artists including M Ward and Howe Gelb (Geckos) and a feature film, The Spin, along with his Boneyard Records shop in Omagh.

Lurgan’s Stevie Scullion (Malojian) gathered the other three musicians together in his studio last year 'to see what would happen’. They found they had an easy rapport and very quickly began to write songs together and the result is this album, and an occasional gig when they find themselves all available (which doesn’t happen very often).

The percussionist is Decky McManus, also from Omagh, who recently worked with Stevie in The Breeze, and earlier in The Basement with McCausland. The fourth member of this ’supergroup’ is the well established Hilltown, Co Down folk singer-songwriter, Matt McGinn, who has six well received albums under his belt.

From the opening chords of Any Way The Wind Blows, with its heavy sultry swamp vibe, it was obvious that we were in for a treat. Matt McGinn took the lead vocals on this one (as well as electric bass throughout), with McKowski singing close harmonies. Stevie Scullion and McKowski provided rhythmic and spiky guitar backdrops on their vintage electric Gretsch and Rickenbacker respectively. Another easy paced number, Broken Arrow, followed with the same vocal set up, then Stevie took the lead vocals on the sweet All That I Need, another laid back slow groove with a more acoustic musical backdrop, ‘meet me somewhere underneath the blanket full of stars …' repeating to beautiful fade out. Writ of the Lonely has a definite Malojian feel to it, with Stevie taking lead in his familiar falsetto. This one had a decided Beatles influence in its driving beat and guitar hooks. Prisoners of the Dark had a much darker tone, with Matt on lead vocals, with lyrics including ‘Desperate times, desperate people …. Holy chaos, Holy Orders’ hinting perhaps at clerical abuse. 

It became clear very quickly that, to quote Matt McGinn, ’there are no real leaders in this band’, but refreshingly, also, there are no real egos. The lack of a set list provided some moments of humour but the relaxed vibe permeated the audience and no-one really minded.

McKowski led on an instrumental that had a decidedly South Western US feel, and Stevie added to the twang factor with his skilled guitar work. So Long John had a much heavier sound, with a driving drum beat, building eventually to a cacophonous conclusion. Death of an Actor was ponderous, ‘words between the lines/voices echo in time’, Stevie’s use of an eBow creating a mesmerising and eerie vibe. Nut Germs was clearly another Stevie Scullion-influenced number, with its sparse instrumentation and somewhat cryptic lyrics. Matt closed the short set with the folky Laughs for the Lonely, and Stevie pulled out the classic folk song He Was A Friend of Mine for the encore. Catch the band at a couple of appearances in Ireland over the next month and check out the new album, which I hope won’t be just a one-off.

Review and photo by Eilis Boland

Samantha Crain @ Whelan’s – 8th March 2026

It’s a welcome return to Samantha Crain, a singer-songwriter who is a favourite of the Irish music-loving community. Her show in the upstairs room at the iconic Whelan’s venue is sold out and the crowd is asked to move forward by Samantha in order that those at the back of the room have an opportunity of seeing the actual stage. Her small frame is something that she mentions in urging the crowd to the lip of the stage and her easy presence is a testament of the natural communication skills that shines through.

Samantha appears with just her guitar, which suffered damage to the neck on the plane flight across the ocean. She tunes between songs and highlights the lower E-String that keeps ‘wandering’ – her narrative always engaging and informative. She speaks of feeling at home in Ireland and that her understanding of the bond between her people and this country runs deep. Samantha is promoting her excellent GUMSHOE album from last year, and she performs Neptune Baby, Dart, Gumshoe, B-Attitudes (a song for her grandmother and the house she lived in for 60 years), and all are taken as firm favourites already among the fans, who sing along on some of the choruses.

An Echo is beautifully haunting, as is the rendition of Joey from the A SMALL DEATH album of 2020. When We Remain is a song that she sings in her native Choctaw language and Samantha speaks movingly regarding the Trail Of Tears that saw her ancestors displaced from their lands in Mississippi and forced to move to a reservation in Oklahoma, where she grew up. The Irish Plantations come to mind when it comes to a displaced people, she also speaks of the close bond between the Irish people and the Choctaw nation, forged during the Famine when her people donated money to aid with the starvation that took the lives of so many.

UNDER BRANCH AND THORN AND TREE is an album that appeared back in 2015. Tonight Samantha plays the very atmospheric Elk City which traces the life of a young girl who gets stuck in an Oklahoma town, trying to make a better life, but slowly sinking down, along with the recession. Her fingerstyle playing is aligned closely to the chord structure on the Richard Thompson classic Vincent Black Lightning. She jokes of trying to learn the original song, but failing on the basis that Richard Thompson “has fifteen fingers.”

Bloomsday is introduced as her only happy song, and the reference to James Joyce is well received by the packed room. Her persona is quietly self-assured throughout and she created a warm sense of intimacy in the venue. She played for close on seventy minutes, leaving the stage with no encore, but it didn’t seem to matter; the sense of kinship from stage to audience was palpable and nobody felt short-changed by the stripped back solo performance. Come back soon, Samantha, a warm welcome is always assured.

PS: Just a few lines about the support act tonight, Podge Lane from Co. Cork. Recently returned from travelling in the USA, he is promoting a new album, LESS OF ME. His confident stage presence and easy banter with the audience has him warming up the atmosphere as he plays new songs Kicking Up Dust, Broken Door and The Story from the new release. He sings out with plenty of energy and his ease on guitar and harmonica go down very well. He closes his set with Ghost, a song about singing on the road and trying to make a living as a gigging musician. It’s always encouraging to see venues like Whelan’s giving local Irish artist the opportunity to play their music and Podge certainly took his chance with enthusiasm and a strong performance.

Review and photo by Paul McGee

Courtney Marie Andrews @Whelan’s – 21st February 2026

What a welcome return to Dublin this proved to be. The last time that Courtney Marie Andrews played in the city was back in 2022 when she appeared solo at Liberty Hall in fulfilment of a previously cancelled show from 2021. Tonight, her return has been greatly anticipated, as witnessed by the capacity audience, together with her first new music in four years. Her current album VALENTINE now being toured across nine European countries, before returning to America for extended dates into late April.

Her career started to gain momentum ten years ago with a lot of media attention around her album HONEST LIFE (2016). Since that jumping off point, Courtney Marie has steadily build her reputation around a strong touring ethic and continued quality output across subsequent album releases MAY YOUR KINDNESS REMAIN (2018), OLD FLOWERS (2020), and LOOSE FUTURE (2022). Now we stride forward to her tenth studio release and an opportunity to reflect upon her journey taken, over the same ten year period, in a career that has really blossomed into different directions.

Today, Courtney Marie finds herself in a space that would have been a pipe dream for her younger self. An independent recording artist, surviving in an industry that is particularly cruel and dismissive of solo female songwriters, guiding a career strictly on her own terms. She is also a poet, having published two books of her inner musings, and a painter, who has been exploring this side of her creative process since Covid lockdown.

Her interest in continuing to grow and explore as a creative artist has never been more evident that on the new album, and the superb Valentine is a beautifully crafted testament to her fascination with both connection and love, in all different forms and guises. The ten songs are creatively refined, subtly woven with layered melodies, that form a perfect mirror for self-reflection and quiet contemplation. Played here in a live setting, without studio technology, they stand alongside any of her impressive back catalogue.

Tonight, accompanied by her excellent three-piece band, Courtney Marie Andrews delivers a show that includes a full performance of the new album, the back-to-back delivery of all ten songs making perfect sense in the intimate atmosphere of Whelan’s. The band comprises Jerry Bernherdt (album co-producer) on keyboards and guitars, Matt Carroll on drums, and Taylor Zachary on bass. Each musician is superbly gifted in the art of serving the song and playing comfortably at all times in what is commonly referred to as “in the pocket.”

