Tom Petty and The Heartbreakers live @ the 02 June 7th 2012

A packed O2 Theatre welcomed Tom Petty and The Heartbreakers with a great cheer as the band launched straight into Listen To Her Heart. The excitment spread through those standing on the ground level, as well as to those seated in the balconies. All were treated to what amounted to a greatest hits set along with a couple of tracks from their current Mojo album and the odd surprise. The main one being a full-on version of Fleetwood Mac's Peter Green's Oh Well, done to perfection with the heavy riff well to the fore.The Traveling Wilbury's Handle With Care was another welcome choice. The amount of guitars on display was dizzying Mike Campbell didn't use the same guitar twice until eight songs into the set, and they even did one with matching Gibson Firebirds! By the third number in the crowd were singing along with songs like Don't Back Down. Here Comes My Girl, Yer So Bad, Learning To Fly, Runnin' Down A Dream and others all went over well. Petty told the audience that it had been too long since the band's last visit and how happy he was to be in Dublin. He mentioned that the previous day, while walking around, he had met some Spamish fans which led the crowd to burst into a sponteneous sing along of Ole, Ole, Ole which seemed to baffle, not understandably, both Petty and Campbell. So after a moment of confusion it was "back to the show" and they carried on with Free Falling and a extended guitar workout on It's Good To Be King with Petty, Campbell and Scott Thurston all on guitars. There were also slower songs, like Something Good Coming, that featured both Petty and Campbell on acoustic guitars. There was a balance between the hard and heavy, the immediatly catchy chart hits and the slower acoustic songs that all worked well. That the core of this band has been together for thirty years shows in the ease and skill that they deliver these songs. The rhythm section of the man Petty called "my favourite drummer" and like "standing in front of a freight train" Steve Ferrone and bassist Ron Blair anchored and drove the sound. While Thurston added guitar, harmonica, keyboards and harmony vocals. Heartbreaker mainstay Benmount Tench was a keyboard master who added colour and depth to the sound. Mike Campbell again reaffirmed his outstanding talent as lead guitarist. These guys didn't seem to be going through the motions and they were enjoying themselves and fed off the audience's response which was with them from the word go. It was a wide-ranging age group, though it weighed heavily toward the 40plus end of the spectrum. They called the band back for an encore of Mary Jane's Last Dance, and American Girl and then everyone went home on a high note.

Review and above stage-screen photo by Stephen Rapid

Johanna Divine live@Odessa Club - Fri 18th May

 

Making her second appearance in Dublin, she previously supported her friend Sarah Savoy, Johanna Divine proves herself, again, an entertaining performer. She is accompanied on this occasion by electric guitarist Mo O'Connor, a talented player, though the lack of rehearsal time is apparent during the gig as there is a slight out-of-sync feel on occasion. However that doesn't take away from the general feel and the attraction of Ms Divine's voice. She shows her knowledge of roots genre when she mixes some classic cover songs such as Junior Parker's Mystery Train, Elizabeth Cotton's Freight Train, Woody Guthrie's Do Re Mi and the Bob Wills recorded Blues For Dixie.This is a good way to get an understanding audience on your side and shows Divine can handle these disparate songs well as she also does with the varied moods of her own material which again underlines her skill as a vocalist. She accompanied herself on her electrified Gibson, along with O'Connor's electric guitars, on material from her debut Mile-High Rodeo and her forthcoming album Electric Tide. These included Lone Ranger, Lulu Saint Maire - relating to the song she told us that in her home town people dance and drink a lot, but here in the Odessa Club there was a portion of the latter but non of the former. She took a break and was joined then for the show's close by members of Prison Love on full on versions of her song Beelinin' and for a spirited, shared vocal rendition of I Saw The Light. Prison Love who opened the evening have been working as a five piece band for some time and their blend of cajun, bluegrass and old-time music is a crowd pleaser. Although the set consists of covers they are well chosen and include songs recorded by Iry LeJeune, Flatt and Scruggs. Rock Island Line,  popularized by Leadbelly was typical and showed that these boys enjoy what they do, but they may need to add some original songs to progress further. Overall an enjoyable evening that arguers well for future appearances.

