Dierks Bentley @ The Olympia 21/4/2016

I was absolutely gobsmacked on being handed a neat sticker with ‘Dierks Bentley – Dublin 4-21-2016’ as I left the Olympia after the gig. The woman who handed it to me said ‘I could see you enjoying yourself and we had these made for tonight. Isn’t he wonderful?’, in a heartland American accent.  Apparently there is a pretty large group of American fans who follow Dierks just about anywhere, something I remember from his Dublin debut at Whelans over 10 yeas ago.

Tucker Beathard opened the evening with a gritty-voiced, well received acoustic/electric set, with his songs appealing particularly to the American contingent, who seemed to know every word.

Dierks and the band came on at 10 to 9 and opened with Up on the Ridge which started off acoustic but was the full electric band by the end of the song. The band are fabulous musicians; two electric/acoustic guitarists who double on mandolin and fiddle, a steel player who also plays banjo and Dobro and a very powerful yet subtle drummer.

The set was full of hits Free and Easy(Down the Road I Go), 5-1-5-0, I Hold on, What was I Thinkin’?, Drunk on a Plane (the second and final encore), Riser and Somewhere on a Beach, Dierks’ current single which was a Billboard number 1 on the night. He also played a Merle Haggard cover, The Running Kind and included some songs from his new, about to be released album Black; the lovely cheatin’ song I’ll be the Moon and, in response to an unexpected request from the audience, Freedom.

A frequent visitor to Dublin, Dierks seemed pleased to be here and to be playing the Olympia. The sound was variable, but mainly good, but LOUD which really showed when he played the Merle Haggard tribute which was quiet but gutsy. 

I’m still startled by the audience participation – everyone knows the songs, and by gum, they sing along. Quite unlike the days when you went to a gig to actually hear an artist. It was a good night and I hope many more country artists follow Dierks’ example and play Dublin apart from the big gigs like C2C.

Review by Sandy Harsch  Photograph by Ronnie Norton

Dave and Phil Alvin & the Guilty Ones @ Whelans Tuesday April 12, 2016

This was a really good gig with a good crowd. So much so that the upstairs balcony had to be opened. It started at 8:45 and ended just over two hours later after 3 encores and the audience looked like they would have happily stayed an all night.

The two opening numbers were from the excellent Common Ground Big Bill Broonzy tribute album the brothers released two years ago. Dave introduced big brother Phil, making his Irish debut, although Dave Alvin has been a frequent Irish visitor. The music was very varied with several songs from the new album Lost Time including Late Date favourite World’s in a Bad Condition, the sly Oscar Brown Jr tune Mr Kicks and Big Joe Turner’s Cherry Red Blues, which Dave introduced with memories of meeting Big Joe when he was just a kid in Downey California following in big brother Phil’s broad shoulders and adventurous musical footsteps. Dave did all the talking – Phil said not a word – and indeed Phil looked alarmingly frail, but his singing was mighty, as was his harmonica playing.

The band was Dave’s wonderful Guilty Ones; Lisa Pankratz on drums, Brad Fordham on bass and Chris Miller on second lead and slide guitar. Pankratz is simply one of the best drummers around, Fordham’s bass lines are full and just right, while Chris Miller’s playing, especially his slide work, leaves me breathless and wanting more. Dave is an incredible guitarist; I’ve seen him and the band several times recently at the late lamented Johnny D’s in Somerville, Massachusetts and he just gets better and better while somehow making it seem effortless. He is also amusing and good at spinning a mood when introducing songs. When it came to the encore he was exceptionally articulate in dedicating Kern River not only to ‘the finest songwriter California ever produced’ but also to his friend Steve Young another fine songwriter who has never received full credit for his work.

The third and last encore, after Kern River and Marie, Marie was a fabulous rambling version of Turn on your Love Light with several songs (among them When the Saints go Marching In) interpolated into the coda, led by Phil’s harmonica. You really had to be there … and the next time they come back – you should be.

Review by Sandy Harsch  Photograph by Declan Culliton

Giant Sand @ Whelans, Dublin 13th April 2016

The (fake) snakeskin-suited Howe Gelb led this version, for what was rumoured to be the final time, of Giant Sand for what turned out to be pretty special farewell. He opened the show seated behind the keyboards with what he wryly introduced as a song from the next tour. He was accompanied by bassist Thøgar Lund and drummer Peter Dombernowsky for the first set of songs before announcing the first appearance of Maggie Björklund on pedal steel guitar. A standout of this set was a version of He Stopped Loving Her Today.

He then introduced guitarists Brian Lopez and Gabriel Sullivan to the stage. Both have released solo recordings and are members of interesting Tuscon band XIXA. The latter delivered a stunning version of The Ghost Of Tom Joad, the Bruce Springsteen song, which he has recorded under his own name. it was then Lopez’s turn and he sang a song in Spanish. For these Gelb had left the stage but soon rejoined on electric guitar and mellifluously mottled vocals. Of his sartoriol elegence the suit he informed us came from Dusseldorf while the fedora was from Portugal. The bolo tie was likely from somewhere closer to home.

From then on he drew songs from the air from the numerous Giant Sand releases from over 30 years. “The evening dictates the set” the told us noting that he had a long standing paper allergy and that they never used a set list. It didn’t really matter if you knew the songs or not as these were largely going to be what they were on the night depending on the band, mood and the weather!

The triple electric (and sometimes acoustic) line-up was a powerful and largely organic beast. It made me think that the massed hard rock guitars witnessed recently at C2C for what was passing as country music had none of the grace or invention (and lack of rock god poses) on show here tonight. The band rocked without ever loosing track of the songs and the mood they wanted to create. The pedal steel was used in interesting ways and Gelb said Björklund was one freeing the instrument from a long imprisonment in country music. 

Gelb brought his daughter Patsy Jean onstage for a memorable version of the Lee Hazelwood song Sand (a song that Gelb had previously recorded with Lisa Germano as OP8). She remained on stage for a selection of other songs. Hurtin’ Habit had a solid Bo Diddley beat under the repeated “I Hurt Myself” vocal refrain. For the final set of songs they were initially joined by their support Jason Lytle (of Grandaddy) before finishing the night with a couple of songs from the guitar based five piece.

 It was a evening to remember from a band that will be hard to forget; full of inspirational playing, compelling vocals and an overall a sense of fun and adventure that you don’t find that often these days.

Review by Stephen Rapid  Photograpohy by Declan Culliton

C2C Festival, Dublin - 11/12/13 March 2016

Dedicated fans and musicians brought enthusiasm to see a treasure chest of talent. For many of the artists this was the first time in Ireland and the energy displayed by the audience who attended gave a warm glow to the performers and left of variety pleasant of memories. What did we learn from a complete over-indulgence in all things country? 

72 hours of music offered up 11 different acts and plenty of talking points surrounding in what direction country is now heading. For the traditionalists who grew up on Johnny Cash, Merle Haggard and Hank Williams, there was less on offer. The newer wave of country fans shouted their claims for a future with a modern sound and an open approach to influences from other musical genres including commercial pop, hip hop, rap and blues influences. Bands played with backing tracks and loops to augment the sound, which was loud even at the quietest volumes and hitting danger levels when everything was cranked up.

The Eagles sang about a ‘new kid in town’ and at one time this used to be the maverick persona and talent of Dwight Yoakam; all skin-tight denim, Manuel jackets and cowboy hat tipped low; his pointed boots spinning him in a groove that had women screaming for more as he moved his butt to the Bakersfield Country sound of honky-tonk bars. 