Their band interplay and harmony vocals are very impressive throughout in support of Courtney Marie, who displays her own expertise on both acoustic and electric guitars, keyboards, and flute (who knew!), to great effect. She also delivers a vocal master-class on what nuanced performance is all about – quietly reflective in one moment; powerful and poignant at the next. Her pitch and tone has always been capable of melting the hardest heart at ten paces and tonight she soars like a songbird.

In fact, the presence of artificial white doves on the instruments and microphone stands is further evidence of the abiding message that she wants to impart; that we are all part of the same cosmic glue, and we have more loving awareness in common than what keeps us apart. Release the white doves of peace…

Of the new songs, instant stand-outs are Cons and Clowns, Little Picture Of A Butterfly, Outsider, and Best Friend. It’s a sign of their quality in that they sound like immediate favourites, and are greeted warmly by the enthusiastic crowd. Courtney Marie also takes some moments to read from her recently published poetry book “Love Is A Dog That Bites When It’s Scared”, but it’s a missed opportunity in that she doesn’t frame the pieces that are performed or introduce them in any context. Such is her reluctance towards self-promotion, preferring to let the work speak for itself.

Outside of the new album performance, she visits four previous albums across seven songs chosen, with favourites such as Table For One, Irene, Burlap String and If I Told all included. She performs an unrecorded song titled Standing In the Rain and also the superb Near You, which appeared on an EP titled LEUVEN LETTERS(2014). One of the encore songs is the iconic May Your Kindness Remain and the words hang in the air almost like a prayer against these troubled times ‘The richest of people aren't rich with houses, cars, or fame, No, they're not rich with something that can be bought or arranged, No, it's kindness that makes them beautiful and a kind heart don't cost a dime, It's a gift that keeps giving for the rest of your life.‘

It’s an atmospheric performance in a room packed with hushed admirers. Courtney Marie speaks of her joy in returning to Whelan’s and of her first memories playing there as a very young artist (in the front bar)! Not only has she come a long way since such humble beginnings, there is a special place in our hearts for the beautifully constructed art that Courtney Marie creates, and a warm glow to be in the presence of live performance of this quality.

P.S. The opening act tonight was  Roisín Gowen, an Irish singer-songwriter who has a winning stage presence and a way with a song. She played her tunes to a listening audience who were very encouraging, and both Gift Of Presence and Fighting Spirit were well received. A cover of the Sandy Denny song Who Know’s Where the Time Goes was also included, after some extended tuning and audience interaction. Roisin has an album launch party taking place on 28th March next in Dublin’s Unitarian Church.

Review and photos by Paul McGee

The Paper Kites @ 3Olympia – 18th February 2026

It has been just shy of two years since the Paper Kites last played in Dublin. Back then the venue was Vicar Street and the band was comprised of eight musicians on the night, the regular five-piece augmented by members of The Roadhouse Band. The show was centred around the release of At the Roadhouse and included seven songs from the album. It was a very special illustration of the quiet power that the band has harnessed over many years of touring and playing together, blended with understated interaction that was a joy to experience in such a perfect listening venue.

Tonight the band is commencing a tour in support of the current release IF YOU GO THERE, I HOPE YOU FIND IT and they perform six of the new songs taken from the album. Any band needs to change and grow over the arc of a career, and there are always influences at play in the dynamic of what presents itself onstage. Sam Bentley is the lead vocalist and guitar player, with the songs he writes a defining influence on the persona of the band. There is a sweetly tinged feeling of melancholy that runs through the song arrangements with the melodies conjuring up a sense of reverie in the laid-back delivery. However, over a set that includes sixteen songs, the pace doesn’t change very much and at times there is the impression that the band is performing with the brakes on.

Given that the gear they cruise in is very appealing, and creates a sense of quiet calm, there is the risk that everything becomes just a little bit one-paced in the delivery. In fairness, there is the new arrangement of Black and Thunder that lifts things into a different scenario, and the extended link from Bleed Confusion into Without Your Love adds a different colour in the performance, but somehow the return to a reflective, yearning ambience somewhat restricts the show from really catching fire and taking off. Sam Bentley has a vocal timbre that rests in the higher register and this defines a certain trait in the overall sound; something that soothes in the gentle delivery but also restricts a wider palette of musical exploration.

The band is really superb throughout, even if the visits to a communal mike don’t always work across the set, together with a visit to the ground floor of the venue for an acoustic number that left three band members temporarily redundant onstage, while the song performance was lost to the audience who were placed on the balconies above. There were three occasions when the band gathered around the front-of-stage microphone; beginning with the opening Morning Gum from the new album, continued on Deep (In the Plans We Made) into the set, and concluding with the ever-popular Bloom as part of the two-song encore. Does this approach always work? Maybe in a smaller, more intimate venue, but here it just serves to break up the natural flow of the concert. There is also an acoustic duet with the impressive support act Bess Atwell joining Sam on co-vocals on the song Dearest which appeared on the ROSES album from 2021.

The concert was somewhat compromised by the failing light show, with the stage plunged into total darkness at intervals, something that didn’t lend to the cohesion of the performance. No doubt, such glitches will be ironed out as the tour continues and the band is very genuine in their comments of the joy experienced in playing to an Irish audience over their previous visits to our shores.

Over the setlist, the band revisit eight of their releases, dating back to 2011. It’s a very generous approach in trying to include stops at a number of signposts along their successful career path and the enthusiastic crowd are very fulsome in their reaction to the song selections. Tonight, the band of six members comprises Sam Bentley (lead vocals, guitar, keyboards), Christina Lacy (guitar, keyboards, backing vocals), Josh Bentley (drums, percussion), David Powys (guitars, banjo, lap steel), Sam Rasmussen(bass guitar, synthesizers), and Chris Panousakis (pedal steel, guitar, mandolin, percussion).

I get the sense that David Powys could be let loose just a little bit more to express his obvious talents on lead guitar, his intuitive playing is a real highlight, plus the multi-skilled Chris Panousakis should now be a key element to the band sound into the future. His pedal steel adds a subtle and sublime element in the overall atmosphere that is so much a part of the sound, and so gently delivered. The Paper Kites remain a firm favourite, the inventive ensemble delivering so much reward in their intuitive playing. It’s as much the space between the notes that creates their special resonance and my wish is that they develop this sound into new dimensions as they move inexorably forward.

Review by Paul McGee. Photos courtsey of Anne Power.

John Smith @Whelan’s – 16th February 2026

There are nights that linger in the memory and that nestle over time to bring a smile when remembering that warm sense of belonging. This was one of those nights, the return of a consummate musician, an intimate setting in the main room of Whelan’s, and an audience who were completely wrapped up in the magic that was delivered from this skilled performer.

John was finishing a short Irish tour in support of his latest release, GATHERINGS, which is a look back down the path, with ten songs revisited from the first ten years of his music career. He talks about making a decision in 2005 to give up his part-time jobs in order to concentrate on a full-time career in music, the journey that has unfolded and the wisdom gained from the experiences of a travelling troubadour.

A debut album arrived in 2006 and The Fox and the Monk began a steady rise to the pinnacle of the modern folk summit, a place where he now resides and in which he is comfortably ensconced in the lofty environs. His guitar technique is hugely impressive and his accomplished skillset has been honed over many years of playing live around the world. Over the years of seeing John perform, his vocal delivery has reached a stage where it entwines seamlessly with his guitar playing and the chords wrap around the words in such a sweetly sonorous feel.