Review by Stephen Rapid. Photographs by Ronnie Norton

Woody Pines @ The Seamus Ennis Centre, Naul - 27th April 2012

 

On a cold Saturday night the quartet played the welcoming ambience of the Seamus Ennis Centre, their first visit to the venue as part of an extensive European but short Irish tour. They exuded both musical skill and a good humour that went down well with an audience who were equally new to the band's charms, but both sides of the stage had some fun and called the band back for an encore at the end of the show. Leader Woody Pines led the band with powerful lead vocals and resonator and electric arch-top guitar. He is joined by long-time companion Zack Pozebanchuk on doghouse bass, Mike Gray on the very effective rhythms with thimbled fingers that he drew from his neck-hung washboard as well as some telling banjo playing. The final weapon in their armoury is guitarist and clarinettist Lyon Graulty. This current line-up is the one that recorded the e.p. You Gotta Roll from which, along with their previous album Counting Alligators, they drew a selection of the songs featured in their two part set as well as earlier songs and other covers. Both recordings get the general ambience of what the band offer which they themselves describe as "viper jazz, ragtime and country blues". The main difference between their rewarding recordings is the spontaneity they have live where Graulty's distinctive clarinet is more of a feature which immediately links their sound to an earlier era and adds that jazzier emphasis. Something that has always been a part of their overall sound but is further highlighted by Graulty's contribution. He is also a interesting and arresting electric guitarist who uses a selection of self-made pedals that enhance his sound which covers some Travis County picking, lap steel-styled slide guitar, organ sounds and rockin' blues riffs. This band line-up's next recorded outing should be special. Their live set draws from new and traditional songs such as Satisfied, Rich Gal, Poor Gal for the latter which sit easily alongside Pines originals like Crazy-Eyed Woman and Counting Alligators. Between songs Pines connected with the audience with his introductions and explanations of the band's lifestyle and song choices. A hard working band he recounted that they spend a lot of time driving to gigs and on the road, doing 248 dates last year. They are road warriors and that shows in the tightness of the band. A cover of Hank Williams' Ramblin' Man reflects this ongoing traveling and their love of the music from earlier eras. A part of this is the fact that they travel so much is that they listen to a lot of radio. Pines relates of hearing a particular song that struck, they had tried to catch the chords but didn't quite get them or hear the song title so they ended up writing a song of their own based on the part-heard song. At the end of the show they got the audience to sing-along to the refrains of "I'll see you in the morning if I live, I'll see you in the morning I don't get killed". The audience singing out the last part of the line after the band had sung the aforementioned lines. It ended the show on a high and Woody Pines, the band and the singer, had made a lot of new friends.

Live review by Stephen Rapid. Photograph by Ronnie Norton

CMA songwriters session@ Whelans - 23rd Feb. 2012

The CMA (Country Music Assocation) was back to Dublin for another of its outreach events. In the past they have brought in (then) upcoming acts like Jace Everett, Julie Roberts and Dierks Bentley as well as holding their AGM meeting in Dublin in 1995. This time out it was a trio of songwriters, Bill Anderson, Clint Black and Bob DiPiero, who were here to play some of the many songs they had written and to expand on them with stories about how they were written or about their own lives and times. This was as much about the repartee as it was about the music. To some it was an odd paring in that both DiPiero and Bill Anderson are predominantly songwriters although Anderson has had a lengthy career as an recording artist in his own right. Clint Black, who emerged at the same time as Garth Brooks and Alan Jackson, has not released an album of new material in some time and is not really known as a writer for other artists. But in the end the balance worked and the audience were enthralled.

