Greg Trooper @ The Seamus Ennis Centre, Naul 24th October

     

     Making a welcome return to these shores Greg Trooper reminded us again of his talent and timbre. Delivering his song with just voice and guitar he showed that he has lost none of his wit or witnessing since he last played in Ireland. Then he was working with the late Larry Roddy, a man who had a genuine passion for bringing his favourite music to these shores.

     Trooper played 22 songs in a two part set. Many came from his latest album, Incident On Willow Street, living proof to his continued worth as a musical craftsman. These are among some of his best songs and included Steel Deck Bridge, Amelia, One Honest Man, Mary Of The Scotts In Queens and All The Way To Amsterdam. The later two were prefaced by amusing and insightful stories of their origins. The former came about from a wedding he attend that featured a bagpipe band who then were joined by the groom’s mother and by a separate story of local New Jersey legend name "Irish" Brian. Two separate sources he combined in the one song. The later song was inspired in part by a visit to Amsterdam and a comment that in the winter months one could skate into Amsterdam on the frozen canals. He took that concept and put it into the head of an abused girl in West Texas. Despite his comment that “anyone can do this shit” it’s apparent that not everyone can do it with Trooper’s skill.

     But like all the best troubadours Greg Trooper is not only a fine wordsmith he is also a great singer and a good guitar player. All that combines into a thoroughly convincing and entertaining evening in the company of an honest and unassuming man. Another new song from the latest album was This Shitty Deal which he described as one country song you would never ever hear on country radio - more’s the pity - again it has a depth beyond the unbroadcastable title.

     He also told us that when contacted by his publisher that one of his songs was going to be recorded by a Nashville artist named Vince Gill his immediate reaction “was who the fuck is Vince Gill?” But as that album, When I Call Your Name, sold by the ton he soon learned who Gill was and to love him. He praised Gill's many talents and the privilege of having his song We Won’t Dance covered by the star.

     Through the years many of his songs have been covered by other artists, and its easy to see why, but nothing beats hearing them in their original form from the man who wrote and conceived them. However don’t miss the studio albums where he employs some of the finest players to accompany him and broaden their palette

     After the interval he remarked “I’m so glad you came back” as, he continued, there’s nothing worse that taking a short break only to find the audience has disappeared in the meantime. No chance of that here though. Further tales relating to the songs were given. Diogenes he related used to walk around with a lamp looking for one honest man. He turned that into a song about a woman looking for a similar person in One Honest Man. While Einstein, who once said that “everything’s a miracle”, was the spark for a song of that title.

     There were a number of requests from the audience and these found their way into the set towards the end. They included the sombre Damaged Eyes, the venue appropriate Ireland  - song about a girl from Brooklyn and Inisheer - about, well, Inisheer. A song he revealed had been covered singer from Friesland in her native language. No Higher Ground tells of the flood in Galveston,Texas that killed thousands of people in a hurricane in 1900. A natural disaster of which they had been warned about, but ignored, by the weather service in Cuba. See you learn stuff too as well as being entertained.

   He thanked everyone for coming “I couldn’t do it without you”. It works both ways Greg - come back soon. 

Review by Stephen Rapid  Photography by Ronnie Norton

Howe Gelb and Grant Lee Philips @ Whelans 11th October 2014

The show opened with Howe Gelb, dressed in denim, coming on stage and stating that he would be performing songs that dealt with “the ramifications of love” and that they were about 30 years on the road and how he attempts to stay at home and his attempts to stay away from home. “There will be musings” he warned and indeed, across his two solo segments, he let the muse inform his music. There were false starts, unremembered songs or as Gelb put it “that song doesn’t really know me yet”. He told us as he stopped and wondered out loud “how does it go?” He then moved to the keyboard saying,  “let me try this thing. It looks so beautiful”. He played the keyboards then for awhile but it was more an exploration of the instrument than a song.

 Gelb next picked up an electric guitar, inviting the audience to guess when it was made. 1956 it turned to be the year. This segment brought out the best response from the now full audience. “What night is this?” he asked and on hearing it was Saturday he apologised for not putting on his Saturday night suit and promised he would do so for his second half. He then brought on a guest who he announced was the author of the recent Leonard Cohen biography. Out came Sylvie Simmons, the English writer, wearing a plastic tiara, as it was her birthday. She was carrying a ukulele and sang Just a Lonely Cowgirl, which was fun, while Gelb accompanied her on piano. Simmons was in town for a literary festival in Dublin.

Gelb indeed did change into his suit, white shirt and bolo tie for his second solo slot. He also wore a baseball cap to keep the light from his eyes, but felt it was a little “Paris, Texas” and he took it off every now and then. He again used the electric guitar effectively before turning once more to the keyboard which on pressing various buttons went through a range of sounds from strings to voices. This was all entertaining, but somewhat bewildering for much of the audience who were there to see Grant Lee Philips, judging by the applause that greeted Philips’ eventual arrival onstage.

In his first set Philips sang some songs from his back catalogue which went down well, but he then, especially during his second set, concentrated on material from his new solo album while fending off constant calls from segments of the audience for songs from the Grant Lee Buffalo album Fuzzy,  such as Dixie Drug Store. “Ain’t going to happen” he responded saying that some of those songs were so old they were mould and that even the band wouldn’t remember them. He seemed more comfortable singing the new songs, despite his self-deprecating comment that he had got a little larger since his last visit, was in fine voice as he accompanied himself on his acoustic guitar and, occasionally, on Gelb’s electric guitar.

The duo also performed a number of songs, or perhaps best described as a flirtation with a number of songs, together. Gelb asked the audience “anything you don’t want to hear?” and described himself and Philips as “good cop/bad cop” but neither was sure who was which. Gelb noted the way Philips had swaggered onstage and declared he called him “Swagger Lee”. Still ignoring the shouted request the pair delved into such songs as He Stopped Loving Her Today and closed with a tender version of the Velvet Underground song Pale Blue Eyes that morphed into Blue Eyes Crying In The Rain at times and ended what was an shambolic, out-there, if entertaining performance.

It should also be note that Gelb paid tribute to the late and much missed promoter Derek Nally towards the end of the performance and for that alone he deserves thanks. 