The new, for those who have not realised it yet, comes from vibrant artists such as Eric Church, Thomas Rhett and Sam Hunt. This is a brash mixture of different musical colours with a palette of hard rock influences up against electronic rhythms and looped beats which synch into the soulful pop sounds of radio friendly tunes.  It is full of broad new brush strokes - but is it really country?

Perhaps we should not be so purist as we look back to the roots of the genre and instead look forward to the new urban influences that have merged into country music to make it bigger in a crossover scale than it has been before. The young audience at the 3Arena knew all the songs and were happily singing along to each new act as if they were old time favourites and I had to ask ‘what is so wrong in having a good time?’ and bringing joy to people through music – whatever new direction it takes.

The first night of Country to Country shows us exactly how diverse and wide country music is today. On offer are three acts, all hugely enjoyable, but with little in common except the stage they all share.

The menu of artists offered by C2C, and in particular the variety of acts gathered under the country umbrella, is quite refreshing, giving  the audience an opportunity to sample acts that might not otherwise be obvious choices. Hopefully C2C will continue to offer such diverse and interesting acts and all will be equally well supported.

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Friday Night

Opening act Chris Stapleton is a renowned songwriter who unexpectedly swept the board at last year’s CMAs following the release of his acclaimed debut solo album Traveller. However strong the material on the album may be, it reaches an altogether different level when delivered live.

Stapleton’s band is JT Cure on bass, Derek Mixon on drums and his wife Morgane (‘’the love of my life’’) on backing vocals and his show is in complete contrast to the acts that follow. The band totally tight, natural and at ease, with the passionate vocals of both Stapleton and his wife  out front.  Their sound is raw, bluesy and appears effortless and casual as if they are performing their weekly residency at a local club.

Drawing in the main from Traveller, Chris opens with Nobody To Blame and delivers a blistering performance of southern rock, blues and country before finishing with the old George Jones hit Tennessee Whiskey in a set that unfortunately is allocated only forty minutes.

Might As Well Get Stoned rocks out with its ironic Rolling Stones Start me Up riff, More Of You soothes and tempers, and a cover of You Are My Sunshine, which Morgane Stapleton has recorded for producer David Cobb’s  Southern Family album, is adorned by striking vocal harmonies and a killer guitar solo by Chris.

Kacey Musgraves is completely different from an entertainment, if not musical, point of view. A mariachi-sounding intro gets her set under way with the stage in darkness with only a glimmer coming from the twinkle lights adorning the rhinestone jackets and trousers worn by her band, The Runners Up, as they make their way on stage. Kacey follows in a sequined outfit, looking every part the Pageant Queen of her opening song.

She immediately has the crowd eating out of her hand with her polite manner (‘’I so love Ireland, it’s great to be back, how many of you were at my show at The Academy?’’) It’s academic that she gets probably two thousand replies of ‘yes’ given that the Academy has a capacity of 500!

The majority of the set is drawn from her second album Pageant Material with Merry Go Round and Follow Your Arrow included from her debut, Same Trailer Different Park. Mama’s Broken Heart, co-written with Miranda Lambert, also features in her sixty minute set. She introduces the beautiful ballad Fine as ‘’my grandma’s favourite song, she wouldn’t let me record the album unless I included it’’ and Late to the Party as ‘’my favourite song on the album’’

Her six piece band are meticulous throughout, though possibly a bit restrained as each song is delivered note for note as the recorded versions, leaving no opportunity for improvisation.

A Kacey Musgraves gig is a show in the true sense; it is slick, it is fun, it is choreographed, it is sexy, it is innately musical and most of all - it is entertaining. And, it works.

Eric Church hits the stage at 9.15pm as the headline act to a loyal and expectant crowd, plays a blistering set (though possibly closer to stadium rock than traditional country) but is none the less engaging for that. From his opener Knives of New Orleans to his final medley of Dancing in the Dark / Springsteen, his show is full-on entertainment, delightfully over the top and a performance by an artist and band that really know how to deliver. Loud and frenetic with smoke machines, overhead visuals and lots of drinking songs, all contributing to a typical Eric Church show.

Church has the perfect ploy on stage in twin guitarists Driver Williams and Jeff Cease as part of his six piece band. Williams, with Nashville largely and proudly tattooed on his arm, prowls around the stage Ronnie Wood style, occasionally sidling up to the more sedate Cease for a double guitar solo.

The set in the main is a journey through Church’s considerable body of work, (‘’No big plan for tonight folks, we’ll just see how the night goes’’.) Obvious crowd pleasing rockers Creepin’ and Talladega are included but Church also has the ability to slow it down with impressive ballads such as Mr. Misunderstood and Like a Wrecking Ball, performed acoustic with only drummer Craig Wright in support.

These Boots feature the customary swinging cowboy boots in the air by some punters, a couple of pairs ending on stage and being autographed by Church. ‘Got down with old James Brown and found New Grass Revival’ roars Church, before he and his guitarists are engulfed by smoke machines at the front of the stage.Church has never made any apologies for his admiration for Springsteen and finishes the set with his teenage romance tribute song complete with Dancin’ in the Dark as the intro. 

Pretty remote from traditional country but showmanship beyond the call of duty; if you’re a Church fan, you’ve gone home smiling.

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Saturday Night

 The Following night opened with a superb performance from Ashley Monroe, a Tennessee-born artist and sometime member (with Miranda Lambert and Angeleena Presley) of the Pistol Annies. Monroe recently released of her album, The Blade. She has an attractive country twang that brings to mind Dolly Parton and her 5 man band are really tight and in the pocket of every song. Their ensemble playing is a real joy and the impression is one of a consummate performance from a hot band and  a consummate singer-songwriting talent.

Thomas Rhett follows with a live pounding sound that takes no prisoners. It is as much about electronic beats and loops as it is about country, save for a fine rendition over solo acoustic guitar of hit song Beer with Jesus. Rhett works the arena better than any other artist on the weekend by taking to the aisles and engaging directly with the fans, while his band supports his soulful singing and obvious talent to communicate. Highlights are songs like Happy Man and Crash & Burn (written with Chris Stapleton) and the crowd really lap it up.  

Dwight Yoakam and his band of 4 musicians take back much of the original country territory with a set that is crammed with short, sharp and brilliantly executed hits. Dwight not only sings with his trademark hard country voice, but looks every bit the country star. Some early sound problems with his amp throws him a little, but his peerless performance and guitar playing take us all back to when he broke on the country music scene in the mid 1980’s with his debut Guitars, Cadillacs etc. release, and he plays a wide selection of tunes taken from his 14 studio releases to date. He also pays tribute to recently departed Eagle Glen Frey with a cover of Peaceful Easy Feeling and to the late Sir George Martin with a rockabilly version of I Feel Fine. Nothing less than superbly honed, both in attitude and performance, this is a classy set from a true artist.

The final act of the evening is Miranda Lambert and she really goes for broke with a set that is full of great stage craft and a backing band comprising 8 musicians who all play as if their lives depend upon it. Very talented singer that she is, Miranda also writes some superb songs and takes a stand for girls who suffer heartache, whether in life or relationships. She stands up for her beliefs in pushing through disappointments and the sometimes harsh realities of life, dealing with the pain in an uplifting warts and all attitude to staking a claim and standing tall. Songs like Fastest Girl in Town, Little Red Wagon and Gunpowder & Lead get a huge reaction but it on songs like Over You and The House That Built Me where the real power in her performance can be seen. This is a superb show from a very talented artist who works the stage with both commitment and charm.   