Black arrived on stage a little later than the others as he had picked up a flu virus along the way and was trying to give his voice as much chance to recover as possible. This gave him time to show his skills as a guitarist and harmonica player. He impressed on both and played on songs by both the other participants. Anderson commented that "my guitar doesn't have all the notes on it that yours does" in recognition of his dexterity. He was particularly poignant on harmonica on a couple of Anderson's classic country songs. Anderson was indeed the most obviously "classic country" of the trio and he played a selection of songs from his "deep" catalogue. These ranged from Five Little Fingers, a song that was a hit here in Ireland by Frankie McBride, from his early years through to Whiskey Lullaby, a CMA song of the year in 2005, though it was written years earlier by Anderson and Jon Randall, it was eventually recorded as a duet by Brad Paisley and Alison Krauss. DiPiero acted as MC and called on the other two sing or to tell a particular story. They took it it in turns to deliver the songs and tell tales and, as is befitting a veteran artist we are unlikely to see playing live again Bill Anderson was granted a couple of extra choices. DiPiero told us that Bob Dylan had been asked in the documentary Don't Look Back which songwriter he most respected and he had named Bill Anderson. That's some respect.

For a man in his 75th year Bill Anderson has an uncanny memory of his songs and lyrics and has a gentle humour and is still in good enough voice to give life to his songs. These included Po' Folks, Still and the Ken Dodd covered Happiness and a song he opened his selection with titled The Songwriters which pretty much summed up the vocation with humour and insight. Anderson told us about touring in Ireland back in the day with Loretta Lynn and he remembered the review he had received from one disgruntled critic who was non-too-partial to his mid-song recitations. The reference to their sentimentality he said had the effect of tour mate Conway Twitty referring to him as "Hallmark" for the rest of the tour. Another story he told was of a couple who were watching television in bed and the husband had the controller and was constantly flicking channels between and x-rated show and a fishing channel. This exasperated his wife who told him to "stick with one channel or other". "Which one" the husband said, to which his wife replied the x-rated one as "you already know how to fish"! He played us a more contemporary song called Give It Away that he had written with Buddy Cannon and Jamie Johnson that was build around an explanation of the title that Johnson had said was a drawn from the experience of going through a divorce. At a later award ceremony Johnson had thanked his wife for divorcing as he had gotten this song from it.

Bob DiPiero's songs have been covered by a wide range of country artists but in person he delivers them more in rockin' acoustic mode. His first cut was by, then newcomer, Reba McIntire. He explained how when he got the cheque he went out and spent it only to realize after that he had not kept anything back for tax. Writing about theis experience gave him the song American Made, which was covered by The Oak Ridge Boys, and also the title of his current solo album. He also told how the experience of watching Forrest Gump had inspired him to write Blue Clear Sky and hiw he had to defend it's title with the artist who recorded it, George Strait, from changing it to Clear Blue Sky. He stuck to his guns and it stuck to the top of the charts. 

Clint Black, had a more caustic wit that he aimed at his fellow artists and the audience on occasion. He told us how his song Code Of The West was inspired by those in uniform who put themselves in harm's way, such as those in the military or the fire service. Black told us he was raised a Catholic and his middle name was Patrick and how, as a kid, he had kept snakes but had lost a poisoned one in the house but it had turned up, dead, in the washing machine. He got a great response from the audience for his 1989 hit A Better Man, his first single. Black had been requested, via Facebook, to play the song A Bad Goodbye. This he put off till later in the show when he felt his voice was warmed up enough to tackle it. He told us how he had got Wynonna Judd to sing on the recorded version but tonight maybe Bob would fill in. Bob declined to, so he started to sing it solo when the lady who had requested it was heard singing along in the audience. Her name we discovered was Michelle and he brought her up on stage where she, despite her nervousness, delivered it well and it was one of the evening's magic moments. 

The evening closed with the trio delivering a rousing version of Will The Circle Be Unbroken with the entire audience singing along and a standing ovation for three individualistic personalities who showed some insight into their skills as songwriters and singers as well as communicators. It was a master class in how the art of good songwriting can cross boundaries and decades to connect with a sympathetic audience.