Review by Stephen Rapid  Photography by Ronnie Norton

Sturgill Simpson @ Whelans - 4th October 2014

The evening opened with a fine set from Glasgow country artist Daniel Meade who was accompanied (with great verve) on vocal and guitar by Lloyd Reid. He delivered a mix of original songs like If It's Not Your Fault I Guess It's Mine and Not My Heart Again alongside covers such as Sitting On Top Of The World and Cold, Cold Heart. All appreciated by the full house audience.

It's not that long ago that Sturgill Simpson made his debut in Dublin supporting Laura Cantrell. That time he was solo but this time out he is accompanied by his three piece band. "Dublin, How ya doin' " was his opening greeting as he launched into Sad Song And Waltzes a Willie Nelson song before giving the audience a mix of covers and songs from his first two albums. It was an explosive show with the band firing on all cylinders. The rhythm section of Miles Miller and Kevin Black lay down a solid foundation for Simpson and Estonian guitarist Laur Joamets (known to the band as Jo) to dazzle with their six string skills. Simpson commented that he had to go to Eastern Europe to find a guitarist who knew how to play country music. Boy what a find.

Joamets could rock, twang and fingerpick with the best. He drew a wide variety of sounds from his Telecaster. Topping this is Simpson's voice, a deep resonant instrument that has brought comparisons to that of Waylon Jennings. Something he noted before he played the aforementioned Jennings' I've Been A long Time Leaving. There where echoes of other greats too guitar wise, such as in the "boom chicka boom" guitar that brought Luther Perkins to mind. Just one flavour in a big stew. They also played a fast and furious bluegrass song where Simpson's Martin acoustic mixed seamlessly with Joamets' Telecaster to create an exciting mesh of tones and textures.

Lefty Frizzell's I Never Go Round Mirrors and the encore of Listen To The Rain from The Osbourne Brothers were two other non original songs in the set which was high energy throughout and found many of the songs extend into long instrumental passage were all four players built on the sound to create something dynamic and beyond mere live renditions of the recorded album tracks. 

Simpson express some surprise that he was here recounting how he thought how when he had finished the album he had effectively killed his career only to find himself being invited to play the Grand Ole Opry at the Ryman Audiotorium. Something that obviously meant a lot to him. However the greater media attention that came with the success of the album had some downsides as he told of going across the alley behind the Ryman for a beer when a very drunk patron called from across the bar "oh my god are you Stewgill Wilson". A nom de plume that his band have adopted to tease him at every occasion he told us with humour.

Sturgill Simpson came and he conquered and audience that was younger and more varied than what may be seen at most "country" gigs. That energy was infectious and the band were a perfect foil for Simpson's voice and song choice. He was ably assisted with the vocals by drummer Miles Miller and everything jelled as the best live gigs should. He promised to be back and I think a great many there will be in the audience again too.

Below left Daniel Meade     Review by Stephen Rapid     Photography by Ronnie Norton

Kacey Musgraves @ The Academy, Dublin 10th July 2014

 

This gig was a prime example of how the medias can effect an artist's pulling power. Since her appearance with her band at Whelans Kacey Musgraves has appeared at the Grammys and toured with Katy Perry. All of that, and more, means that Musgraves is playing to a full house at the Academy.

As such this is a bigger show and production, There's a painted cactus backdrop and several neon cacti adorn the stage. The band, in their Manuel style suits, arrive on stage to the strains of a Morricone western theme. The open the set with Silver Lining and then run through a 19 song set that included a four song encore. 

Firstly kudos for the band's stylish suits, when most of the current crop of Nashville acts are doing their best to distance themselves from the sounds and looks of traditional country. It was also the first gig from a mainstream artist where you could actually hear the banjo and pedal steel in the mix. Recent touring with the likes of Katy Perry has given the show some cross-over polish and the rhythm section was as robust as you would expect these days in such circumstances. Overall though the band, fronted by guitarists Misa Arriaga and Kyle Ryan and including steel player Adam Ollendorff, did a good job of balancing the poppier elements with the more country ones.

The set largely drew from her Same Trailer, Different Park album as her new album has yet to see the light of day, but there were a scattering of new songs included. She introduced the first song of the encore as a new one, one that she felt would appeal to the audience on this side of the world. Cup Of Tea showed that she can hold the audience on her own with her voice and some accomplished guitar playing. Musgraves also played banjo and harmonica during the set. But it is her singing and writing skills that is her main accomplishment and her words fell on an appreciative audience who often sung along with her.

There were also a few covers mixed into the set, from her cover of TLC's No Scrubs, through to the hints of reggae in Step Off which became fully fledged as the song segued into Bob Marley's Three Little Birds with its immediately identifiable "every little thing gonna be alright" refrain. These Boots Were Made For Walking was the second encore and for it the band came back onstage and revealed that the rhinestones on the suits were actually LED flashing lights. Musgraves emerged then in a new pair of cowboy boots that were also adorned with flashing LEDs.

They closed the show with a touching acapella group harmony rendition of Happy Trails gathered around one microphone. This was after the crowd pleasing delivery of her best know song Broken Arrow.  As is the case with many country styled artist she announced that she would be at the merch desk after the show to say hello and to sign product. A good end to what her fans would doubtless deemed a damn good evening out.

There were elements that I really liked, some that I didn't, but overall Musgrave's showed her herself a savvy and solid performer and one who I will be curious as to where she might take her musical direction next.

Review by Stephen Rapid    Photography by Ronnie Norton

Holly Williams @ Whelan's - Tuesday 1st July 2014

There is a special experience to be gained from hearing live music in an intimate environment. The setting tonight in Whelan's is just perfect for the very attentive audience who have eagerly awaited the return of Holly Williams to our shores. Joined by her husband, Chris Coleman on guitar and vocals, together with Annie on upright electric Bass; Holly delivers a beautifully paced set of sublime songs, both old and new.

Her strong vocal performance and confident stage presence are balanced by a warmth in her storytelling and an honesty in performance that is both refreshing and all too rare these days. Starting with a solo performance of Sometimes from her debut album, Holly is then joined by her fellow musicians for an impressive run through a number of the latest songs from The Highway the most recent release. We are treated to close vocal harmonies and delicate interplay across Railroads, Gone Away From Me, Giving Up and Let You Go.

Holly then takes to solo piano for two songs, Alone, from the 2nd album, followed by a wonderful version of Without You, a song written to her husband and featured on the current release.