From the GREAT LAKES album John selects Freezing Winds Of Change, Town To Town, Great Lakes, and Salty and Sweet. The latter song is one where John directs the audience to sing harmony vocals on the melody and it’s a lovely moment of communal bonding in the room. With a self-effacing humour John tells stories of the road and of the career he has spun since attending music studies in the city of Liverpool, through to his current status as a guitar virtuoso, with online content that is worthy of your time.

Songs from Headlong are also included and Far Too Good is a highlight, along with the superbly delivered Joanna, which includes a section from the Van Morrison song Tupelo Honey and another opportunity for the audience to join on the chorus lines. Hummingbird and Willy Moore also feature, along with Trick Of the Light, The World Turns, and Too Good To Be True. John also plays another song Silver Mine from the 2024 album Trick Of the Light and this is dedicated to his daughter. The encore is a song taken from that debut album and Winter is performed with John seated and creating real sorcery from his movement across the fretboard, using the guitar body as a percussive ally, while he makes the strings dance along to the rhythm and melody.

Over a very inspiring ninety minutes, we keep the world outside at bay and revel in the power of music to deliver a soothing balm, with John using his two guitars, various foot pedals and percussion to create some very special memories. He speaks of his genuine love of playing at Whelan’s and the appreciative audience return his warmth in their response throughout this evening of  great joy.

Review and photo by Paul McGee

Jeffrey Martin @ Whelan’s - 29th January 2026

It’s been less than a year since Jeffrey Martin played at Whelan’s and he makes a welcome return tonight. He is on a short European tour in support of a live album that is due for release next month on Loose Records. A regular visitor to these shores, Jeffrey has created a dedicated support base over recent years of playing here and his impressive songcraft is what endears him to our nation of saints and scholars.

Playing to a main room that soaks up all the emotion in his live performance, Jeffrey is authentic and engaging in a song set that generates an intimacy and a quiet sense of reverence for all who treasure his deeply poignant music. He displays a humility and wisdom in speaking of his inner reflections, and there is a real humanity at the core of Jeffrey Martin, that is highlighted in his songs. They speak to the essence of our human condition in all its fractured complexity and he asks the big questions, such as "Why are we here?" and "What's our purpose?"

Jeffrey delivers a solo performance and it’s a compelling experience, as he spins his songs of deep contemplation and insightful perspective. The songs tonight include seven that are taken from the most recent studio album THANK GOD WE LEFT THE GARDEN and Jeffrey speaks between the numbers of his belief in the human spirit and the hidden depths that we all possess.  He likens the media news that we receive daily as akin to an aperture that is very narrow. The lens closing doesn’t allow for the way that we all relate to the world and to each other. Jeffrey assures us that there are many good people out there, doing positive things and making change, especially in America in the toxic atmosphere that pervades at present.

Renditions of Garden, Paper Crown and Quiet Man are powerful, and his song that looks at intolerance and ignorance, Red Station Wagon, is a really intense moment that brings a lengthy applause from the audience. Jeffrey performs a few songs from earlier albums also and the joy of going to see him in a live setting is that you never quite know what he will choose from his impressive repertoire. Tonight we are treated to the very personal Coal Fire, a love song of sorts in Thrift Store Dress and the superbly structured Draw the Line.

Jeffrey has a great sense of humour and his wry observations are often hilarious. The tells of the frustrations that Covid brought and how he channelled much of his creativity into odd experimentation, like buying a cheap Casio keyboard and trying to create an instrumental electronic album. The random purchase of roller blades had him skating around his neighbourhood in the depth of the night, complete with headphones, while he listened to his compositions, sometimes with the aid of some magic mushrooms. When the experiment didn’t work out to any great degree of satisfaction, Jeffrey wrote a song titled Walking instead. He includes this in the set and it has a poetic take of life ‘The violent sounds of busy streets, People living at all cost, Die away eventually, If you stay up late enough, Stoplights play for no one, The dogs are gone to dream, When I go out walking.’

Mick Flannery is a friend, and Jeffrey recalls how he was so impressed by the album A Night At the Opera that centres around the theme of famous chess games and their players. Suitably moved to respond to the challenge, Jeffrey sent Mick a song titled Checkers that is very funny and proves to be a firm favourite for audience participation on the chorus. In speaking about wanting to follow your heroes, Jeffrey chats about the beat poets and mentions William S. Burroughs, Allen Ginsberg and Jack Kerouac. He notes that on examination they turned out to be less than attractive in their own lives and he performs the song Billy Burroughs, a tale about an incident in Mexico when he shot his wife dead in a trick that went wrong when she placed a highball glass on her head. Life can be seen as a game of chance and this incident shows just how fragile our existence can prove to be.

As the show concludes Jeffrey plays a cover of the Neil Young song One Of These Days and he invites the support act duo Mark Erelli and Dinty Child to join him on guitars and vocals. The standout song was There Is A Treasure and it has all the elements that make a Jeffrey Martin song into something to cherish  ‘The city will still be moving in the morning, A million lives all breathing like a tide, Each one a story beyond our comprehending, Each trying to make a life and feel alive.’ There is the soul of a poet in Jeffrey Martin and with his songs tonight he made us all feel a little bit more connected and a great deal more alive. A superb evening.

We had a very special opening act to add even more quality to the show, and the appearance of both Mark Erelli (Lori McKenna, Josh Ritter, Jeffrey Foucault) and Dinty Child (Session Americana, Kris Delmhorst, Catbirds) onstage, brought great rewards to the audience who responded with a very warm welcome. The duo are lifelong friends and an intrinsic part of the Boston Folk/Roots scene as both singer-songwriters and multi-instrumentalists. Their performance tonight across a short set was inspiring in the interplay between the two guitars and the vocal harmonies. Songs they have written together such as Look Up and History Of the Future are performed with great skill and Feels Like the First Time, The Morning and Solitaire are also included, plus a new song, written with Peter Mulvey recently, gets a first time performance, and When I Get To Where I’m Going has the crowd singing along on the chorus with great enthusiasm. The duo are currently finishing off a short tour of Ireland where they played shows in Dublin, Galway, Cork, Donegal, Wexford and Tyrone. It was great to see them support Jeffrey Martin and hopefully they will return again in the not too distant future.

Review and photos by Paul McGee

Amythyst Kiah @ Oh Yeah , Belfast - 28 January 2026

Although she claimed to be still a bit jet lagged after her journey from Johnston City, Tennessee, via Glasgow (where she played at Celtic Connections a few nights ago) Amythyst Kiah still had an arresting stage presence tonight. The small audience in the Oh Yeah Centre in Belfast’s buzzing Cathedral Quarter seemed to be familiar with her work, and she had fond remembrances of her first gig here in 2022. She probably first came to prominence to wider audiences as part of the Our Native Daughters project, with Rhiannon Giddens, Leyla McCalla and Allison Russell, but prior to this she had graduated from East Tennessee State University's prestigious Bluegrass, Old Time & Country Music Studies degree. 

She launched straight into songs from her current album, 2024’s STILL + BRIGHT, accompanying herself initially on her open back banjo, played frailing style. I Will Not Go Down features Billy Strings on the album version, but Kiah’s solo version was no less powerful tonight, a song of defiance with some Gothic horror thrown in. ‘If I’m to be left all alone/I’ll kill the beast all on my own’. S P A C E is a plea to be allowed to explore one’s psychological issues as a normal part of existing, and Kiah explained how she felt the need to suppress these things when she was young, but no longer. Comfortable on stage, her between song banter was illuminating, her explanations of the background to her songs made them all the more powerful. Switching to her acoustic Vintage Gibson guitar, she told us of her deep interest in the cosmic horror genre and it infuses many of the songs she performs tonight, including Gods Under The Mountain, Die Slowly Without Complaint and Silk and Petals. 