Review by Stephen Rapid. Photograph by Ronnie Norton

TransAtlantic Sessions @ National Concert Hall Tues 7 Feb 2012

 

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

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

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

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

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

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

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

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

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

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

Brad Paisley @ The Olympia Theatre, Dublin 19 August 2011

Brad Paisley onstage with Darius Rucker (inset) using a local beverage bottle to good advantage.

If there was ever any doubt that a healthy market for Nashville’s country music existed in Dublin it would have been blasted out of existence Friday night. It was a first come, first served downstairs-standing-up gig and the crowd was queuing neatly for 150 metres down Dame Street at twenty past five. And the doors didn’t open until 7.

I can’t say much about the Darius Rucker gig as I was stuck backstage for most of it, but from what I did hear he was in amazing voice, had a tight band – he’s far too experienced for anything else – sang some of his hits and the crowd loved his show. And it couldn’t happen to a nicer guy – he’s a sweetheart with a fabulous voice and is a great songwriter who loves what he does.

Brad Paisley was instantly at home with the crowd and if they loved Darius Rucker, they adored Brad, singing along with every word of every song. He played for roughly 2 hours with two acoustic solo numbers to break up the almost overwhelming power and sound of the band. The solo numbers were Whiskey Lullaby and When I get Where I’m Going To and showcased his acoustic playing and voice.  Brad is known for his amazing guitar playing and his reputation was thoroughly burnished, not tarnished by the gig. It’s true: he is a spectacular guitarist and in regard to his other talents, songwriting and singing he fully deserves his CMA Entertainer of the Year title. The band are versatile and very, very good, particularly Kendal Marcy on keyboards and banjo and the flamboyant Ben Sesar on drums, although to be fair, the steel player (Randle Currie) sounded great when we heard him, but the sound varied from place to place.

Working on a Tan was dedicated to a sun-starved Ireland – and we need it! Other highlights were  This is Country Music, title track to Paisley’s most recent album, Celebrity , I’m Still a Guy, I’m Gonna Miss Her (aka The Fishing Song), and the night’s climax was a full stage – crew and Darius Rucker included – rave up of Alcohol.

Enterprising promoters take note: the audience is there, even in these parlous economic times we have the time and the money for good music – just bring it in and we’ll be there.

Review by Sandy Harsch. Photography by Ronnie Norton

Brian Setzer Rockabilly Riot Vicar St. Dublin 27th July 2011

Still walking the walk, Brian Setzer joins his upright bassist and drummer onstage in his stylish rockabilly threads and they proceed to rock the town with a set of uptempo workouts that see cohorts Noah Levy on drums and Johhny Hatton provide a solid foundation for Setzer to display his undoubted prowess as a guitarist of the highest calibre of Gretch rockin' twang. Songs for that segment of the show included '49 Mercury Blues, Drive Like Lightening, Crash Like Thunder and This Cat's On A Hot Tin Roof. He then slowed things down with Slow Down. They band were also joined by pianist and acoustic guitarist Kevin McKendree who played some fine Jerry Lee style keyboard skills. Setzer understanding of pacing allowed things to build in an organic, if fairly frantic pace. He did a nice segue into a countryish Folsom Prison Blues early into the set. It should also be noted that Setzer is a strong vocalist able to handle the different tempos and styles with ease. The initial rhythm section then left the stage to be replaced by original Stray Cat drummer, singer and all round showman Slim Jim Phantom and a second double bassist Chris D'Rozario. Phantom's kit was a stripped down snare and cymbals set up. The bass drum providing a platform for Slim Jim to stand on rather than being used as an actual rhythm instrument. None the less this partial Stray Cats reunion was much loved by fans and Phantom and Setzer seemed to enjoy playing off each other. Old favourites were played including the theme song Stray Cat Strut. Phantom enthusiastic playing saw the destruction of one snare skin along the way. Johnny Hatton then rejoined the stage and the two double bassist began a slap string showdown and some gymnastic displays with the instruments which then led to Setzer joining them with his own silver sprayed double bass and the trio then worked together in harmony and competition. The Rockabilly Riot tour undoubtably is as much a spectacle of skill and showmanship as it is pure rockabilly. But that doesn't detract from the general audience enjoyment who were obviously delighted to see these guys up on stage together. An extended Fishnet Stockings was soon followed by an encore which included all band members on stage for a fitting. They did and we smiled.