We are given cover versions of songs by Blaze Foley (Clay Pigeons), Angel From Montgomery (John Prine) and her story of a family car crash and the incredible journey back to a normal life, for her sister is very affecting and captured quite perfectly in the song With Jesus  By My Side. Drinkin' is played to great reaction and is quickly followed by a show stopping version of Waiting For June a song tribute to her grandmother, particularly poignant and strong in a live setting.

With an encore of the Hank Williams classic I Saw the LIght, Holly pays tribute to her past and the roots that have given her a great gift of insightful song-writing. We all shared the light with Holly Williams on this special night.

Review and photograph by Paul McGee

The Delines @ Whelans Wed 4th June 2014

Playing their third gig in Ireland and only their fourth in total since the release of their debut album The Delines proved their collective prowess. Damnations singer Amy Boone was front and centre at the microphone showing why Willy Vlautin wanted to write songs for her to sing. She is a singer who delivers the songs with a clear diction and a soulful delivery. Southern country soul is a prime influence on the band's approach to their music.

This was a gig that didn't rely on volume and attack to get the songs across something that marked it as a different direction to some of the more forceful Richmond Fontaine gigs. They, naturally, drew extensively from the album Colfax as the main material source but also added some interesting additional song choices such as the country classic There Stands The Glass which was recorded by Webb Pierce amongst others. They also included a song from the Deloreans that centered around the drinking a bottle of wine a day. Bassist Freddy Trujillo stepped up to the plate to sing a self-written tribute to Tex-Mex star Freddie Fender and Randy Newman's Sandman's Coming was the first encore. 

It was played as a solo performance by Boone seated at the piano before the band rejoined her for an additional three song encore. Earlier their keyboard player Cory Gray has conjured a sound that drew from the same sources as Calexico with his atmospheric trumpet playing. Sitting solid at the back and pushing everything along was Richmond Fontaine band mate and Colfax co-producer Sean Oldham.

Sartorially the male members wore suits, something that Boone mentioned at the start of the show. Which brought Vlautin's response that he normally only wore suits for weddings and funerals and that most of the weddings he attended were like funerals. A moment of humour amid a set of songs that often deal with the darker elements that life can offer. All the original songs again highlight Vlautin's skill as a writer who delivers these tales as matter of fact vignettes much as he does with his Richmond Fontaine material but here they are give new character by Boone who adds a positive dignity to the songs with the depth of her voice. It has a warmth and vitality that contrasts, at times, with the subject matter.

This was a band at ease with themselves and it allowed Willy Vlautin take the role of sideman so that he was able to concentrate on playing his left-handed SG. He is able to enjoy the sideman role and has always relished  being a part of a band setting. With so few gigs under their belt there's no doubt that things will only get better. But then they are all very experienced players who bring their collective abilities and experience to the Delines.

Mention was made too of Whelan's multi-wallpapered Green Room which they described as the nicest they'd encountered. They also seemed to enjoy what was going on in the packed venue. Something that was reciprocated by the audience too. It will be interesting to see what happens next for the band as a recording and onstage collaboration. 

Review by Stephen Rapid  Photography by Ronnie Norton

Birds of Chicago @ Whelan’s - Sunday 11th May 2014

'A bird in the hand is worth two in the bush'. An often quoted proverb on the benefits of enjoying what you have rather than wishing for something more. Well, tonight the only birds we need are flying high all over the environs of Whelan’s as they swoop and soar in a performance that was heady, heart-felt and passionate.

The mix of organic, roots music, coupled with soulful vocal harmonies, was as compelling as it was inspiring, across an energetic and joyous 90 minutes of musical celebration. This wonderful band is mainly a collective based around the talents of JT Nero and Allison Russell. Whether touring as a duo or with a full band, Nero and Russell have emerged as two of the most talented new voices in North American Roots music.

Born from the flames of previous bands, Po’ Girl and JT and the Clouds, they have discovered a power in their collective that creates some truly spine tingling moments. Their recent CD, Live From Space, has received rave reviews and brought many new fans on both side of the Atlantic. Mix a little gospel, a little soul, plenty of country attitude and you get some semblance of the forces at play here. Heard live, this couple display a spirit in performance that is really special and conjures up the celebratory feel of a revival meeting.

Fever Dream, Cannonball and Trampoline are played with intensity and a power that sweeps the audience along and the wonderful vocal interplay between Allison and JT Nero perfectly complimented by the fluid guitar playing of Will Waghorn and the subtle drumming of Joe Faulhaber.

 The song Sans Souci highlights the unique talent that is Allison Russell in all her energetic and inspirational self; a one woman performance, if ever there was one, to blow away all sense of the blues.

I cannot recommend this band more highly and please seek out their infectious music.

We are given the added pleasure of the local support act, Hidden Highways, who play a confident and compelling set that highlights their recent debut release, Old Hearts Reborn. They describe themselves as a quiet Americana-inflected folk duo and this is very much what they deliver. Carol Anne McGowan and Tim V. Smyth perform as a confident and sweetly tuned package that promises much for the future.

Once again Roadworks Tours hit the sweet spot with their choice of artists to promote.

Review and photograph by Paul McGee

Madison Violet @ The Bronté Centre – Friday 9th May 2014

Tonight's show is a real gem as we are treated to the best in modern Country/Roots music, courtesy of Madison Violet, a Canadian duo comprised of Brenley MacEachern and Lisa MacIssac. This talented powerhouse is joined onstage by Christine Bougie, drums and lap-steel, plus bass player Adrian Lawryshyn. They add rich accompaniment to the impressive sound created by guitars, fiddle, harmonica and percussion already in play. Lisa swoops in and out of the song arrangements on a mean Hofner shorty travel guitar that compliments perfectly the strong acoustic strumming of Brenley; as their voices merge together into compelling harmonies, across the set list that includes songs from their four releases to date.

Madison Violet really are a joy to experience and in full flow there are few other acts that can provide such a strong statement of quality musicianship, coupled with songs of the highest calibre. We are treated to a few new songs from a forthcoming release in Trouble, These Ships and Operator and we also get plenty of set favourites like No Fool For Trying, Small of my Heart, The Ransom, Crying, Come as You Are, Home, No Fool For Trying and Time & Tide.