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Sunday Night

The venue is still rocking to the sounds and video clips that play before, during and after each act. First up is a new sensation to hit the country music charts, Maddie & Tae, a duo with plenty of youthful energy and fizz about them. These girls are in their early 20’s and just starting out, but they already possess enough to deliver a very successful debut recording that has seen them gather great recognition as the next female act most likely to… Terrific harmonies, tight songs and bright voices are their calling card and they work hard at their performance and win over the large crowd who cheer them all the way through songs like Girl in a Country Song, a response to the Bro-Country trend that exists in Nashville. Start Here is another winning song and their performance gets them many new friends and admirers.

Sam Hunt is next and his 3-piece band of drums and twin guitars play over pre-programmed bass lines that come pulsing out so loud that you can feel the vibrations. This is an uncomfortable experience and one that does not lend itself to the songs trying to make their way over an unrelenting beat. He seems to be a popular performer, judging by the reaction of the crowd, but quite a few of the older generation retired to the bar area and the relative safety of a distant drink. Not for everybody, but perhaps the live performance and the production on Hunt’s debut release offer different moods and perspectives. 

Little Big Town have been together as a group since 1998, releasing 6 albums and winning a string of awards. Their 4 part harmonies are so tight that you would be hard pressed to separate one voice above the others as they swoop and soar around each other. It is a wonderful sound to experience live and the celebratory nature of their song arrangements and melodies have the crowd jumping in joy after the opening numbers. Hugely accomplished performers, all four take turns in charming the crowd with their vocal range and powerful performance, backed by a superb band. Playing songs from a number of their releases, Little Big Town unleash a sound that delivers a vitality that give them the best reaction of the weekend.  Tornado, Pain Killer, Daydrinking, Girl Crush and Boondocks are just a few of the highlights in a set that just keeps building to bigger and better peaks, complete with St. Patrick’s Day banter and Irish flag holding photo opportunities. This is a compelling performance and a real marker for further opportunities to build on the positive reaction here.

The final act is the Carrie Underwood tour extravaganza, complete with 8 musicians and a stage that looks fantastic, with clean lines and plenty of space below a large screen that flashes a series of very impressive graphics and images throughout the set. Carrie is the ultimate female performer, working the stage so well and engaging with the crowd with consummate ease. Her vocal performance is quite simply stunning and she sings her heart out from the first number, Renegade Runaway, to the last song of the evening, Must Be Something in the Water, some 2 hours later. Draining to watch but her stamina is incredibly impressive and she drives her band to great performances with her energy and spirit. 

Jesus Take the Wheel is a hugely popular song and her tribute to Dolly Parton/Whitney Houston with I Will Always Love You is a match for either legendary singer. Blown Away is a real highlight with a breath-taking vocal that really floors the crowd and her up-tempo numbers are inspiring vocals as she sings her way through songs from her latest Storyteller release. 

Underwood has crossed over into a commercial power pop area and her contemporary sound sits well among any of her peers. Perhaps in time Carrie Underwood will return to a more considered, reflective approach to the songs she selects, but for now she has built her career and the sky is the limit. This is flawless performance from a talent whose voice can take her anywhere that she wishes to go.

This has been a really well run festival and full credit to the organisers and staff who made it an experience to remember and, indeed, to treasure. In the end, music is the real winner and we are all enriched by the experience.

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Ten overall observations on the 2016 C2C Festival 

1 This event underlines, if that were necessary, what a broad church country music is today, as it has been in the recent past. The definition now is so broad as to include almost anything musically; and that just to be signed to a Nashville label automatically makes you a “country” artist.

2 It was the first line up I had any inclination to attend in that there was a least some broadening of the pop-country leanings of the previous festivals.

3 The audience age range and the variety of appreciation for a particular artist was as varied as their music. The support for Dwight Yoakam seemed as enthusiastic as was that for Thomas Rhett, although two more opposite sounding artists you’d be hard pressed to find in any other genre.

4 The opening acts for the two nights I attended were both highlights; Chris Stapleton’s unadorned Friday set is something I wouldn’t have labelled country, but it was excellent and underlined his talent s a writer, guitarist and vocalist. His wife Morgane’s vocal talent was equally impressive.

The second night’s opening act was Ashley Monroe, whose vocals were clear and concise, and her band was the closest thing to Emmy Lou’s Hot Band heard in a long time. It was the most traditional sounding set of the weekend and over far too soon. Hopefully she will return for her own show in the near future.

5 The overall sound was loud but clear and the best I’ve heard in 3Arena to date. It was interesting that Chris Stapleton got as much out of his small Fender amp as Eric Church did from his guitarists playing through their massed Marshall stacks. At times however, the fuller drum sound from some of the acts was a near ear-shattering 100 decibels.

6 Dwight Yoakam and his band put on a no nonsense set of classic hits that covered the title tracks of his debut album through to his latest Second Hand Heart CD. Drummer Mitch Marine is the best drummer Yoakam has had and the rest of the band were all top notch, well able to recreate the sound of the earlier albums. Yoakam was having amp problems that seems to irritate him, but still delivered an 18 song set that concluded with songs dedicated to Glen Frey and George Martin (Peaceful Easy Feeling and I Feel Fine respectively).

7 Headliners Eric Church and Miranda Lambert both delivered strong sets for their fans that included pedal steel and banjo but the predominant sound was heavy drums and massed guitars. On her opening number Lambert had five guitar players.

8 The price of t-shirts seem to be getting a steeper with some being as much as €40. The average was €25. Hoodies were more expensive. Eric Church had the best slogans.

9 Prior to Thomas Rhett’s set we heard a brace of songs best suited to a dance club, while the music played before Miranda Lambert included Gary Stewart, Loretta Lynn, Merle Haggard and Waylon Jennings though the song played as her intro music was Led Zeppelin. Deliberate mood setting or what?

10 Kacey Musgraves played a similar set to that of her recent Dublin visit. The band are excellent and during the first song and other points where Musgraves left the stage for a costume change they played some atmospheric instrumental music which showed their collective talent, but it would have been nice to have them cut loose from their well rehearsed routine on occasion as at times they came over like a tame version of the Mavericks. Musgraves herself seemed to be happy to be up on the big stage and came across well.

Written by the Lonsome Highway team and edited by Sandy Harsch. Photography by Ronnie Norton

Malojian @ The Harbour Bar Bray - 21st February 2016

Lurgan based singer songwriter Steven Scullion, under the guise of Malojian, ended his whistle stop and sold out Irish tour with a show at The Harbour Bar in Bray before heading to the States later in the week to begin recording his next album with renowned engineer Steve Albini (Nirvana, The Pixies, P.J.Harvey, The Stooges, Robert Plant and Jimmy Page).

It hasn’t been overnight success for Scullion who has been assiduously writing music and performing for over a decade and a half. Formerly working as a duo in the band Cat Malojian, the rebranded Malojian feature singer songwriter Scullion on lead vocal and guitar together  with Joe Mc Gurgan on bass and Michael Mormecha on drums, also doubling up superbly on guitar. What particularly works for them are the stunning harmonies that embellish much of his material. His 2015 album Southlands, which followed the 2012 debut album The Deer’s Cry, was released to considerable  critical acclaim gaining plaudits from Bob Harris, Cerys Matthews with Scullion being described as ‘’the North’s best songwriter over the last half decade’’ in Hot Press Magazine. It speaks volumes as to the trajectory in Scullions career that his current mini tour resulted in full houses at Cork, Waterford and Kilkenny. Such was the demand for tickets in Kilkenny that an additional matinee show was scheduled with free admission for under eighteens.