Double Feature. John Mellencamp @ Grand Canal Theatre 28 June 2011

The show started early with Kurt and Ian Markus' gritty and attractive documentary It's About You, shot in hand-held style on grainy Super 8mm film it follows Mellencamp around the States, touring and recording his last album with T-Bone Burnett. It's insightful and visually arresting but perhaps a little long for some of the audience whose attention drifted towards the bar. The show itself, a 22 song set, which ran for almost two hours opened with the sentient voice of Johnny Cash before the curtains opened to reveal three guitarists with electric guitars and a drummer playing a stripped down kit of snare and standing tom and an acoustic bass guitar. The played with a concise power against a theatre backdrop of ancient ruins, which seemed somehow appropriate given that Mellencamp music draws from a deep well of old American music forms.

Mellencamp played a choice of songs that came from various points in his career. He started with Authority Song and closed with R.O.C.K. In The U.S.A. Though he told the audience that he "didn't like to look back" he included a fair number of his better known career songs alongside some more recent songs. He did make the point that he had been asked by a fan on the Dublin's street to play Cherry Bomb and said that while he doesn't normally "do requests" this request was asked for so sincerely that he played it solo acoustically. He open with the full band which had expanded, after a couple of songs, to include violinist Miriam Sturm as well as keyboards and accordion player Troye Kinnett. They are all musicians who have played with Mellencamp previously, some are long time veterans like guitarists Mike Wanchic and Andy York who, with the dynamic rhythm section of John Gunnell and Dane Clark, are the perfect band to deliver Mellencamp's memorable songs in a cohesive, powerful set.

It was nine songs in before Mellencamp spoke to the audience. He thanked us for coming and then played an acoustic set that included Save Some Time To Dream which he said was some advice his father had given him. He also remarked about the young dangerous looking young men he saw in his travels but that the grey haired person sitting beside was probably a more dangerous prospect. At 60 Mellencamp is still looks pretty dangerous himself and he gives a sterling performance which is much appreciated by the very supportive audience, most of whom would undoubtably be long time fans judging from the response.

Mellencamp is very much his own man and records and plays his music exactly the way he wants too. He balances the acoustic songs, which often started solo then had the accordion and violin join him, which added to the power of the subtly of those song as against the full force rocking roots anthems. He included favourites Jack And Diane, Paper In Fire, Pink Houses, Walk Tall and Small Town. Songs that sit seamlessly alongside more recent songs like The West End, No One Cares About Me and  , a song that he told us was a true story about a night out with his son that ended with a fight. 

Though some still regard Mellencamp as standing in Bruce Springsteen's shadow, this night proved that Mellencamp is very much his own man with the charisma, songs, voice and band to deliver a memorable live experience that satisfied on many levels.

Review by Stephen Rapid, Photography of off-screen image and live photograph by Karl Tsigdinos

Emmylou Harris @ The Grand Canal Theatre - 28 May

Emmylou Harris is one of those artists. She came to my attention first as a backing vocalist years ago & then through her more recent solo work, namely the stunning Wrecking Ball record produced by atmospheric master Danny Lanois.

She has guested on what must now be over hundreds of records, many of those classics. Her ethereal, textured & unique backing vocals, I would often say, make a track. Her vocal passion, depth & originality cannot be matched - on record. She has worked with artists ranging from Patty Griffin, to Neil Young, to Daniel Lanois, to Midnight Oil to Gram Parsons. A few years back she made a stunning record with Mark Knopfler which many including myself, hold in high regard. For those achievements alone & as a backing artist she is rightly considered a legend in the country music scene.