Channelling all this robust, ragged energy, added to the sweet vocal power of voices raised in unison; these girls really know how to deliver a celebratory treat while checking plenty of insights into their often hilarious stories of life on the road together.

You really should treat yourself to a little Madison Violet music in your life until the next time they tour Ireland and all going well, they will continue to grow and move towards a greater media presence on our shores. 

Kudos to energetic and enthusiastic promoter, Andy Peters who has never been one to shy away from a good night at the risk of financial challenge. This wonderful venue has been host to many great music nights over recent years and I really loved this one!

Review by Paul McGee. Photograph courtsey of Paul McConville.

Beth Nielsen Chapman@The Venue, Rathoath. 30th April 2014

We are blessed this evening to be in the presence of one of the great female songwriters. The show is a real joy and filled with many happy moments, plenty of laughter, poignant storytelling and above all, wonderful music.

Beth Nielsen Chapman is a true survivor, both in life and in the music business. Having faced the death of her first husband in 1994 as a young mother, she herself has tackled breast cancer and a brain tumour in more recent years. Not that she looks for any form of sympathy as she displays a gregarious confidence and comes out swinging on all fronts.

We are treated to a number of songs from her new release Uncovered which claims back songs she had written for other artists, but never recorded herself. Some of these artists are spoken of, without any hint of name dropping, but simply relaying the facts of the background stories. We get to meet Willie Nelson, Waylon Jennings, Duane Eddy, Vince Gill, Emmylou Harris, Bete Midler, Elton John, Faith Hill, Trisha Yearwood, Don Williams, Crystal Gayle and many more...

Honourable mention is also given to co-writers on some songs and Annie Roboff, Rodney Crowell, Darrell Scott and Mary Chapin Carpenter are included in the procession of top drawer talent that has worked with this special artist.

Beth has a beautiful voice that is full of personality and warmth and her playing is both confident and impressive on guitar and keyboards. Her Irish roots also betray her natural talent as a raconteur and she communicates with her audience in a relaxed and easy style. Her musings and stories, both funny and poignant, are shared with a sense of conspiratorial glee in this intimate venue.

We hear many fine songs from the new release tonight, including Simple Things, This Kiss, Meet Me Halfway, Almost Home and Maybe That’s All It Takes.1990 saw the release of her first recording and tonight she turns back time and plays Years from it, to close the first half of the show in a beautifully controlled and powerful, reflective  delivery. The second part of the show includes All I Have, from that same original release and a song that many have used in their wedding music over the years. However, it is the encore, Sand and Water that continues to define her as a talent of rare insight into the human condition and the reflective acceptance of bereavement, central to this song, has never been more beautifully stated.

Throughout the evening, Belfast musician Ruth Trimble supports Beth on keyboards, bass guitar and percussion, displaying her fine talent as a new Irish artist of real note. Her opening set was very well received by an audience that listened intently and clapped and cheered with appreciation as she played her beautiful songs with a quiet intensity and a maturity that was impressive.

The Venue in Rathoath is a very pleasant experience and comes highly recommended for future shows. The sound in the room is perfect for acoustic sessions and the presence of a singer-songwriter like Beth Nielsen Chapman can only help grow the reputation of this hidden gem into the future. Beth returns to Ireland later in the year for a more extensive tour and I strongly urge you to catch her show. 

Review and photography by Paul McGee

Jace Everett @ Whelans, Dublin 23rd April 2014

“These are the songs, this is the show” so begins tonight’s performance with Jace Everett thanking the enthusiastic audience for coming out to see him and Dan Cohen deliver a compelling show. Cohen’s electric guitar adds both grit and textural depth behind Everett’s rhythm guitar and strong vocal presence. The songs came from the new album Terra Rosa with a couple of selections from Red Revelations and the somewhat inevitable Bad Things. Everett explained Bad Things had been on his first album and he’d fought for it to be released as a single only to find that the powers that be at radio were not duly impressed. It was not until HBO came knocking and it was chosen as the theme for True Blood that it found an appreciative audience.

Throughout the show there was some playful banter with the audience. After playing  No Place to Hide he asked if anyone understood what the song was about. “Having No Place to Hide” came the reply. To which Jace responded that it was like doing stand-up in Letterkenny! One front row member was celebrating his birthday and on being asked his age said “22”. ‘You look like shit then’ said Jace to the obviously somewhat older man. "Mind you I’m 24 and I look shit too" the over forty Everett joked.

The music, considering there were only two players on stage, had a edge due to both player’s strong delivery. Dan Cohen’s effects pedal and skill allowed him to give many of the songs different settings;  from slide guitar ridden blues to more reflective tones. Though little in the set could be labelled country,  there were elements of that part of Everett’s career in his singing and delivery. One of Them, from Red Revelations, was a particular highpoint. The stripped down songs from Terra Rosa also worked well. from. The songs,  based on Biblical stories and parables,  were far from gospel in attitude but maybe not in spirit. Lloyd’s Summer Vacation, In the Garden and the title song were all highlights in a strong set.

It’s a real shame that many more didn’t get to experience this fine duo. Dan Cohen played two songs acoustically from his new solo album Bluebird; I Want You and Love Is Gone proved to be bitter sweet,  sweet in their delivery but bitter in tone as they were written following a break-up. These two men play music that has life experience, something that the audience appreciated throughout the evening with Everett’s introductions and general good humour. They closed the set with an extended version of Buddy Holly’s Not Fade Away the left the audience with a feeling that tonight’s show would follow that particular song’s title

Review by Stephen Rapid. Photograph by Ronnie Norton

Peter Mulvey @ Workman's Club Sunday 23rd March 2014

Playing in an intimate setting can be a challenge to an artist. Something about the audience dynamic and seeing the 'whites of their eyes' has caused many a performer to freeze in the headlights of expectation. Not Peter Mulvey however, who takes the constraints of an upstairs acoustic room and simply moves through the creative gears, until he is cruising at a speed that brings the appreciative audience along for the journey. And what a varied journey it is, drawing from his extensive song writing archive, a few well-chosen covers and a stripped down introduction to his new release, Silver Ladder, which has been getting very positive reviews.