Before performing Empire of Love, Kiah gave us some background about her upbringing in Johnson City Tennessee, where she felt out of place, for obvious reasons, but she decided to stay, and has since ‘found her tribe’ and is happy there even though she has rejected the faith that has given rise to the Bible Belt moniker of the American South. She still appreciates the folk music that she turned to while she was in denial after a personal tragedy at 17, hence the rendition of Darlin’ Corey, concerning that ‘moonshining, banjo playing, gun toting’ legendary female. Her next cover version was of Lady Gaga song, Game of Love, which demonstrated how  Kiah is as influenced by popular culture as she is by the Appalachian traditions which she is also immersed in. A muscular version of the folk standard In The Pines is followed by Play God and Destroy the World. 

Explaining that she had used alcohol for years to avoid facing the aforementioned trauma that occurred during her teens, she performed three songs all on this theme - Hangover Blues, Firewater and Greendays’ Hitchin’ A Ride. She is open about the fact that through therapy she has faced those demons and is now in a good place, which is very obvious to all tonight. Her final cover song is her version of Vera Hall’s well known 1937 song, Trouble So Hard, which was recently used in the Netflix series, The Abandoned. She bid us goodbye with perhaps her best known song, the Grammy nominated Black Myself, which she points out is essentially about freedom for all, not just her black demographic. 

The opening act was local Belfast man, Carl Devlin, who not only is a proficient blues guitarist influenced by Robert Johnston, Blind Willie McTell etc, but he is also researching the link between Irish music and the blues, and the Alan Lomax collection. He performed a fascinating version of Goodnight Irene as gaeilge (in Irish)! We’ll be watching that project with interest.

Review and photo by Eilís Boland

Craig Finn @Whelan’s – 27th January 2026

This is such a welcome return to Dublin for a songsmith who, were he Irish, could perhaps stake a claim to be included among some of our literary greats. His story songs create alternative lives and his descriptive talents are second to none when it comes to painting a vista of life on this mortal coil. Craig Finn illustrates the dignity in daily struggle, the frailty and strength to be found in equal measure among our collective experiences, and reflects on ways we somehow forge a meaningful path through life, in all its complexities.

Craig Finn has a seat at the table with the greatest exponents of the human condition and his insightful craft is so finely honed over decades of songwriting that he stands tall among his contemporaries. The story songs that he creates are the woven threads of Flash Fiction, contemporary plays, fringe performance, and beat poetry. The characters come alive in his songs and we want to follow their journeys as they negotiate the unseen rapids of daily living. Compassion, empathy and a knowing acceptance run through the songs and it is without doubt one of the great pleasures on a cold and rainy night in Dublin to witness his creative muse in such an intimate setting.

The capacity crowd could not be more supportive and they listen in hushed reverence as the songs unfold, painting characters that are at once familiar and so much a part of a world in which we all could meet in our daily routines. They are at once believable and authentic in the mini-plays where they exist and their challenges are part of the glue that binds us all together.

Craig Finn grew up in Minneapolis and, given the current volatility in his city, he keeps everything on an even keel tonight regarding any political speeches, restricting his comments to a simple “you may have seen it in the news recently.” He makes special mention to his band, who join him for the second half of the set, and notes the sacrifice they have made to travel to Europe, leaving family behind, in support of his tour, at a time when so much unrest exists in his home state.

All three of the musicians in the Band Of Forgiveness (so aptly named) live in Minneapolis also, and Nelson Devereaux (saxophone, flute, clarinet), plus Joe and Ethan (whose surnames are not highlighted), display so much talent on electric guitars, keyboards, and drum samples. Their playing in support of these spoken-word songs is akin to jazz experimentation as they interpret the song dynamics.

Ireland is steeped in a storytelling tradition and if we were looking to recognise an honorary bard, then Craig Finn comes very close. You find it in the detail of the lyrics, the minutiae contained in the descriptive words that populate the lyrics and that hit a bullseye in every song. There’s forgiveness and redemption in all the songs, as if despite our worst natures we can always turn toward feelings of  fresh hope. Many of the songs are from dark places but the need for optimism is always there, just beyond the next horizon.

The songs tonight cover two separate sets. Craig opens up the show with an acoustic solo performance of seven gems, including Maggie, I’ve Been Searching For Our Son, Be Honest, Tangletown, Crumbs, Dennis and Billy, This Is What It Looks Like, and Magic Marker (Craig suggests that the latter is his favourite in a long list). There is a short break while everyone gets the chance to digest and discuss such a strong start to the evening, with the room buzzing on the electricity generated. Everything went up a notch when Craig returned with his three supporting musicians who graced the performance in their ensemble playing and excelled across a further seventeen songs of the highest quality.

The creative use of wind instruments and keyboard swathes add greatly to the performance dynamic and the two most recent albums, ALWAYS BEEN and A LEGACY OF RENTALS are featured across fifteen songs in a set that includes many highlights, with God In Chicago, Clayton, Betheny, Preludes and Fletcher’s being received like old friends with enthusiastic applause. Craig talks of not trying to create a Walt Disney version of love in his songs and the couples featured often struggle for common ground a lot of the time.   

Other highlights are the superb Shamrock, I Walk With A Cane, Messing With the Settings, People Of Substance, All These Perfect Crosses and Due To Depart. Quite how he can remember all the words in his burgeoning repertoire is a feat of great dedication to his work ethic. Not one of the songs performed tonight comes anywhere near being just ordinary and this is song craft of the highest order,

It all comes to an ending all too soon as the evening concludes and we all make our individual journeys out into the night, just like we are playing roles and characters in one of Craig’s songs. While there is no such thing as the perfect gig, this one ran very close, and the experience was acknowledged and shared by all present. A very special evening.

Review and photo by Paul McGee

John R Miller @ Upstairs Whelan’s, Dublin – 25th January 2026

Playing to a full house on a Sunday night is no mean feat, especially if you haven’t gigged in Dublin for quite some time. Perhaps this was the reason why so many turned out to see this shy troubadour play, and the song set was a combination of old and new across the evening. John R Miller grew up in West Virginia and his rural influences run through his music with songs that are very much in the Americana Roots and singer-songwriter traditions.

Tonight he opened the show with Shenandoah Shakedown from his album DEPRECIATED (2021), and followed it with Red Eyes, a track that appeared on THE TOUBLE YOU FOLLOW (2018) release. John is an excellent guitar player with a fingerstyle technique that propels the songs along with real panache in the delivery. Tonight he’s joined by the very impressive Tom Hnatow on both lap steel and electric guitar, and his superb interpretations of the songs are a joy to hear as he floats around the rhythmic playing of John  R Miller.

Press On is included from the last release HEAT COMES DOWN (2023) and John also plays Harpers Ferry Moon, Ditcher, and Conspiracies, Cults and UFOs from the same album, with the latter song closing the show in fine style. The performance is delivered with both musicians sitting on chairs and whereas this may lend an intimacy to the proceedings if you are up close to the stage front, it sadly takes away from the enjoyment of the people further back in the packed audience. Also, John is not a talker and his circumspect approach to between-song banter doesn’t lend itself to building any momentum.