So is all the fanfare justified? It certainly is based on tonight’s offering. Difficult to slot into any obvious genre, the two cover numbers included in the set this evening, Neil Young’s Out On The Weekend and The Beatles A Day In The Life, probably best describes where they are coming from, slotting in somewhere between those two artists, laid back late 60’s vibe, very catchy, well written and radio friendly material.

Scullion introduces the immediately fetching Communion Girls as his childhood fantasy of winning the hearts of the local girls with some Bruce Lee shapes and moves. Rich ballads including It Ain’t Easy and What Am I Worthfollow in a set which is essentially drawn from his recent album while also visiting material from his debut album.

Bath Tub Blues, written we are told by Scullion to entertain his eldest daughter, is simple, tuneful and works.Broke is beautifully delivered even though at under two minutes begs for an additional verse. In contrast is the more upbeat No Alibis driven by a drum beat that explores the British beat boom of the late 1960’s.

There is little doubt witnessing Malojian this evening that given the right breaks they have the potential to move to a level considerably higher than where they are pitched at present. Malojian are the opening act at The Kilkenny Roots Festival appearing at Billy Byrnes on Friday 29^th April. Highly recommended but book early as the show will without doubt sell out.

Review and picture by Declan Culliton

Celtic Connections, Glasgow - 22nd to 24th January 2016

The annual Celtic Connections music festival took place in Glasgow from 14^th to 31^st January this year. Over 2000 musicians, both local and international, performed at a number of venues across the city. Among the many Lonesome Highway favourite artists performing this year were Lucinda Williams, Jason Isbell, The Lone Bellow, Aoife O’Donovan, Ethan Johns, Frazey Ford, Greg Trooper, Gretchen Peters, Tim O’Brien, Jerry Douglas, Kimmie Rhodes, Lera Lynn, Lindi Ortega, Patty Griffin and Sturgill Simpson.

In recent years the festival has become part of the holy trinity of must attend festivals for the writer together with Kilkenny Roots and The AMA’s in Nashville

With inexpensive weekend flights it seemed the ideal incentive to kick off the January blues with a visit to the beautiful city of Glasgow for a weekend of music and merriment. The weekend selected included a choice of gigs from Lindi Ortega, Frazey Ford, Tim O’Brien, The Lone Bellow, Jason Isbell, Bella Flek & Abigail Washburn among others. Choices indeed.

The festival also offers the opportunity to renew friendships with so many UK & Northern Ireland fellow travellers that all attend the Kilkenny Festival every year.  

Friday night’s gig of choice involved a visit to the O2 ABC in Sauchiehall Street to catch Frazey Ford. Having witnessed the breezy, funky and founder member of The Be Good Tanya’s play an excellent show at Whelan’s last October expectations were high for a repeat performance. Joined on stage by the same musicians as the Dublin gig her entourage also included a horn section consisting of saxophone and trumpet. She more than equalled the Dublin show with a super cool set of southern soul beautifully executed vocally and featuring mainly material from her excellent 2014 album Indian Ocean. Particular highlights were the album title track, Firecracker and Done.

Support act for the Friday show was British Nigerian soul artist Ola Onabuke, quite well received by the punters and with talented musicians backing him. The impression, however, was that the material was quite repetitive and samey.

After a fairly lazy Saturday afternoon, it was off to the Oran Mor venue on The Byres Road to catch The Lone Bellow. The converted Kelvinside Parish Church, built in 1862, features a concert venue and two separate bars and is one of the most striking music venues in Scotland, retaining the majority of its original features and architecture.

The Small Glories were the opening act. Consisting of Canadians Cara Luft, better known as a founder member of The Wailin’ Jennys, and J.D.Edwards, they combine sweet, tight harmonies, slick guitar picking and old time claw hammer banjo playing to great effect. The highlight of their set being a stirring rendition of Way Down Yonder in The Minor Key of Billy Bragg & Wilco fame. A very impressive start to the evening.

Brooklyn three piece The Lone Bellow certainly delivered to an expectant and enthusiastic crowd. From the opening Green Eyes and A Heart of Gold to their encores Here Comes The Morning and Slip Sliding Away the reaction of the full house was a party-like singalong. Drawing on material from their two albums the up- tempo Heaven Don’t Call Me Home and Cold As It Is worked particularly well emphasising Zach William’s impressive vocal range to perfection.

Next up was The Scotia Bar in Stockwell Street. Established in 1792 and renowned as the oldest pub in Glasgow, the Scotia has been one of the foremost music pubs in Glasgow, particularly catering for the vibrant folk scene on the 1960’s. The Humblebums, otherwise known as Billy Connolly and Gerry Rafferty were regular punters. Timber beams, brass furniture and an open fireplace feature in the narrow passageway which barely allows two customers to pass without yielding a right of way. The Sunday afternoon music session on offer most certainly did not have its origins in the folk genre. Local band Three Card Trick’s repertoire consisted of a set of covers, impressively delivered it has to be said, including Motorhead, Thin Lizzy, Santana and Cream among others, delivered at an ear bleeding decibel level. When the only practical means of communicating with the person sitting across the table from you is by text, it’s probably a mite too loud.

With ears ringing it was decided to pay a flying visit to Mc Sorleys Music Bar a mere ten minutes walk away in Jamaica Street to catch local singer songwriter Daniel Meade. Unfortunately time pressure only allowed a short but highly enjoyable visit. Meade, who also fronts his band The Flying Mules, played as part of a duo and delivered a laid back and rootsy set.

Upwards and onwards to the O2 ABC for the Jason Isbell gig and what promised to be the highlight of the weekend. This evening’s opening act was Nashville based rhythm and blues artist Anderson East. Accompanied by a seven piece band, which included a horn section, East wooed the crowd with an impressive set, possibly closer to pop than blues, but delivered with great gusto and enthusiasm despite being hampered by one arm in a sling as a result of a broken collar bone.

What followed was nothing short of breathtaking. It’s not often that one attends what can be only described as the perfect gig but this was surely as close as you can get. Isbell, without doubt the premier songwriter of his generation, together with his by now customary backing band, delivered a blistering set consisting in the main of material from his two most recent albums, Something More Than Free and Southeastern. Also included was probably his strongest work with Drive By Truckers in Decoration Day, Outfit and Never Gonna Change.

He reminded the audience of his first visit to Glasgow as a young man with the Truckers which, after far too much whiskey ended up with one member of the band mooning on stage to the audience. ‘Things are a little different these days’ he joked.

Having followed Isbell’s career in his previous band, with the 500 Unit and his current band, it’s particularly noticeable that he has matured beyond recognition both as a songwriter, musician and performer. The quality of his material this evening was matched by that of his vocal and his fellow musicians whom he saluted and introduced individually on two occasions. Every vocal and each instrument were clearly audible, a credit to the sound engineer, making the occasion complete. Particularly noteworthy at the show and at the other concerts over the weekend, were the sound quality and the impressive lightning systems.

So many highlights in the set list to mention from the opener Palmetto Rose to the encores of Elephant and Super 8 but the most memorable musical moment of the weekend was his delivery of Children of Children from his current album, a heartfelt and beautiful song dedicated to his mother. "I was riding on my mother’s hip, She was shorter than the corn, All the years you took from her, just by being born."