Roadworks tours, as promoter, again get it right with bringing the talents of this fine singer/songwriter to an Irish tour. Working with such artists who are under the commercial radar is not easy, as the need to make everything work financially becomes a big hurdle for all concerned. Kudos then for this independent promoter, who always displays a positive attitude, in bringing such quality artists to our shores.

Peter Mulvey plays with elegance and a passion that gives his live performances quite an edge. In addition, he is a natural storyteller and his observations of life and tales from the road are engaging, humorous and sprinkled with a wisdom and perspective gained from years of touring and playing live.

The new release is featured heavily, as you would expect, with tracks like Trempealeau, Remember the Milkman, Landfall, If You Shoot At a King, You Must Kill Him and You Don't Have to Tell Me, providing strong proof that the creative muse burns brightly within the characters and vignettes of these songs.

Knuckleball Suite and Shirt get an airing from previous releases and an off mike version of the Beatles I Will is delivered with understated understanding of the song and its universal message of love.

Support act Kate O'Callaghan and Seamus Devenny also feature, with Kate singing harmony on a few songs and Seamus providing some very interesting violin accompaniment on others. Their opening set was perfectly delivered and contained lots of fine songs which marks them as an act to watch over the coming years. Kate has a beautiful voice and writes interesting song melodies and structures.

However, the night belongs to Peter Mulvey, a generous and talented performer who also gave an earlier workshop on guitar technique and song writing for those lucky enough to catch it. He takes a simple approach to the instrument and tries to break down the barriers that can often stop budding players from progressing their talents.

As part of a song writing group that is in contact every Tuesday, Peter speaks in terms of his 'homework assignment' and the discipline of turning in a song on a regular basis. Well, tonight we are given a beautifully realised example with Are You Listening, a wonderful human insight into the frailties of relationships and the need to forgive and move on. If Peter Mulvey has any message to impart then it is essentially the song for everyman. An entertaining night and what is more, an enriching experience.

Review and photograph by Paul McGee

Sturgill Simpson/Laura Cantrell @ Whelans 18th February 2014

On a quiet Tuesday night Whelans has a good turnout to witness Laura Cantrell's return to Dublin to support her current album No Way There From Here (Spit & Polish). It is support artist Sturgill Simpson's first visit to our fair city. Having fronted Sunday Vally and his current road band it is interesting to experience Simpson in solo mode accompanied only by his nylon-stringed guitar (shades of Trigger abound) and his mighty voice. He told us the guitar was meant as a safe tour substitute for his precious Martin but he had grown to love this guitar too so his levels of anxiousness when handing it over at airline check-ins had not been eased.

The bulk of his set was taken from his excellent debut solo album High Top Mountain (Loose Records) and hearing the songs in such a stripped back form, much the way they were written, was revealing. They took on a different dimension in this setting and highlighted his skills as a writer, singer and effective guitar player. All in all a compelling package. Mid-set he said he was going to do some songs that he loved and delivered a credible version of Carter Stanley's Could You Love Me One More Time. A song that showed his long-time affiliation with bluegrass music. HIs also played, "against my better judgement" he said, Neil Diamond's Red, Red Wine. His take on Roy Orbison's Crying was sung from the depths rather than the heights.

After that he returned to his own material with a song he called "uplifting" I'd Have To Be Crazy. After declaring that "we stole your music fair and square" and delivering a traditional song he gave us a "quintessential country and western song" in Lefty Frizzell's I Never Go Round Mirrors. An aching heartbreak song well suited to his voice. Simpson showed throughout with his own writing, the depth of his understanding of country, bluegrass and beyond. He left the stage having made an impression on the audience many whom had not seen him before but would doubtless be back on his return. It is the mark of a striking performer that he can entertain whether fronting a band or playing solo or on his recordings. Look out for his forthcoming album Metamodern Sound In Country Music.

Laura Cantrell is also playing in a stripped back setting as she is accompanied only by guitarist and harmony vocalist Mark Spenser - only may be slightly misleading given Spenser skills and guitar and acoustic lap steel. Spenser has played and toured with Son Volt and had his own alt. country band Blood Oranges in the early 90s. The duo played songs from throughout Cantrell's career from 2000's Not The Tremblin' Kind through to the aforementioned No Way There From Here in a set of nineteen or so songs. 

After a brief "Hello everyone" the duo played a number of songs straight including California Rose and Queen Of The Coast. While Cantrell often includes songs on her albums by writers she admires, her own skills should not be underestimated as was apparent tonight. Her song Kitty Wells' Dresses was played after she told us a little of Wells' story. Other anecdotes including feeling jet lagged on her last European tour only to realise that she was "knocked-up" on her return. The title track of her new album was prefaced by some explanation of its history and source. The novel Death In The Family by James Agee published in the late 50s and inspiration from Franklin Bruno's use of Samuel Barber lyrics were mentioned.

Amy Allison's The Whiskey Makes You Sweeter was another well received song from early on in her career as was Ray Pennington's Yonder Comes A Freight Train. Also touching was her take on Cowboy Jack Clement's Someone I Used To Know and her reminisces on the man's eclectic interests and influence and her obvious affection for him. Something that the audience had for Cantrell in abundance judging by the applause that greeted her at the end of the show. Cantrell live is a rose that needs to bloom again soon.

Review by Stephen Rapid  Photography by Ronnie Norton

Dar Williams@Workman’s Club. - Wed 19th Feb 2014

 

The Workman’s Club is a fine venue for acoustic evenings such as this. The warm sound of the room is perfect for an artist like Dar Williams, whose literate and wise observations on the human condition are received with hushed admiration and quiet reflection by all those present.

An enthusiastic visitor to these shores, Dar Williams commands the stage with a confidence borne of years perfecting her craft. She is a fine guitar player and a witty storyteller, but it is her gift of observation that inspires her loyal fan base. Her set tonight is relatively short due to illness in her family on a few days holiday to include this Irish show. However it is all about the quality and not the quantity, so we are left with a warm glow as the single encore ends and she makes her way back to the hotel and nursing duties.

It is a true testament to her enduring talent that Dar Williams celebrates the 20^th Anniversary of her debut release, The Honesty Room, a collection that still sounds as fresh as the day it announced her artistry to the world. Tonight it could be argued that the two highlights of the set are taken from this debut with both The Babysitter’s Here and When I Was a Boy beautifully performed and greeted like old friends returned from afar. It is the vocal delivery of the former that absorbed the audience, sung with a sense of the fragility of youth from the perspective of childhood innocence; the latter is quite simply one of the great songs of the last decades, written with a great poignancy but also the ultimate celebration of life and being who you are.