Faustina conjures up images of a life spent on the road and the story on Back and Forth looks at the tired dreams of a dancing girl who has seen better days. Borrowed Time is a highlight and the fine interplay between John and Tom has the audience duly impressed. A well chosen cover of the Sparklehorse song Hello Lord is included and the timely message hits home with its anti-war sentiment. A few new songs are introduced from a forthcoming album which is due for a May release, all going well, and if I have the titles correct; Far Station, Lookin’ For A Place To Die, Toll Booth, Start Over, and Steering Wheel Drums are all going to become firm favourites with the fan base over time. There is a hypnotic feel to the interplay once the musicians lock into a rhythm and I have images of both JJ Cale and Billy Joe Shaver in the playing and the singing.

Coming Down is a highlight this evening and John gets mixed up in the days as he tells the crowd about this latest tour run and how this is the final gig. The fog of life on the road cannot diminish the light that shines from this singer songwriter however and he is genuinely thankful for the healthy attendance tonight. “Take me as you find me” could well be his calling card, and it’s this persona that attracts so many to his creative muse. If you are not already a follower, then you should be. Until the next time, John.

A word for the excellent opening act tonight, Dublin’s own Kenan Flannery. He played a six-song set that was very well received and won him many new friends in the process.  Different Strokes is a song about falling in love with a lesbian and is full of humour, as was Kenan himself in the regular chats with the audience. He did a Luke Kelly song Come My Little Son and his vocal tone is not too far removed from the legendary balladeer. Other songs included Cobblestones, One Home, and a closing number that details the relationship of a willing victim with a dominatrix. His guitar prowess is impressive and he has a winning charm that had everyone singing along when beckoned. Well done, sir.

Review and photo by Paul McGee

Grant Lee Phillips @ Whelan’s, Dublin - 21st January 2026

As a regular visitor to Ireland over the years, Grant Lee Phillips has amassed quite a loyal following, and many of his admirers are gathered tonight in the capacity audience to pay homage to their champion. Armed with just a Gibson guitar, Grant-Lee makes a delayed entry onstage to warm applause, having just arrived into Dublin earlier in the day.

He plays a very generous set of twenty-one songs and remains seated throughout. This new touring dynamic is much to his liking and he remarks that for too many years he’s been working all wrong, and may just take the stool provided, away with him for future shows. He is also boasting a beard and remarks that this is a first; both bearded and seated as part of this short European tour.

Grant-Lee has a warm stage presence and the ability to take an audience with him on his journey of songs is so well honed at this stage of his career, that it’s a real joy to be witness to his easy manner and storytelling. If he’s not recalling a tour date at Whelan’s with Howe Gelb, he’s remembering a tale of writing a song upstairs at the venue while waiting to be called onstage for a previous gig. Tonight, his excellent vocals are front and centre with an impressive display of his guitar prowess and technique, as the extensive back-catalogue is opened up to include many memories throughout a storied career, either as part of Grant Lee Buffalo or as a solo artist.

Album number twelve was released in late 2025 and In the Hour Of Dust stands as a testament to the superbly crafted work that runs throughout the solo career of this prolific artist. Five songs are included from the new album with Little Men, She Knows Me (a tribute to his wife), Closer Tonight, Last Corner Of the Earth, and Did You Make It Through the Night OK?, all leaving a positive reaction to their performance; the latter song representing his Native American heritage (he’s a citizen of the Muskogee (Creek) Nation), and a translation of the greeting “Good Morning,” as there are no equivalent words in the Muskogee language.    

Die-hard fans of Grant Lee Buffalo are eager to sing along to old favourites taken from the band’s run of four albums over a six-year period in the 1990s, and Grant-Lee doesn’t disappoint with a total of nine old songs performed. Five are taken from the Mighty Joe Moon album from 1994, and the title track is accompanied by renditions of Mockingbirds, Honey Don’t Think, Happiness, and The Last Days Of Tecumseh – the shortest song Grant-Lee has written and one that honours a Shawnee Indian Chief.

The song Mona Lisa dates back to the Virginia Creeper album (2004) and this is played, along with  three choices from the Little Moon (2009) album, with Buried Treasure, Nightbirds, and It Ain’t the Same Old Cold War Harry all featured. A highlight was the inclusion of Loaded Gun and the superb rockabilly rhythm on guitar is augmented by Grant-Lee including a sample of Get Rhythm, a song that Johnny Cash originally wrote for Elvis. Ending the night in a sing-along with the appreciative audience, Grant-Lee played Fuzzy from the 1993 album of the same name, and the wide smiles displayed by everyone were proof positive of the special place that this consummate performer holds in the hearts of those who were fortunate to be part of this special evening.

Review and photo by Paul McGee

Kelsey Waldon and The Muleskinners supported by Ags Connolly @ Upstairs Whelan’s Dublin 20th January 2026

‘I’ve got my own way of walkin’, I’ve got my own way of talkin',’ sings Kelsey Waldon, the words taken from My Kin, the third last song from her show at Upstairs Whelan’s this evening. Waldon has also got her own way of singing with a glorious Kentucky-accented drawl. That song also speaks unapologetically of her proud Kentucky roots, where she grew up in the small town of Monkey’s Elbow, before heading to Nashville.  After dividing her time between waitressing, songwriting,performing and independently releasing three albums over a period of eight years, she was signed to John Prine’s OH BOY record label in 2019, the first artist to be signed to that label in eighteen years.

Waldon played this same venue solo in February 2020, her first trip outside the United States, and shortly before COVID struck.  If that show was sparsely attended, she plays to a packed room this evening. Joined by her crack five-piece band, The Muleskinners, a kickass honky tonk ninety-minute set follows. It’s the band’s first gig of 2026, but there is no sign of rustiness, unsurprisingly, as she recorded her new album, EVERY GHOST, with the same players apart from new recruit, drummer, Michael McLaughlin. The other band members are Junior Tutwiler on guitar, Erik Mendez on bass, Kelsey’s fellow Kentuckian and ace fiddler player Blakeley Burger, and her pedal steel player and fishing buddy Cooper Dickerson. As is common with many touring artists from America, Weldon initially appears taken aback by the audience’s silence between songs, until she realises it’s respectful rather than any lack of interest.  

EVERY GHOST, as Waldon explains, is a personal ‘look in the mirror’ collection of songs, all of which are performed this evening, as well as a selection from her back catalogue. She opens with the bluesy autobiographical Ghost Of Myself (‘I had to get tough so I could get wise, I’ve been a thousand women in my own time’), complete with a ripping pedal steel break. Her frankness is also at the heart of Lost In My Idlin’, where she recalls her drinking days, now a thing of the past (‘Happy new year, I’m scared to death, my ol’ demons, they give me no rest… Wishin’ I was fucked up in some honky tonk, where they let me play my music way up loud’). Written in the third person, Falling Down, one of many highlights this evening, also broaches addiction and its spiralling consequences.

Reared mostly by her grandmother, Tiger Lillies is a gorgeous tribute from Waldon to a woman whose resilience influenced her granddaughter. Family matters and the strength of character gifted by her grandmother also feature in Kentucky 1988. The latter, taken from her 2019 WHITE NOISE / WHITE LINES album, recalls difficult times in a sometimes-dysfunctional family environment.

The quality of the playing often cloaks the darkness of some of the song’s tales, and the spark between all band members is infectious. Burger’s whirling fiddle breaks play out like a ‘call and response’ to Dickerson’s pedal steel, and the guitar and bass playing by Tutwiler and Mendez is wonderful, as is the drumming of newcomer, McLaughlin.  Recalling her exposure to and love of the bluegrass music that surrounded her as a child, Waldon encourages a ripping, extended fiddle intro of Ricky Scaggs’ Uncle Pen by Burger, leading into Sweet Little Girl. More light-hearted songs performed include Comanche, in which Waldon remembers her trusty and beloved 1988 Jeep, and in a similar vein, Let It Lies, a ‘warts and all’ commentary of the joys and otherwise of a touring band.