A fitting finale to another cracking Celtic Connection weekend made particularly special by the great company from Glasgow, Belfast, Isle of Lewes, Poole, Morecambe and Ballymena. Looking forward to recapturing the same fun and music quality at Kilkenny Roots at the May weekend.

Footnote: Jason Isbell subsequently received Grammy Awards for Best Album and Best Song of 2015.

Review and photographs by Declan Culliton

The Mulligan Brothers @ Whelans - Sunday 7th February 2016

This is the final night of the Mulligan Brothers premier Irish tour and these four very talented musicians from Alabama have been gathering much attention over their time on these shores.

They play a music that is very organic and falls into a roots/traditional folk music arena but with a modern twist. The players are all very accomplished and the interplay is dynamic and energising across a set that lasts 2 hours and displays everything that is unique and compelling about this group.They have two releases to their credit and already the media have been impressed by their melodic songs and the public has been spreading very positive messages, which bodes well for the future success of this excellent band.

The song-writing of Ross Noble is very much based in the stories of everyday life, trying to make it in the big city; meeting a new girlfriend or breaking up with an old one; reflecting of getting older and wiser and just living the days with grace on our journey. 

The harmony singing is of the highest order and the mix of fiddle, guitar, mandolin, suitcase bass and subtle drumming leads for a heady concoction of irrepressible tunes. Playing tracks from both releases, the abiding feeling is that of being in the presence of a band whose time is about to arrive in terms of greater success.

When they play, there is great space in the sound, that allows room for the understated touches of Gram Rea on fiddle, mandolin, harmonica and the fluid guitar playing of Ross Noble to float over the solid rhythm laid down by drummer Greg DeLuca and Ben Leininger on bass.

Numbers such as Oh Susana, Wait For Me, Bad Idea and Kaleidoscope highlight the essence of the band in full flight with plenty of colour in the arrangements. A cover of Atlantic City by the Boss is really impressive and the sweet vocal of Ross really brings the song alive in a way that places a new perspective on the song meaning. 

Ross has a voice that reaches out and touches a space far above the room and just hovers in the air. He also tells a great story and his between - song thoughts about what inspired a particular lyric are full of insight about family ties, relationships and the real stuff of life. 

After a quick break we are treated to a second set that includes Louise, Sensible Shoes, Run On Ahead, City Full of Streets and Too Soon to Say, each song highlighting the joy within the ensemble playing off each other. The encore focuses on two classics from The Band, namely The Weight and The Night They Drove Old Dixie Down, with each member taking turns to showcase their vocal range and talent.  A fine end to a show that confirmed just how good these players really are in capturing the true essence of performance. Watch this band soar.

Review and photograph by Paul McGee

Nikki Bluhm & The Gramblers @ The Vintage Room - Workman’s Club 6th February 2016

The writer’s last encounter with Nikki Bluhn was at The Mercy Lounge, Nashville in 2013 when she and her six piece band played a blinder of a set of west coast country rock bringing to mind the Laurel Canyon sounds of the late 60’s. In complete contrast tonight’s show features Nikki Bluhm play a stripped down acoustic set accompanied by two long term members of The Gramblers, rhythm guitarist Dave Mulligan and lead guitarist Deren Ney.

The gig was arranged impromptu at the end of her European tour which finished in Manchester on Thursday night and prior to Bluhm heading on a solo tour in the States later this month. Mulligan explains that having spent twelve months working in Dublin a few years back he was determined that they should visit the city and take in the great music vibe so unique to Ireland."I had never even heard of Luke Kelly until this afternoon in O’Donoghues Pub, will sure have to do some research on him" he adds excitably.

The gig is staged in The Vintage Room at The Workman’s Club. Aptly described as 'a posh version of your Nana’s living room’, the venue complete with black and white telly, radiogram and 60’s furniture is the perfect location for what can best be described as basically a ‘house party’ type gig with the band arriving with instruments in hand, setting up three chairs at the top of the room and treating us to an unscripted and hugely enjoyable seventy minutes of quality music.

Three musicians, three instruments, two guitars and a tambourine, "basically everything that we have left after the tour" jokes Mulligan. Despite the limited resources the quality of the playing together with Bluhm’s soaring soulful vocal contributes to a hugely enjoyable experience.

The set is a mixture of material from their 2013 self titled album and their more recent Loved Wild Lost release which features a more countrified sound than their west coast based debut album, certainly closer to Nashville than San Francisco. The set also includes a number of covers and to accentuate the 'session' feel of the evening, which also featured a worthy offering from a female in the audience whom they had only met that afternoon. Their signature song Little Too Late works equally well in the stripped back format as it does with a full band and includes some wonderful guitar work from Deren Ney.

All in all a great opportunity to witness the extremely talented Bluhm and her guitarists in a very relaxed and laid back environment. We look forward to a return from her with the full band in the near future.

Review and photograph by Declan Culliton

Daniel Knox @ Whelans - 2nd February 2016

Daniel Knox leaves the stage at approximately 10.45pm. Strewn at his feet are seventeen crumpled sheets of A4 paper each containing the name of a song performed during the previous seventy five minutes. Most performers normally have a dedicated set list but Knox prefers to peel off each page, crush it by hand and drop them nonchalantly at his feet at the end of each song.

This should not be particularly surprising given that Knox is quite unlike the vast majority of other singer songwriters. Impossible to categorise, the 35 year old Chicago resident namechecks his favourite artists as Al Jolson and Judy Garland and is certainly a one off with obvious nods to Scott Walker, Jacques Brel and early Jon Grant.

Famed for his self-confessed passion for nocturnal wandering throughout the city of Chicago for inspiration and his tendency for visiting hotel lobbies late at night to seek out unaccompanied pianos, the 35 year old Knox became tagged under the Americana umbrella following successful tours as support to The Handsome Family.

His set at Whelans tonight is a joy to behold as he manages to recreate, accompanied only by his Roland 700 digital piano and a melodica,  the striking vocal and keyboard delivery so captivating in his studio work. The clouded humour in his lyrics is both dry and dark depicting tales of strippers, death, cancer, syphilis ,time travel and imaginary friends but often in a humorous and tongue in cheek manner.

Despite admitting that he only sang for the first time publicly at the age of 23, his vocal range is  quite stunning, from bass to sweet falsetto and his piano work is equally impressive despite proclaiming to be a self-taught pianist who only started playing at quite a late age

Before playing Disaster, the title track of his debut album, he recalls having returned home after his first appearance in Ireland and how a fan contacted him to say how pleased he was to hear the track used on the Discovery Channel. “Used without my permission’’ he adds  “The Discovery Channel financed my next trip to Ireland!’’

Armageddon he offers, is his end of the world song, composed after a very heavy nights drinking and regaining consciousness the following morning still intoxicated yet managing to stumble to a café for breakfast .‘’Used to drink an awful lot, was really good at it, don’t drink now, retired. First thing I read was that we were at war again with someone or other so this is my contribution!’’ he jokes - Armageddon’s coming soon, The sun will crash into the moon, But we will still have a breakfast.

His self-titled album released in 2015 features predominately in the set. The whimsical Don’t Touch Me a song about germs though more specificially "a song about a girl with germs. Ghostsong is introduced as a song about death "specifically mine, when I go I intend hanging around for a while to push things off shelves and the like."