This was the first time I had seen Harris live & I was hugely excited.

Harris walked on stage to an almighty cheer from the crowd. Despite this warmth she started off in shaky fashion. Perhaps it was the first show of the tour? It doesn't seem so. She didn't do credit to her well known recorded version (or Gillian Welch's original version) of Orphan Girl. Part of her vocal charm is her textured & liberal approach to melody but really this was not good vocal form. Her voice felt ropey & to anyone with even a hint of a trained musical ear, she was clearly not close to making many of the higher & lower notes.

As things moved on, Harris clearly felt more comfortable onstage singing her own songs from track 3 onwards. Her band were putting in a fine performance but they lacked a leader despite a stunning effort from her drummer who played with a lovely feel & solid metronomic attention to tempo. Perhaps they were under-rehearsed?

Things stooped a little lower when she admitted to the audience that her fret marker stickers on her guitar neck were missing as she'd had to change guitars due to technical difficulties. This meant she didn't know how to play the upcoming tune & left a very difficult silence for a number of minutes until she worked through the tune onstage prior to performing it. Always a vibe killer.

Later in the show she hit something of a stride especially with some of the newer songs she's written. Performing her own finely crafted tunes was indeed her strength on this night. As a writer she started late in her career but it's obvious a large part of her talent lies in writing & adding that extra sparkle to other artist's performances. There's something to be said for some artists having either a live or a studio voice.

I'd say that some are born to be lead singers & others are born to remain a support to those lead singers. Unfortunately to my mind Harris belongs in the latter category & although the entire crowd seemed to go wild for the performance, the show lacked direction & vibe.

The show very clearly tapped into the nostalgia revival going on these days with the likes of reunion tours & 3rd time reissues of classic records judging by the age group of the audience in attendance.

It's worth saying that the majority of the audience seemed to go wild for the show calling for an encore from Harris & her band The Red Dirt Boys. Unfortunately for this reviewer I seem to have been at a different gig from the one the audience around me were attending.

I will perhaps be shot down for writing an honest review of this show, but Emmylou, we expected better. I'm really grateful to have seen this legend in concert but for me I'll always enjoy her tweaked & produced records & backing vocal appearances far more than seeing her in concert as a lead artist.

I'd say her new record with some class production will be a stunner though. 'Hard Bargain' (produced by the wonderfully talented Jay Joyce) is available now from Harris' Official Website & you can listen to the album for free on Groove Shark here (listening to selections now it sounds pretty special).     

Review by James Cooper.

Photo by Ronnie Norton.