She closes the set with two raucous songs, All By Myself and Ramblin’ Woman. Both of which accurately reflect an artist who has worked doggedly to build her career without ever deviating from ‘real’ country music, despite industry trends. Tonight’s show totally validates that progress. It’s not often these days that we get the opportunity to witness country artists with a full band in full fling and in smaller venues.

Appropriately, the opening slot is performed by one of the most traditional country artists in Europe and the ‘go to’ name for many visiting American acts, Ags Connolly. Introducing himself as hailing from ‘Oxfordshire, the home of country music,’ his booming baritone vocal, relaxed stage presence, and nuanced songs are the perfect warm-up act. Included in his set are I Hope You’re Unhappy Now, Nothin’ Unexpected, How About Now and the title song from his 2023 album, Siempre. The late Texan country singer James Hand was hugely influential in Connolly’s chosen career, resulting in his 2024 tribute album YOUR PAL SLIM: SONGS OF JAMES HAND, and I Saw James Hand, written by Connolly in 2014, also features in his thirty-minute set.

An experience to cherish, with many in the audience singing along to Waldon’s lyrics, the appreciation for genuine country music continues to grow in Dublin. Although a bigger venue may be the order of the day for Kelsey Waldon and The Muleskinners' next visit to Dublin.

Review and Photography by Declan Culliton

Emmylou Harris @ 3 Arena, Dublin 18th January 2026

Fifty years after Emmylou Harris and the Hot Band first played Dublin at the Carlton Cinema, tonight marks her final visit to Ireland as part of her Farewell European tour. Since 1976, she has performed in Dublin many times, selling out venues such as Bord Gáis Energy Theatre, The National Concert Hall, The Olympia Theatre, The National Stadium, and this venue when it was previously known as The Point. Outside the capital, she appeared at The Lisdoonvarna Music Festival and The Midlands Festival. Tonight’s performance equalled, if not surpassed, those memorable earlier shows.

After a warmly received welcome, she opens with Jesse Winchester’s My Songbird. Mid-song, her current five-piece ‘hot band’ join her. The band are regular Irish visitor Eamon McLoughlin on mandolin and fiddle; Chris Donohoe on bass; Phil Madiera on keys and accordion; drummer Brian Owens; and guitarist Kevin Key, who was only playing his second date with Emmylou.

From the outset, it’s clear that Emmylou, now approaching seventy-nine years old, has lost none of her distinctive vocal power. Throughout a twenty-three song setlist, she showcases both early career classics like Luxury Liner, originally performed with Gram Parsons, and newer material such as Michelangelo, introducing it humorously as ‘a new song, as it’s only a quarter of a century old.’

She pays tribute to her late friend and Nashville neighbour Nanci Griffith with Gulf Coast Highway, and to Steve Earle with Goodbye. Emmylou reveals her shift from folk to country was thanks to Gram Parsons, then performs country classics, Don Gibson’s Sweet Dreams (‘we only played this at soundcheck for the first time’) and George Jones’ One Of These Days (‘my mother's favourite country song’).

The song selections cover the full range of roots music she has recorded and performed over five decades, with bluegrass represented by Ralph Stanley’s Green Pastures and Bill Monroe and the Bluegrass Boys, Get Up John. She also delivers a stunning a cappella version of the traditional Appalachian gospel hymn Bright Morning Stars. Best known for covering other artists’ work, her alt-country leanings are characterised by Red Dirt Girl, one of eleven self-written songs from her album of the same name.

Other highlights are Wheels and Boulder to Birmingham, the latter written about the loss of her soul mate and guiding star, Gram Parsons, and Rose of Cimarron, the title track of Poco’s 1976 album. Two encores close the show, Pancho and Lefty ('I've been doing this song since 1976') and a rousing take on Chuck Berry's You Never Can Tell.

A bittersweet event insofar as it’s the final opportunity to witness the angelic vocals of Emmylou Harris on our shores. However, it’s a fitting and unforgettable experience from country music royalty, in such a great voice and in such buoyant form, supported by a collection of fine musicians.

Opening the evening’s entertainment is another regular visitor to our shores, Jim Lauderdale. Dressed in his customary dazzling ‘Nudie-type’ suit, Emmylou joins him on stage for the Gram Parsons-inspired King of Broken Hearts, written by Jim in honour of George Jones. His set also includes Hummingbird, his latest single, Artificial Intelligence, and Headed for the Hills, the latter one of his collaborations with the late Robert Hunter of Grateful Dead fame.

Review and photography by Declan Culliton

P.S: Many thanks to Jim Lauderdale, who, during his set, kindly named-checked us at Lonesome Highway, with particular mention for our founding members, the late and much-loved Sandy Harsch, and our team leader, Steve Rapid.

Amy Speace in Ireland:A Tale Of Two Cities @ Belfast and Derry, December 2025

It’s been just over a year since Amy Speace last visited Northern Ireland. Back in early November 2024, she was returning after a ten year absence and the public response in Derry was enough to tempt her back again, this time adding a date in Belfast as part of a short tour of England, Scotland, and Ireland.

Amy brings many gifts and her confident, personable manner translates into a stagecraft that is second to none. A very engaging performer and storyteller, Amy has a confidence and a glow about her when she plays and sings, a special quality that is impossible to replicate and not open to any hint of pretence. Her classically-trained voice is both rich and warm, and quite compelling in each of these intimate venues in which she played. When Amy stretches her vocal range the results are powerful, with her technique and tone impressively bright across both performances, each of which included close on twenty songs, across a very generous two-hour show. It’s just Amy, on electric and upright piano, together with her custom-made acoustic Collings (Texas) six-string guitar.

Her stories are so well delivered that you could almost imagine an alternate life as a comedienne, and Amy also recounts tales of her storied career, from her early days in NYC, deciding to forego a promising calling in theatre as a Shakesperean actor, building a fledgling career in a rough and tough music industry, to finally achieving a degree in poetry (Master Of Fine Arts), a professorship in creative writing, releasing a book of poetry, The Cardinals, becoming a mother at the age of fifty, and starting her own 'network of older moms' through her blog, Menopausal Mommy, where she documents her journey as an older mother.

Amy is a complex person, shaped to some degree with the life experiences of younger years that included addiction, a rape during her college years, the decision to have an abortion while living in NYC, divorce, bereavement, and foregoing lasting relationships in favour of a career that has taken her on numerous absorbing journeys and life experiences. There is definitely the dichotomy of the abiding hope and love that emanates from her music, together with past traumas, and the rage that can fester; the twin forces of depression and grief, revisiting relationships in the past, and trying to finish the never-ending jigsaw puzzle that represents a life lived.  Amy seeks connection in all things and dealing with a predatory world is something that she has negotiated her whole career as a professional musician and writer.

There is a new album just released, titled the BLUE ROCK SESSION, eleven songs played on acoustic guitar and recorded in just three hours at a songwriting residency in Wimberley, Texas. It’s very stripped back and includes reworkings of three older songs, together with eight new songs.  She includes a number of these in her changing set over the two different nights and also plays audience requests, dipping all the way back to her third solo album THE KILLER IN ME, from 2008. There is a sense of cathartic release, of music played almost as a form of therapy, and there can be no doubting what strength there is to be gained from vulnerability, the bravery to sing your truth in order to heal and move beyond.