In contrast to the more macabre songs his set also includes some genuinely nostalgic tales depicting bygone days of Knox’s youth. White Oaks Mall dedicated to the demise of the traditional American Shopping Mall, "Like a dying relative in hospital waiting to drop off.” It recalls happier times spent in innocence and similarly By The Venture mourns the close of the discount stores during his teens "like Morrison’s in the UK" he notes.

Knox finishes his set by giving the audience the opportunity to purchase a photo of him at the merchandise for €10 "free CD with every purchase" he adds though with typical humour .

It’s unlikely, despite his entrancing vocal style and wonderful songs, that Knox will achieve the notoriety that he richly deserves. More probable is that the cinematic characteristics of his work will result in his music featuring in a movie soundtrack on the big screen. Let’s hope it’s a blockbuster!

Review and photograph by Declan Culliton

Aoife O’Donovan @The Button Factory - 27th January 2016

Temple Bar Tradfest got under way on 27^th January with a performance by the Aoife O’Donovan Band at The Button Factory. O’Donovan has been a regular visitor to Ireland over the years as part of Crooked Still, playing solo and touring with Sara Watkins and Sarah Jarosz as part of the I’m With Her tour in 2015. Her show at The Button Factory was the opening show of her whistle stop European tour and her first appearance in Ireland with a band.

Her Dublin gig this evening is followed by a lunchtime and evening appearance in Belfast tomorrow, "the anti- jetlag part of the tour’’ she jokes, an appearance in Glasgow at Celtic Connections, five dates in the U.K and finally a slot at The Vinterjazz Festival In Copenhagen on 6^th February. "First date at a Trad festival and last date at a Jazz festival, how about that" she noted. In fact that throwaway remark actually emphasises her well deserved appeal across many genres whether it be folk, country, trad or roots.

Her touring band consists of Anthony da Costa, a talented singer songwriter in his own right, on guitar and Steve Nister, better known for his work with Daniel Lanois and Danger Mouse, on drums. Together with O’Donovan’s polished guitar work and melodic yet chilling vocal they are more than the sum of their parts.

O’Donovan’s relaxed, gentle and charming stage demeanour often camouflages the strength and resolve of an artist capable of penning simple ballads, dark country-noir and everything in between.

She recounts having only arrived in Dublin this afternoon, quite fortunately given the weather conditions in New York where she currently resides and how she spent December in the UK before making it back to New York just in time for the storms!

Tonight’s show is sponsored by the American Ambassador and is also attended, we are told, by Aoife’s parents.

Given that her latest album In The Magic Hour has been released last Friday it is not surprising that much of her set list features material from the album.  

The title track Magic Hour is performed early in her set and hits home immediately with its striking melody and lyrics that sound almost childlike and  fairy tale in content  ("we run down to the Virgin Mary’s ban /while our mothers cried and our fathers drank /we all just trying to see where the ship sank")

Stanley Park, the opening track on the new album follows and also connects on first listen with O’Donovan’s splendid vocal range dominating. The song, we are told, was inspired by the beauty of Vancouver’s 1000 acre public park. Magpie, also from the latest album, was conceived a few years back while O’Donovan was driving to West Cork. "You arrive at this huge roundabout with only one signpost, The West!". What follows is a beautiful tale of innocent childhood memories recalling visits to Clonakilty, the land of O’Donovan’s grandfather.  The song, without chorus, brings to mind a young Joni Mitchell.

The evening also includes a short solo set by Aoife ("We are here at a Tradfest so I thought I’d play these few numbers")  including a rendition of the traditional ballad Pretty Polly followed by the Paul Brady Lakes of Pontchartrain to the obvious delight of the audience. She tells the story of performing with Crooked Still at the Clonakilty Guitar Festival some years back and how nervous she was noticing from the stage that Paul Brady was standing at bar. "He’s not at the bar tonight, is he!" she exclaims.

 She visits Fossils, her acclaimed debut album released in 2013, including Red and White and Blue and Gold, Thursdays Child, Lay my Burden Down and Briar Rose in the set.

"My Auntie Carmel requested this from the auditorium last May when I was touring with I’m With Her, I’ve finally got the chance to honour that request now, the song is obviously popular with family members" she jokes and proceeds to play Lay My Burden Down, the opening track from the debut album.

Briar Rose, without doubt the most moving yet beautiful song relating to child abuse written since Suzanne Vega’s Luka, is possibly the highlight of a splendid evening, delivered to perfection and enthusiastically received by her audience. Oh Mama is the set closer, followed by Emmylou Harris’ Boulder to Birmingham as an encore.

The overall enjoyment of the show and artist is obvious by the long queue at the merchandising desk with the ever smiling O’Donovan meeting and greeting and finishing off what has been a marvellous evenings entertainment.

To survive long term in the highly competitive music industry, extreme talent, work ethic and an absolute love of what you do are vital requirements in equal measures. Aoife O’Donovan, without doubt, possesses all three in abundance with some to spare.

Review and photograph by Declan Culliton

Lucinda Williams @ Vicar Street -19th January 2016

Tour opening nights can often be hit and miss affairs, particularly when the tour is promoting an album not yet available to the general public. Lucinda Williams’ show at Vicar Street was supporting her latest album Ghosts of Highway 20 due for release in Europe on 22^nd January. Any concerns as to whether this would be an issue were brushed aside even before Miss Williams arrived on stage. The support slot by Buick 6, her touring band, set the scene for what was to be without doubt a memorable night for anyone lucky enough to have attended the sell-out show.

As Buick 6 take the stage a female  recorded’ voice over’ requests that the audience ‘’shut the fuck up’’ before they launch into a thirty minute  opening set of  bluesy, surfy and twangy instrumentals with lots of humour on the side. Many of their instrumentals would not seem out of place on any Tarantino soundtrack.

Buick 6 consists of guitarist Stuart Mathis, bass player David Sutton and drummer Butch Norton and have been Lucinda Williams’ touring band in recent years. There chemistry on stage, during their set and particularly backing Lucinda Williams, is nothing short of telepathic and contributes to an evening of vintage Williams, so much more satisfying than her last show at the same venue in 2013.

Buick 6 have recently recorded an album, on Williams recommendation she informs us later, titled Plays Well With Others. The album contains twelve instrumental tracks and a cover of Bob Marley’s Well, Well, Well featuring Lucinda Williams on vocal. Butch Norton jokes… "all you Lucinda Williams completists out there need to buy our album at the merc stall, it’s the only recording by Lucinda of this song, you gotta have it, cheaper than Lu’s album too!’’

Thirty minutes later Buick 6 are back on stage as Lucinda Williams begins with the slow burning and bluesy Protection from the album Where The Spirit Meets The Bone. What follows is a storming one hour fifty minutes set featuring crowd favourites such as Drunken Angel and Lake Charles ("people seem to gravitate towards those two songs, most nights you come to see us they’re on the setlist’’) balanced perfectly with material from her recent two albums and her back catalogue.

Not always noted for being comfortable engaging with her audiences, the show finds her in fine talkative and upbeat form. She explains the concept of the new album, her association with the towns and cities along Highway 20 throughout her life ("some places you can’t let go of and won’t let go of you") before a moving delivery, solo acoustic, of the album’s title track.

Particularly emotional and personal mid set are two songs concerning her father Miller Williams, a renowned writer and poet, who died in January 2015. First is Temporary Nature written in 2014 prior to his death, the title being a figure of speech he often used.

"I’m gonna start crying before I even start the song" she jokes. The emotion in her vocal is obvious and well recognised and respected by the crowd. "That was so hard to get through, I can really feel your energy, thank you."