We are treated to other gems from her back catalogue such as ‘As Cool As I Am’ together with a very funny story about an experience with an American Football team who took the chorus to say “ I will not be afraid of winning”, instead of the actual refrain “I will not be afraid of women”.. All told with a wry grin and a wink to the infinite absurdity of life.

Two other songs from the same Mortal City release (1996) are delivered with great emotion and breathing new wisdom into both The Ocean and February seem less about the personal relationships now and more about forgiveness and understanding.

Taken from the latest release, we are given Storm King and I Have Been Around the World both displaying ample proof that the creative flame still burns deep within this sublime artist. It is the however a flawless performance of The One Who Knows which resonates mostly with me and the beauty of her selfless message to her child and the love contained in the words; “I’ll shine the light that guides you down the road you’re walking on” – a beautiful moment captured with grace and gratitude.

Dar Williams is a real treasure, a genuine keeper of the flame and long may it burn brightly for her.

Review and picture by Paul McGee     

Lindi Ortega @The Sugar Club, Dublin Jan 11th 2014

 

Returning to the Sugar Club in support of her latest album Tin Star Lindi Ortega again impresses with her spirit take on country music. This time out she is accompanied only by mvp Champagne James Robertson on Telecaster and acoustic guitar. It doesn't take long to realise that this duo are as entertaining as the full band that she had backing her on the previous visit. What the sound lacks in deeper textures it makes up in vigour. She opens with the title track of the new album. It is a song about struggling singers playing for tips in the bars on Lower Broadway in Nashville. She then greets the assembled crowd with a "How Y'all Doing Tonight?" before announcing that the next song All My Friends was about "a little debauchery". Ortega played selections from her three recent albums while obviously concentrating on a selection from her latest release. A spiky take on The Eagles' Desperado was played, it was she told us, a song that was one of her Mother's favourites. She dedicated it to her and said she was not with us before realising the possible implication. Laughing she explained that her mother was still very much alive, rather that she just wasn't here tonight.

 Sometimes she just sang and at other she changed her acoustic guitar for a electric. "My Shiny Black Beast" she told us she had christened it. Together she and Roberston made some noise on the two electrics. At one point she brought her friend Dave Danger onstage to play acoustic guitar but otherwise it was the duo who commanded attention. Ortega has a twang to her voice that is ideal for the songs she sings. Songs that are never retro but unlike many of her mainstream contemporaries are obviously rooted in the music she grew up listening to. 

She was happy to be back in Ireland and told us of her love for Cadburys Chocolate, especially the Snack bar which she had been able to find so far. There's in an obvious charm to the between songs patter and moments of spontaneity  such as when she stepped on her guitar lead at the end of the song and pulled it out with a loud thunk making it she said "the most rock 'n' roll ending.

Others songs included Demon's Don't Get Me Down, Bluebird and Voodoo Mama. All proved that as well as being a captivating vocalist and guitar player Linda Ortega is also a compelling songwriter. But praise again to the inventive playing of James Robertson. I'm not sure how she would be received over an entire set purely playing on her own, but it would doubtless be entertaining. On this occasion the duo delivered something special and Lindi Ortega live is something that should be a regular occurrence at least once a year - in line with her equally star rated albums.

Review by Stephen Rapid.  Photography by Ronnie Norton

Kimmie Rhodes @ the Seamus Ennis Centre– Saturday 19th October 2013

A regular visitor to these shores, Kimmie Rhodes takes to the stage with a radiant smile that lights up this intimate venue. She is joined by her son, Gabriel Rhodes, multi-talented musician, guitar wizard and producer; together with Ruth Trimble, an Irish singer songwriter of great pedigree.

The capacity crowd is very much a loyal fan base and they laugh and applaud Kimmie’s stories between songs and her funny observations on life. So, playing to the proverbial home crowd, Kimmie appears both confident and comfortable in all aspects of the performance. The beautiful layers of guitar and keyboards fuse effortlessly with the vocals, as Kimmie selects songs from her latest Covers recording.

It is somewhat strange to hear so many cover songs in a Kimmie Rhodes set, as she is famed for her own song-writing talent across fifteen recordings; but her individual style is always to the fore as she effortlessly weaves the songs into her own particular vision.

Gabriel Rhodes colours the arrangements with some stunning fret work as he swoops and dives in and out of the rhythm to lift and ease the dynamic in the music. Listening to the songs, I am taken with the talent of Ruth Trimble on bass guitar, keyboards and percussion and the way in which she compliments the arrangements. Kimmie also gives Ruth the opportunity to feature a number of her own songs taken from her debut recording and we are witness to an emerging talent on the Irish music scene, as she sings and plays with a seasoned maturity.

The concert runs into 2 hours with an interval between sets and in addition to songs from Townes van Zandt (White Freight Liner) and Jagger/Richards (Moonlight Mile) we are treated to old favourites such as  Hard Promises to Keep, God’s Acre and a beautiful rendition of I Just Drove By.

 However it is on the covers of Donovan (Catch the Wind) and Lennon/McCartney (Little Help from my Friends) that we get to the true essence of the gig with Kimmie surrounded by an aura of grace as she invites the ever willing crowd to sing along and enjoy the spiritual experience and purity of a shared live experience.

Always a joy to see an artist at the top of her game and a lesson to so many aspiring musicians to keep it real, keep it true and feel it from the heart.   

Review by Paul McGee. Photograph by Sarah Koska from Kimmie Rhodes website

Slaid Cleeves @ The Queens Pub, Dalkey

 

Texas based troubadour Slaid Cleeves played his first Irish date in some time at this Dalkey venue. Appearing solo he was promoting his latest album Still Fighting The War. From that fine album he sang the title track, Welding Burns, Whim Of Iron, God's Own Yodeler and Texas Love Song - the latter he played for promoter Liz Hurley whose birthday it was that night.