The Belfast show was at the Crescent Arts Centre, close to Queens University, and the capacity audience gathered in the beautiful space to hear Amy play her superb songs, courtesy of a very impressive sound production on the evening. There were two sets, with the interval presenting a chance to purchase some music from the merch desk and to say hello to Amy. A cover version of the Nanci Griffith song It's a Hard Life (Wherever You Go) was included in the second set and the reference to Belfast in the lyrics not lost on the local crowd.

Amy also included a song Nebraska that has yet to be recorded, and it’s a tune that gives a female slant to counter the male perspective in the classic Springsteen song of the same name. She sang a very witty Christmas song that revolved around a pantomime at her son’s kinder garden school, and First United Methodist Day Care Christmas Show brought plenty of humour and gentle observation in the words. Another song that had the audience fully engaged was It’s Too Late To Call It A Night recounting tales of staying up all night and living life to the full in younger days.

The Derry gig was in St Augustine’s Church, believed to be the site of St Columba’s first monastery, and the sense of reverence was palpable on the evening. Amy again played songs from the new release in addition to relaying a whole new set of stories from her life experiences, with the congregation hanging on every word, all the small details leading to great anecdotes and life lessons learned. She admitted to not being too much of a religious person, rather more spiritual in her outlook, and she commented that the difference between the two was that “Religious people have a fear of Hell, whereas spiritual people have already been there.” Tonight, Amy included Grace Of God in the show, a personal favourite of mine, and one where the message fitted perfectly into the messages of hope and redemption that weave through so much of her music.   

Included in the highlights across both nights were wonderful performances of There Used To Be Horses Here; In New York City; Me and the Ghost Of Charlemagne; This February Day; Weight of the World; The American Dream, and The Sea and the Shore. The encore songs included Hymn For the Crossing a co-write with Ben Glover, and he was born in Country Antrim before making a career move to Nashville.  Amy finished both nights with another of his songs, titled Kindness, and the words express the perfect sentiment to bring proceedings to a close.

‘May you know goodness, May you know peace, May you know contentment, May you be at ease, May the road before you, Be soft beneath your feet, More than all, May this be true, May you know kindness, May kindness know you.’

Amy Speace is a superbly gifted artist who runs with the wolves. Her creative muse seeks out a universal truth and a leaning for the vagabond life of a gypsy soul. Seek out her music and you too can join the ranks of the converted.

A word for the support act who played in Derry. Singer songwriter Aidan Laird is from Donegal and his five songs were quietly strummed as he captured the essence of the surroundings. He is a gentle soul, speaking of his battle with addiction in younger years and the price paid for his over-indulgence. He has a talent for a simple approach in his songs and included were Monsters In Frocks (abuse in the Catholic church), Little Light, I Wrote This Song For You, and he certainly left a favourable impression on the audience.

Review and photos by Paul McGee

Martyn Joseph @ Whelan’s, Dublin – 26th November 2025

Wales and Ireland share a similar cultural heritage and the Celtic traditions also stretch to the tale that St. Patrick was indeed Welsh illustrates the bond shared between our nations in language, stories, songs and music. Martyn Joseph was born in Penarth, Wales, and it has been more years than he cares to remember since he last played a live show in Ireland. He recounts tales of the old Point Depot in the docklands and support slots with headliners such as Chris De Burgh.

He has also shared the stage with Marc Cohn, Joan Armatrading, Art Garfunkel, Janis Ian, and Suzanne Vega, among many others. He tells a story of touring with Shirley Bassey and leaving after a short number of shows over what was referred to as "rather obvious artistic differences." This was a time when his star was rising in terms of mass media appeal. Having achieved Top 40 chart success during the 1990s, the changing tides saw Martyn develop his own record label and look to the burgeoning internet as a way to support his journey through the many winding roads that is the music business.

It has been a few years since his latest releases appeared on my radar and I have fond memories of his talent dating back to when he was establishing his talents on the early albums. So, it was a pleasant surprise to learn of this gig in Whelan’s on a quiet Wednesday night, with the lead up to Christmas festivities already in the air. There seems to have been a lack of publicity surrounding the gig and the ticket price may have discouraged a few folks from deciding to take the opportunity of seeing a singer-songwriter of undoubted charisma and skill.

My decision to purchase a late ticket for the event was well judged and it was an absolute pleasure to witness this talented artist in such close surroundings. In a career spanning over 40 years, 27 studio albums, over a half a million record sales, and thousands of live performances, there can be no doubting the quality of this songsmith, foraging real emotion and feeling from songs that touch upon so much of what makes us human and connected in this fragile world.

Martyn performed a stirring set across many songs taken from his album catalogue, in addition to playing requests from a very attentive and enthusiastic audience at Whelan’s. He sings passionately about injustice, inequity, the social morass of today, corruption, both moral and political, and the abuse of the innocent and vulnerable in these troubled times. He is a champion for protest, and for what should be the better part of our humanism, and he speaks so eloquently regarding the baggage that we are passing down to our children and their generation, who are full of a steely determinism not to repeat the mistakes of their elders. Martyn writes songs from the heart and the head, never backing away from the tough questions and asking that we hold a mirror up to our own internal compasses that guide the way in which we negotiate our daily lives.

Spirited performances of songs like Here Come the Young, Please Sir, and In A World That Breaks Your Heart speak to the questions that occupy a sentient mind in the search for better days, his guitar prowess always enhancing the dynamic, and the use of effects pedals and a percussion block rounding out the immersive sound with great craft and skill. This man certainly is at one with his Lowden guitar, as befits such a close companion through all the ups and downs of a storied career.

Last Night I Heard America is a new song and imbued with great power in the delivery and in the lyrics that call to mind better days when a great nation was not victim of its own division and uncertainty. There are a number of sing-along moments across the setlist where the enthusiastic audience join on choruses that lift the overall experience to greater heights. This Light Is Ours is a particularly memorable moment with the chorus refrain ‘This light will shine on all of us, Not just for the few, Take me where the grass grows green, And I’ll walk another mile with you.’

Never underestimate the power of a harmonica to augment a rhythmic reverie, and Martyn even slips into a Dylan impersonation as part of the delivery.

Things That We Have Carried Here and I Searched For You are other moments of deep resonance and with both his trusty Lowden and a beautiful Takamine 12-string guitar as the weapons of choice, in true Woody Guthrie style, Martyn carries the audience on a wave of righteous anger and railing against any system that conspires to keep us compliant. Can’t Breathe is a real highlight tonight and the intensity of the performance is riveting in the delivery, with passionate vocals and sincere in every way. A personal request from a couple who travelled from Cork is played and the poignant story behind Chapel Porth Beach is one that elicits spontaneous applause from the audience at its outcome.

Dolphins Make Me Cry is another classic in the repertoire and the poignancy of the lyric resonates ‘Did you ever touch the loneliness of a broken man? did you see a starving child die? do we really do these things to one another? do you see why... Dolphins make me cry.’ Another song in the encore is Driving Her Back To London and an insight into a father-daughter relationship, the sweet pride of watching your child grow into a fully formed adult and the difficulty of letting go… it’s a wonderful song, and a perfect testament to the songcraft thar Martyn Joseph brings to his music. It was a special gig and one that I hope will be repeated with a return visit into next year.

Review and photo by Paul McGee

Michael McGovern @ Little Whelan’s, Dublin - 16th November 2025

Returning to Ireland after a scheduled September tour was postponed due to illness, Michael McGovern finds himself among plenty of admirers in the capacity crowd at Little Whelan’s tonight. It’s a very intimate venue, perfect for singer-songwriter nights like this, and the enthusiastic audience are right behind this Scottish contemporary Folk artist from the first chords of Sleep, Sleep, Sleeping, a song taken from his debut album, HIGHLAND SUITE (2021).