The second song in memory of her father and possibly the highlight of the evening is Dust, the opening track on the new album, recorded after her father’s death. Williams explains that she added music to the poem written by him and how difficult the challenge was. The song itself is beautifully atmospheric and augmented by stunning guitar work by Mathis.

Are You Down follows on a much more upbeat tempo, climaxing with a blistering five minute jam by Buick 6 with Williams moving side stage to observe and enjoy."It’s that time of the night already folks but I feel like playing on unless they kick us off the stage" adds Williams and maintain the already high energy levels for the remainder of the set which features Essence, Change The Locks and Honey Bee, before leaving the stage.

For encores Williams comes back on stage and performs a moving solo acoustic version of the Jimi Hendrix song Angel ("dedicated to all the treasured musicians and lost spirits who passed away in recent years, Lou Reed, Ian Mc Lagan, David Bowie, Lemmy and Glen Fry")

The finale is the staple Joy followed by a rapturous Rockin’ In The Free World with the band stepping back to allow the audience, with the house lights on, to sing a few choruses with fists in the air.

All in all a special show which seemed to generate as much enjoyment and satisfaction to those on stage as it did to the audience. A pleasure to witness an artist as influential and vital as Lucinda Williams still reaching such heights.

Review and photography by Declan Culliton

Patty Griffin@ The Olympia Theatre - Sunday 17th January 2016.

Starting with Move Up from the Downtown Church album, Patty announces her return to Dublin in fine style. Accompanied by a band that includes the amazing guitar talent of David Pulkingham, multi-instrumentalist Billy Harvey and Conrad Choucroun on drums, the musicians are of the highest calibre and the interplay and subtle touches that enrich the song arrangements are a joy to witness in this live setting.

There Isn’t One Way and Gunpowder are followed by Standing and Made of the Sun, written for her mother, as she hits the ground running at a striking pace. The sound quality is excellent and the mix separation meant that every instrument could be clearly heard. Sadly this had a detrimental effect on the vocals from Patty which came across as shrill and tinny in the overall band sound and not up to expected standards.

This was not such a big issue on the quieter numbers, when she sat at the piano to perform two standout songs from the new record, title track Servant of Love and You Never Asked Me, a song about relationships that cuts to the bone with its deeply poignant and personal perspective.

Mother of God, Ohio, 250,000 Miles and Everything’s Changed all follow and watching Billy Harvey and Conrad Choucroun change instruments is a sign of the talent on display here and the quiet ease with which they go about coaxing fine playing from bass guitar, mandolin, keyboards, drums and piano. David Pulkingham hovers like an eagle above the rhythm, soaring and swooping around the groove and pulling magic from the air with his guitar runs.

Shine a Different Way is dedicated to the Dixie Chicks and their reunion, which shows the enduring power of positive energy to overcome negative experiences. Truth #2 is played and there is also a dynamic performance of Irish Boy, written in memory of her father who emigrated from Ireland. She speaks of her short visit to these shores with a sense of frustration as she tells stories of her family and their Irish connections. A tour schedule can be hectic and leave the strongest of spirits feeling drained; however there is a great energy in the performance tonight as Patty drives the band with her impressive guitar and piano playing.

Seeing her perform is always a joy and the crowd tonight went home to the angelic sound of Patty singing All Creatures of Our God and King, a Gospel hymn taken from a poem written by St Francis of Assisi and delivered with the passion and grace that is the life-blood of her impressive catalogue of work.

Review by Paul McGee   Photograph by Vincent Lennon

Lindi Ortega @ The Grand Social - Friday 15th January 2016

This is the Canadian songstresses third visit to Dublin and her first in this venue. This time out she has a bassist and drummer in tow as well as long time live guitarist Champagne James Robertson. The latter is an important foil for Lindi as well as a mesmerising and highly underrated player. But it is the lady who is front and centre. She arrives onstage in a black fringed poncho, short black skirt and trademark red cowboy boots. As she has always done she gives a performance that is giving and total. She opened by saying that the mirrorball in the venue remind her of playing a prom and that she was dumped the night before her own prom night. A remark that sets the tone for her many songs of mismatched and rear-ended relationships.

Dying Of Another Broken Heart a song from her first album is one of the highlights tonight. Songs from her four albums pepper the set alongside some well chosen covers which include her version of the Bee Gees To Love Somebody  - a song she first heard by Nina Simone and one which had the audience singing along with her - something that brough a big smile to her face and a note of thanks afterwards. Sam Cooke’s Bring It On Home To Me gets a soulful reading and showed how versatile the band are and how easily they can shift gear while maintaining an overall feel behind Ortega’s voice. The no holds barred delivery occasionally goes slightly off pitch, something she notes herself but in the context of a passionate performance is not something that in any way effects the song effectiveness. A brooding and psychedelic Ring Of Fire closed the show. A song that summed up a fiery performance from the rhythm section (Ryan Gavel on bass and Noah Huntgate on drums), from Roberston’s Telecaster and from Ortega herself.

Other songs included Lived And Died Alone, Run Down Neighbourhood, I Ain’t The Girl, Ashes and High, a song she introduced as being an appropriate time to play an inappropriate song. Its subject matter was a substance not unknown to Willie Nelson she noted with a laugh. Through there was an amount of self-deprecating comments and moments of her own life shared with the audience who responded warmly to both singer and band. The title song of her most recent album Faded Gloryville was prefaced by some background to the idea behind the song. While watching Jeff Bridges in Crazy Heart and particularly the scene where he is playing in a bowling alley but has to leave the stage to “toss his cookies” outside gave her a moment to consider if this was to be her future and inspiration for the song. 

As well as singing (and dancing) Ortega also strapped on her Gibson several times and proved to be an adept rhythm player. She is not to be underestimated either as a songwriter with many of her songs serving as insightful glimpses into her own life and of those around her. There are a number of classic “country” style themes throughout her writing that may be overlooked in the sheer assault of the live performance. Her music may be hard to categorise in the strictest sense but the end result is some potent roots music that was much appreciated and warmed the hearts of many on this cold Dublin evening.

Review by Stephen Rapid   Photography by Ronnie Norton

Sturgill Simpson @The Button Factory Wednesday 13 January 2016

The rising popularity of this singer/songwriter, acclaimed in some quarters as a saviour of country music, was reflected by the ever growing audience he has attracted with each appearance in Dublin. However it was something of a odd live experience in that Simpson, who was in fine voice and humour, seemed at something of a loss due to the fact that he was unable to play any new material from his forthcoming major label debut. This was because. he explained, that such material would then be up on the internet before it got a chance to be heard in its original recorded form.

The set tonight largely consisted of songs from his two album with (naturally) Turtles All The Way Down getting the best recognition and response of the night. He also told the attentive audience that he had hoped to bring his band with him but after almost two years on the road they want to stay warm at home. But next time he’d be bringing an even bigger band with him. Something that may be appropriate when the new album is finally released. A 22 song set was played but no encore - a fact that seemed to annoy some of those present. 

The constant touring has definitely given his voice an edge and his guitar playing was dexterous enough to give the songs their depth. Considering it was only his voice and guitar that was there to hold sway. Ireland along with Scotland and parts of England where his favourite places to play he quipped, adding that in the US, no matter the size of venue or ticket price, the audience generally talked all through a show rather than really listening. Something he appreciated when playing here. He spent some time getting his errant guitar in tune which gave the audience time to deliver some requests and comments. Playing a requested Hank Sr. or Rory Gallagher song were passed over but he did perform his version of Roy Orbison’s Crying; his voice adding a different but equally heartbreaking tone to the lyrics. Other covers included Lefty Frizzell’s I Never Go Round Mirrors as well as Carter Stanley’s Old Love Letters and the traditional Handsome Molly. A song he felt came from “these parts” adding that bluegrass music had be pretty much stolen wholesale from these isles.