The Secret Sister @ Academy 2 - Wednesday 18th May

Greeting the audience with a cheery "how is everybody" the Secret Sisters charmed the small but enthusiastic audience. This suggests that sisters Laura and Lydia Rogers may not be such a secret for too much longer. Both Sisters play rudimentary guitar, though Lydia tells us that her sister is better at it (and Lydia agreed) and that she has never really got betteras a guitarist. But the truth their playing works in context and really it's their voices that everyone is here to hear. Both sing lead on different songs with Laura generally singing lead on the self-composed songs. They also included several other songs from their self-titled debut album including Why Baby Why and the traditional Do You Love An Apple. Noting the comparison that has been made between themselves and the Everly Brothers the delivered a striking Devoted To You, which included two fluffed lines from Lydia much to the amusement of Laura. But was was apparent with this song and throughout the evening was the striking harmonies the sisters bring to their performance. That and a natural exuberance which is evident in the stories and general observations that Laura gives between the songs. These included the fact that European hotel rooms are much smaller that ones in the U.S. and therefore leads to the pair having small tantrums, something that she reiterated a number of times. That, in it's own way adds the the openness and intimacy of the evening. That they had sung in church was reflected by the inclusion of several gospel songs including their self composed River Jordan. Laura said they were still finding their way as they were "new to being artists". They paid homage to artists they had grown up listening to with versions of Patsy Cline's Leaving On Your Mind which Lydia sang solo. Laura cracking that sister Lydia would be "a big country star" when they broke up. They told us that they were so proud that Hank Williams Sr. was from their home state of Alabama and then sang a spirited Your Cheatin' Heart. Laura also told us that she had moved to Tennessee when she was young and that "a boy broke my heart when I was there" this was the reason she had written Tennessee Me. This led to her revealing that they were really looking forward to flying home the next day to see their parents and that they were both "Daddy's girls". Other tales including touring with Willie Nelson but staying off his bus. They brought support act Simon Lynge onstage for an excellent three voice version of Dream Lover. There is a rawness to their performance that is endearing and infectious and it remains to be seen if that will be lost once they become veterans of the industry. It can be hoped that they stay this way for as long as possible for they are a breath of fresh air in an over-produced musical world. The closed with an acapella rendition of You Belong To Me that was stunning and a final testament to their talent and undoubted charm.

Review by Steve Rapid, photograph by Ronnie Norton

Lonesome Highway goes to SXSW

Row one: Jon Byrd, Troy Campbell, Eilen Jewell, Row two: The Hickoids, Zoe Muth, The Wagoneers with Joe Ely

Row three: James Hand, Eddie Spaghetti, James Intveld.

This was my first visit to both Texas and SXSW and yes it was as crazy as everyone had said it would be. The amount of music on offer, in any given genre is overwhelming and, in truth, as has often been said you can't see everything. So you set your targets and try to catch those you haven't had a chance to see live previously. John Conquest's alternative show is one you could just simply spend your entire weekend sitting at the one spot, in this case the G & S Lounge and listen to a whole lot of good music. Another spot where a lot of good things were happening was inside in Threadgills. Though it's a working restaurant and unless you want to eat continuously a little less easy to spend an entire day there.

As it happened I caught two bands who played in both locations Zoe Muth and the Lost High Rollers and Eilen Jewell. Both play contemporary country, are strong singers and songwriters and have fine bands. Jewell, interestingly played substantially different sets at both locations. At Threadgills she played more songs from her upcoming album. In a way these two sets provided a fuller more normal picture as the nature of SXSW showcases is that most acts are playing 30 to 35 minute sets. This is often a pretty good way to get to know a new act. I saw some singer/songwriter sets that included the inventive songwriter Matt The Electrician among others. At the Bloodshot showcase at the Yard Dog shop I got a chance to view Jon Langford's original artwork and to see Exene Cervenka, Freakwater, Whitey Morgan and Eddie Spaghetti. The latter two playing some roughed up country songs in their sets. Other highlights included a rare performance by Troy Campbell, who played a new song in his short set but proved he should be playing more. Jon Byrd with guitarist Tom Mason was good as was the roots rock of Deadman. The Hickoids are a combination of many influences but the pedal steel gave a roots edge to their raucous and entertaining set. James Hand and his backing trio played a very hardcore set of traditional country music at the Saxon Pub and proved why he is a local legend. Two other acts caught at the Continental Club were John D Graham and James Intveld, the latter with Rick Shea playing lead guitar. The highlight, however for this writer was catching the first set from the newly reformed Wagoneers who still sound unique and vibrant with their Buddy Holly inspired country music. The songs were largely from their debut album but sounded great, as did the closing song were they were joined by Joe Ely (http://www.youtube.com/watch?v=0rQUWKzTPYk). This is one of the bands that got me interested in the music in the first place and they sounded good at the Austin Music Awards. However I caught a second appearance later at the Continental Club where I got up close but their sound was unbalanced and bass heavy from where I stood and lacked the impact of the earlier performance but both bode well for the future. I also got to see Roky Erickson but that's a whole other story.

Steve Rapid