That album brough Michael to greater media attention beyond his native Glasgow and the momentum of his career has been steadily building ever since. There is a real warmth in the sweet vocal tone as he delivers his songs, on a borrowed guitar (a tale that he didn’t fully expand upon). He includes a further three songs from the debut album in his set, but focus is mainly on new material, and the recent release of THIN WHITE ROAD. Seven of the tracks on the new album are given an airing and in this acoustic setting, the stripped-down sound is very suited to the listening experience. Despite the absence of any embellishments from other musicians employed on the new album, McGovern does a fine job of filling out the song arrangements, whether by use of his engaging personality, his random story-telling, urging sing-alongs from the room, or his fine vocal range, which includes impressive falsetto leanings.

However, it’s the fluid finger-style guitar technique of McGovern that is most absorbing, and the easy flow of melody and rhythm that comes together in a seamless union. The title track of the new album is particularly memorable and In The Garden is a gently delivered song that captures the poignancy of lost love ‘If there were signs, I never saw them, Life appeared before my eyes, But I was glad that you met me, If only just to say goodbye.’ Proof, if needed, of the quality this songsmith possesses.

A recent gig in Sligo resulted in Michael getting to play music with Zoe Basha, a very talented American musician now living in Dublin, and she appears onstage for a fine rendition of the Hank Williams classic, Cold Cold Heart, the dual vocal working really well. Zoe has a debut album out this year, titled Gamble, and it’s very enjoyable - worthy of your attention. It's very much a rewarding evening for all, and highlights include The Will and the popular social media-hit, Evelyn. Another song is Ode To Laurie which is written in tribute to the English poet, writer, and screenwriter Laurie Lee.  Another song is The Death Of Ann Miller and she was an American actress and dancer from the 1940s and 50s, acknowledged as one of the greatest actors never to have received an Academy Award nomination.

The story song Harbour tells of the life of an orphan girl who survives by any means possible, including prostitution and murder, and I’m Not Myself Today (Take Me Back) is also included from the debut album, together with Isle Of May which references a small island near the Firth of Forth in Scotland. Michael finishes his set with the excellent Billy Connolly song Glasgow which is dedicated to his grandfather and performed with a poignancy and reverence. In the best Celtic tradition, Michael McGovern proved tonight that "Whit's fur ye'll no go by ye!" A fine performance from start to finish.

Special mention for the opening act, Clodagh Rose, who was accompanied on understated guitar by Taylor Bailey. She performed with a confidence that shone through in her impressive vocal range and her songs included Learning To Live (‘Walking that tightrope from child to adult’), Could Be Good (the heartbreak of illusions shattered), Marie (a song for her grandmother), Tears To Shed (which would sound even more potent with a slower tempo), a lovely Irish song Mo Ghrá Geal and the words ‘ Mo Ghrá, Tá mo chroí briste’ (My love, My heart is broken).

Covers include So Easy To Fall In Love  by Olivia Dean, and an impressive rendition of the Leonard Cohen classic So Long, Marianne. A highlight is the superb Proclaiming Every Scar, a song that references depression and mental health issues, and Clodagh’s heart-felt comments for those in need of assistance to reach out to a friend is met by real, spontaneous applause. A very enjoyable set and this Irish artist created a very positive reaction.

Review and photo by Paul McGee

Emily Scott Robinson @ Whelan’s, Dublin – 24th October 2025

This is such a welcome return to Dublin for the sublime talents of a singer songwriter who has seen her career continue to build real momentum since signing to Oh Boy Records back in 2021. Emily has a special gift of insight and observation when it comes to mirroring the human condition, with her songs of empathy and redemption find a natural home with the sensibilities of Irish audiences.

The storytelling tradition runs deep in the DNA of the Irish heritage, and Emily plugs directly into this rich vein in her songs, with quite a few of the capacity crowd looking to quietly dab at tearful eyes as her words find their mark in the sentiments and emotions that are stirred. Playing an impressive solo set with just acoustic guitar, Emily selects songs from her past catalogue, in addition to debuting new songs from her forthcoming release which is due early next year.

The album that brought Emily to greater media attention was AMERICAN SIREN released in 2021. Tonight she includes four songs from this album with Cheap Seats opening the show, followed by performances of Old Gods, Things You Learn the Hard Way, and If Trouble Comes A Lookin’ featured in her set. The fact that the audience can sing along to a lot of the lyrics is proof positive of the growing influence that Emily’s music is having across her increasing fan base. The message in her songs is often one of not giving up, and growing from the mistakes made, highlighted by the words ‘Things you learn the hard way, Some lessons you can't teach, Until you're livin' through 'em, The wisdom's out of reach.’ Amen sister, we have all walked this road!

She introduces new songs from her forthcoming release with the title track Appalachia written in the aftermath of Hurricane Helene that swept through her home state of Carolina in 2024. Cast Iron Heart is a song that talks of second chances in love and the lines ‘People say we’re past our prime, I say we got here just in time’ resonating, bringing knowing smiles and quiet nods from the room. Time Traveller speaks of the onset of dementia, and how returning to an almost childlike state can be almost a comfort in old age. Another new song is Bless It All and it looks at being thankful for all the little things in life that make the colours brighter. These new songs leave a strong indication of the quality of material that continues to be finely honed and tuned to impressive heights.

The upcoming Halloween weekend is celebrated on Double Double, a song that appeared on a six-track EP from 2022 which was written for a performance of Macbeth, with the chorus ‘Double, double toil and trouble, Fire burn and cauldron bubble’ inviting the inevitable audience sing-along. The Time For Flowers was released in 2020, and it is the song that initially brought Emily to the attention of Jody Whelan of Oh Boy Records. Tonight it closes the show and although it was written during the Covid crisis as a prayer of comfort in challenging times, it equally applies to the present day and the troubled state of our fragile planet in terms of ongoing wars and environmental issues. Emily is presented with a bouquet of flowers after the song by two fans from the audience who are air hostesses with United Airlines, and who flew Emily (and her guitar) to Dublin to start her European tour – they stayed overnight to catch the show!

Her songs are all about community and connection, and this moment is testament to that, the song lyrics reflecting ‘It's time to fix what's broken, all the willing and the able, And when our honest work is done, we'll gather at this table, We'll hold each other's babies and pour each other's wine, And promise to remember that your fate's bound up in mine.’

The album TRAVELING MERCIES from 2019 is also featured with performances of the superb songs Westward Bound and Better With Time, and Emily also invites support act Seán Joyce to sing with her on a song he wrote If My Pockets Were Deep, a very gracious gesture on her part and a recognition of his talent. A request from a fan received via social media is played and the song Overalls is a poignant look at the dignity of facing our mortality with acceptance and grace ‘So raise a glass to my good long life, Don't dress in black, Don't let me see you cry, I'm not afraid, I'm just headed home, And it's time to let me go.’ As the song concludes, a lady from the audience approaches the stage and embraces Emily in a very special moment; clearly the person who had requested the song that meant a great deal to her. Yes, it was just one of those nights. Love was in the room and the rich applause that Emily received came with a promise to return in the near future, at which point I have no doubt that she will be enjoying the continued success of her blossoming career.

A word for the excellent support act tonight. Singer songwriter Seán Joyce hails from Ballinlough and he performed confidently on acoustic guitar, with his vocal delivery at times reminiscent of a young David Gray. He played a number of songs from his debut EP including Always Will, I’ll Stop Now, the impressive Bulletproof, Useless, and an excellent new song My Fathers Voice. Heartfelt and coming from a personal space, definitely a talent to watch.

Review by Paul McGee Photograph by Enya Özçelik