Cleeves is a storyteller of the old school and his songs soon seep into the collective consciousness of the audience and he has them listening to every word. Not all the songs are written by Cleeves, many are co-writes and others such as Lydia and Flower Dresses were written by Karen Posten. Another co-writer and longtime friend is Rod Picott. Cleeves told how they grew up together and formed a garage band The Magic Rats. The band, he told us, made up for a certain lack of skill in sheer volume. Picott's father's job was the subject for the song Welding Burns. Since that time both have established careers as singer/songwriters to critical acclaim if not yet a means to large monetry gain.

Along with a selection of some 22 songs he told us about his Aunt Prudence who once appeared on network tv. He lauded one of his heroes Don Wasler and as well as his personal song tribute God's Own Yodeler. A little later he reckoned he introduced his yodel, he played Walser's Texas Top Hand and reckoned his voice had warmed up enough to tackle a full on yodel attack. He delivered it with a passion.

He used to live next to a graveyard at one point and noted how he'd "got to know the neighbours". He was inspired to write the song Temporary based on epitaphs on tombstones he saw or researched.

The location of the venue and it's association with James Joyce prompted him to play three songs in which he had made references to Joyce's writing. He offered a free CD to anyone who spotted them. No one did so he made the aside that there were "no Joyce scholars in the audience" which brought out the reply that the author was "over-rated" - which elicited much laughter. On the poignant side were such standouts as Quick As Dreams about the old-time jockey Tommy Luther. Cleeves and his wife Karen had visited his wife Helen and found her full of "piss and vinegar" as well as stories. The show closed with the dramatic song Breakfast In Hell a seven minute plus song about a log jam in Ontario and a man named Sandy Grey who died clearing it. For this he got the audience to sing a "who/ha" section in the middle of the song to give it some additional drama.

It was a fitting climax to a two set evening that emphasised what a compelling writer and singer Slaid Cleeve is.Cleeves albums are full of great musicians but live and solo he is effective in getting the songs across in this stripped down format. He sings of the human condition and those who dwell on the fringes of society. With so much superficiality around (not least on mainstream radio) these days he is a welcome counterpoint, as are many of his (often little-known) contemporaries on the Americana circuit. He will be welcomed back when he next returns to these shores.

Ed Romanoff @ Whelans, Dublin - Wed 25th Sept

 

Back at Whelans Ed Romanoff this time out played in the downstairs room. He again brought with him some accomplished players - Deni Bonet on violin and backing vocals, Seth Woods on cello as well as the ever excellent local boy Clive Barnes on steel and electric guitar. Clive will be familiar to may through his own solo work. All three added a subtle but highly effective atmosphere to balance with Romanoff's voice and guitar centred songs. He will freely admit the limitations of his voice but gigging has definitely improved his tone and timbre. He appeared earlier in the evening to sing a song with his special guest Rachael Yamagata during her short set. She returned the compliment and joined Romanoff later in his set.

The songs were mostly taken from Romanoff's debut album. Between the songs he told some stories and anecdotes about the backgrounds and inspiration for the songs. He told us how while on a cab he had come across a dead man lying in the street who had a small dog who was staying beside the unfortunate man and he wondered who would look after the dog but that neighbours had come out to take care of the dog. This led on to how he had found his own dog Freckles and how he brought him back into the States from Costa Rica. There is a mix of humour and warmth along with some darker tones in his tales of what is the human condition that features in Romanoff's music. He is an entertainer who is on this chosen journey of expression, using words in different forms to tell the real and imagined stories.

For the song Two Yellow Roses he was joined by a singer Sharon, a singer he had encountered while walking round Dublin on his last visit to Dublin and who he had asked to join him onstage. She repeated her vocal harmony again tonight. He related a story of a singer who had been sent a letter from John Lennon telling the singer to always pursue his dream but that the letter never got to him at the time but turned up years later. It is this sense of the storyteller that is at the heart of what Ed Romanoff does. He is further exploring that aspect of his own life with a book that will tell the story of his adaption. That tale is the subject of St. Vincent De Paul on his album and here live. 

Rachael Yamagata joined him then for a song and used Romanoff's guitar and they sang together Lost And Gone. A new song not on the album. She later came back on stage at the end of the set and played piano and added vocals. There was an obvious rapport and friendship between the two. Less Broken was written for a friend that Ed had visited in hospital who was recovering and who had said she was "a little less broken now". Which shows again a songwriter always needs to have a ear open for little expressions or phrases that can spark off a song.

The show ended with a version of Orphan King, a song that Romanoff had written with Mary Gauthier, which he has subsequently rerecorded with Rachael Yamagata and released as a single to benefit the Chernobyl Kilkenny Outreach Group. It was a fitting end to an intimate and warm show and was followed by Romanoff coming off stage to meet those in the audience who wanted to speak to him.

There's no doubt that Ed Romanoff will be back in Ireland before long as he feels a strong affinity with the country and those who have heard his music will likely be happy to have him back here to.

Review by Stephen Rapid. Photography by Ronnie Norton

Buddy Mondlock @ Whelan’s - 6th September 2013

On a return trip to Dublin, this talented artist and song writer talks about the special community of musicians, touring his songs and living it from the heart. A view that pretty much sums up the special vibe that is created at a Buddy Mondlock gig, with the connection between musicians and audience creating a warm feeling that lingers long after the show has ended.

A regular visitor to these shores over the years, Buddy Mondlock displays the writing sensitivity of a true poet and the self- effacing humour of a gentle spirit who smiles, both broadly and often, in sharing his gift of song writing and playing with a very appreciative audience.

We are introduced to Mark Lindaur on vocal harmonies and a fretless, five string Bass, playing an understated and impressive accompaniment to these vignettes of life and love. We learn that this talented musician is a schoolboy friend of Buddy Mondlock and has played side by side with him through a lifetime of various experiences.

It is in the telling of the stores surrounding the songs that we gain a true insight into of the pedigree of Buddy Mondlock  as he speaks of collaborating with Guy Clark, Garth Brooks, and Tom Kimmel, Jim Tullio, Nanci Griffith and others, in a way that is not meant to boast but rather just telling it like it is.

The songs are truly captivating, displaying humorous, empathetic and wry observations on life and an understanding in the fragility of humankind as we try to rise above the daily challenge.

We are treated to songs such as The Holes You Leave, Coming Down in the Rain, No Choice, The Kid, I Count You My Friend, The Cats at the Coliseum, Poetic Justice, Magnolia Street, Nobody Knows Nothing, Fence in a Storm... No end to the quality of the words and music.

It is all very understated in a ‘less is more way’ and the new recording, The Memory Wall gets a decent airing with new songs like The Ugly One, What Do I Know,  Some Kind of Hope and Central Park, a song shared with his Dad in the writing.

A Canary’s Song is prefaced by a story of sharing the same manager as Garth Brooks and the vagaries of the music industry that have seen one artist rise to the top of the commercial tree while the other continues in smaller venues, in service of the eternal flame of creativity.

Who is the poorer I ask myself at the end of it all -especially when it is all about the heart – right?

For all the years served in the trenches and all the shows where his constant good humour and supremely honed songs and words have taken flight, I applaud Buddy Mondlock and urge you to check him out when he is next in your neighbourhood.

Just a final word for local artist Josh Johnston who opened for Buddy and played  brief but heartfelt set on keyboards, displaying a fine talent with his personal songs and view of life and relationships. It is always good to see local talent given an opportunity and Buddy Mondlock was very generous in inviting Josh up on stage to sit in on one of the encores.

All told, this was a special evening of music, stories and song.

Review and photo by Paul McGee

Sam Baker @ The Seamus Ennis Centre - 14th Sept 2013

 

This gig was a perfect example of why I would always prefer to be in a small intimate venue (like the Seamus Ennis Centre) than in a much larger location even with a commercially bigger act brings in a bigger production. It is the economy of scale of course, but that scale balances when you are at close quarters with a performer.

On this occasion Sam Baker is accompanied by Chip Dolan a seasoned sideman (and recording artist in his own right) playing electric piano and accordion and singer/songwriter Carrie Elkin. (Incidentally Elkin's last album Call It My Garden was recorded in Sam Baker's house). This trio had an obvious ease with each other that encouraged their playing and how they delivered the songs.

Elkin mainly added harmony and counterpoint vocals but she also played clarinet (an instrument that she only took up in the last few weeks) and guitar. Dolan excelled on the piano and on the accordion.

At the start of the show Sam Baker tuned his guitar through his tuner but wryly told us that he didn't need it as he only had to look at the expression on the face of either of his companions to know if he was in tune or not. Throughout the evening there was many asides and stories that enhanced the evening. An evening that included songs from across his four albums. Among them Slots, Pretty  World, Change and, naturally, from the new album came Say Grace, Ditch, White Heat, Migrants. The latter a song that featured to great effect Dolan's accordion and was based on a story that Baker had read and was in the same vein as his hero Woody Guthrie's classic song Deportees. In other words an event that only barely gets mentioned in the press as the victims in the song were themselves migrants, Isn't Love Grand, The Tattooed Woman and the closing song Go In Peace. 

He did a trio of songs that related to love, something he said he doesn't do that often, jokingly telling us "when you hear it you'll know why". Like all his material it took us through a window and into the lives of the song's subjects. Tattoos and teenage abuse were more often on his radar he commented. As are the terms of endearment between couples which may not actually be what the words spoken seemed to mean. There is a great deal of humour in his songs that balances with the occasional more tragic consequence that reveal themselves as a particular story unfolds.

Anyone who knows Sam Baker's music knows that he would not likely pass any "formal" audition voice test. He has a limited voice range. But that voice is who Sam Baker is and with that voice he connects. In fact his delivery, like that of a poet, allows every word to be savoured and understood. His crafted songs tell of hard times full of, more often than not, people who are not hard. They're making the best of their lives. He is an astute observer of life. Pictures painted with words, which here (and on record) are enhanced by the contributions of his fellow performers. Elkin's crystal voice is a delight throughout while Dolan's piano playing is also integral and when he delivers a solo his skill and dexterity are obvious.

At one point tour manager Rebecca joins Elkin for a short unaccompanied song. Another vocal highlight was provided by the audience who joined in on several occasions and completely broke down the barrier between the artist and audience. Not that Baker ever allows one in any real sense. He never puts himself above his fans. After the show he allowed the audience as much time as they wanted to say hello, and goodbye.

Review by Stephen Rapid. Photograph by Ronnie Norton

Peter Bruntnell @ Whelan’s – Sunday 18th August 2013.

 

On a short Irish tour to promote his ‘Retrospective’ CD release, Peter Bruntnell takes to the stage with his band of merry men. Playing with great energy and impressive array of talent, Steve Prior (drums), Dai Godwin (bass) and Dave Little (guitars) provide the perfect backdrop and beat for the excellent songs of this great songwriter.

With a recording output that stretches back to 1995, Peter Bruntnell has produced a body of work of the highest order that stands quite comfortably alongside any of his peers. This show contains many of his favourite songs and he sings with an engagingly sweet voice that wraps the rhythm and melody of the arrangements into a beautifully compelling gift for the enthusiastic crowd on the night.

The band adds texture to the songs and serves the arrangements with a perfect balance of passion and restraint. In addition to his literate, mature and self-realised song writing talents, Peter Bruntnell is also a skilled guitar player and he shapes the tempo of the set with all the experience of a travelled artist.

Americana for Europeans is a tag that does not do him justice, despite his close links with Son Volt, the celebrated roots rock band, led by Jay Farrar. Opening with 25 Reasons, Bruise on the Sky and London Clay, the audience is treated to wonderful melodic hooks and harmonies to savour. Matters of the heart and relationships; emotional and physical, platonic and sexual, are visited and handled in a fashion that channels the lost, yearning voice of the lonesome traveller in search of home.

Have you Seen that Girl again; By the Time my Head gets to Phoenix and Clothes of Winter are all played to an increasingly excited room in which the  atmosphere crackles, helped in no small manner by  the dextrous solo runs of Dave Little, a fine guitar player who really elevates the songs to exciting levels.

Brought back for two encores, Peter Bruntnell plays an acoustic version of Caroline, which highlights just what a fine singer he is and the band finish a real high with Fear of Lightning, before calling it a night.

Peter Bruntnell remains largely unrecognised in Ireland and given his trail of impressive releases, this remains a mystery to me. I urge any self- respecting music collector to seek him out and to watch for his next dates in our country. He stands as a rare jewel and shines a bright light of talent across an increasingly arid musical landscape. Long may you run Mr Bruntnell…!!

Review and phone photograph by Paul McGee