Another cover, one he has recorded, was his version of I’d Have To Be Crazy by Steve Fromholz. He quipped that the late songwriter had lived long enough to give a negative comment on his version. One of the best things about achieving a level of success, he noted, was getting to meet some of his heroes. People that had inspired him and who he had been introduced to by his grandfather. At this point he briefly left the stage as he said he wanted to share something with the audience and returned with his mobile phone. He first took some shots of the crowd before playing us a message that he’d had recently received from Merle Haggard. He then said that he’d been trying to get Merle to come to Europe with him to play. A notion that got a big round of applause. 

Other asides included his decision to stay away from social media  as “life is complex enough”. Telling us that if  he was going to spent time writing the best use of his time would be writing a song. Having played in Belfast the night before he said he had been listening to Astral Weeks in his hotel room. “I don’t know were Ladbroke Grove is but I don’t want to go there” he joked. It was that kind of an evening loose, relaxed but lacking in a sense of an overall structure.  Sturgill Simpson is without doubt an engaging performer, a fine singer, songwriter and guitarist but without a band to riff off or an new material to play he seemed to be there because he had to be and was doing the best he could with these set of circumstances. It was good to see him again and he seemed to be enjoying it, as were those present but hopefully he will be back on these shores again before too long - with both new music and/or band in tow.

Review by Stephen Rapid   Photography by Ronnie Norton

The Grahams @ Seamus Ennis Centre, The Naul - Sat. 21st Nov 2015

The Grahams (Alyssa and Douglas) will have made many friends on their UK and Irish tour which ended at this welcoming, intimate venue. They first introduced their short documentary film, Rattle the Hocks, which captures part of their recent exploration of the people, places and music connected by the American rail system. It features many of the songs from their two albums recorded in hallowed places like Sun Studios or on their own, as well as with a selection of fellow artists such as Alvin Youngblood Hart, the Norman Sisters, Mark Rubin and, from the North Mississippi Allstars, Luther and Cody Dickinson. The latter also directed the intriguing short film which was well received and a novel way to start a show.

There was a short question and answer session following the film that revealed details like which guitar Alyssa had played in one scene and the breed of their dog (labradoodle). After a short break they took to the stage with percussionist extraordinaire Mike Meadows to deliver an entertaining and engaging 17 song set. The majority of the songs were originals including the title track from their latest, Glory Bound, which was played towards the end of the set, without amplification, standing amongst the audience. Other songs included Kansas City, Griggstown, If You’re in New York, Mama, Biscuits, A Good Man, Marnie Hawkins, Cathedral Pines, Carrying the Torch and Wild One. For the song Revival Time, they got the whole audience involved in singing along on the chorus.

Alyssa has a strong voice and takes lead vocal with Douglas adding effective harmony and duet vocals. Both are also adept guitarists, with Alyssa on a solid rhythm and Douglas playing Dobro and acoustic throughout the show. Momentum and percussive interest was provided by percussionist Mike, who kept things swinging along with touches of tambourine and shaker as well as his custom made bass drum adding depth that brought an extra dimension to the sound. Meadows had joined the Grahams for this particular tour, but he is a freelance player with a long list of clients, frequently playing with Hayes Carll. 

The Grahams told stories about the songs and their origins, and the playful banter between the two added to the overall ambiance of the evening and informed the context of the show. Marnie Hawkins was inspired by a house they grew up next to. It transpired that they had grown up together before playing music and becoming romantically involved and this deep connection shows in the music. 

The majority of the songs are originals, written with their friend Bryan McCann. They said that although the both had played in cover bands, a song had to be special to be included in their set. Alejandro Escovedo's Broken Bottle was one such a song. Indeed Escovedo's song suited them well and makes one wonder why more of his fine songs don't get covered more often. 

However it is the Graham’s songs and personalities which took centre stage. They closed the show with a love song and announced that the next day was their 18th wedding anniversary, to be spent for the most part on an airplane flying home. The Grahams are a partnership that has, so far, produced two albums; but the signs are that their  music should find them gaining more acclaim with their future tours and releases.

Review by Stephen Rapid. Photography by Ronnie Norton.

The Waterboys @ Vicar Street, Dublin - 5th Nov 2015

Like or dislike him you certainly cannot ignore Mike Scott. From ground-breaking albums and spellbinding tours to less distinguished recordings and misguided line ups, The Waterboys, under various guises, have managed to survive for over 30 years.

Scott’s song writing has, without doubt, hit a purple patch in recent years culminating in the excellent An Appointment with Mr. Yeats in 2011 and the equally engaging Modern Blues recorded in Nashville earlier this year. For the subsequent tour Scott has managed to employ some of the strongest session musicians in the industry, all who were involved in the recording of the album. More to the point musicians compliment Scott himself and "the fellow that fiddles" (Steve Wickham) has resulted in what must be the strongest Waterboy’s touring band yet.

The current line up has legendary Muscle Shoals session player David Hood, at the tender age of 72, on bass guitar. Memphis Tennessee keyboard player extraordinaire Brother Paul, Austin resident and member of Black Joe Lewis and The Honeybears Zach Ernst on lead guitar and Professor of Music at the Royal Academy of Music, Ralph Salmins on drums.

The Vicar Street show could very well be described as a homecoming welcome for Steve Wickham. Taking the stage sans Wickham the band launch into Destinies Entwined, the powerful opening track from Modern Blues. Midway through the song and to rapturous applause, Wickham dances on to the stage and launches into an electric fiddle solo together with his customary twirls. At this early stage you get the feeling it’s going to be a very special evening.

Still a Freak and A Girl Called Johnny follow in quick succession together with a glorious rendition of We Will Not Be Lovers. Scott then dedicates Nearest Thing to Hip to the disappearing independent record stores and coffee shops and displays a photograph of a coffee shop off Harcourt Street that he used to frequent in the 80’s. "Best breakfast in Dublin, particularly when you staggered in at 2am"he professes.   

"That’s enough rock and roll, we’re going to slow things down a bit" Scott announces tongue in cheek before a blistering delivery of Medicine Bow from This is The Sea. The band members then exit stage leaving Scott and Wickham to perform an extended version of Don’t Bang the Drum.

What is particularly evident throughout the show is how well the newer material works live. Of course favourites such as The Whole of The Moon and Glastonbury Song are particularly well received. However, the highlight of the set is the final song Long Strange Golden Road, the ten minute closing track on Modern Blues. The musical exchanges between Wickham and Brother Paul are as breathtaking visually as they are musically all evening but excel here as the song merges into the Solomon Burke song Everybody Needs Somebody. The encores that follow are Fisherman’s Blues and a sublime delivery of Purple Rain.

Apparently Mike Scott decides at each show whether or not the audience deserve a second encore. Vicar Street on Thursday 5^th November was most definitely a second encore evening.

Review and photography by Declan Culliton

Krista Detor @ Ballymore Eustace & Whelan's, Dublin 12/13th October.

Two gigs in two nights and each very different in nature; yet both equally compelling. A regular visitor to Ireland, Krista Detor plays in the hope of reaching a wider audience and her sublime song-writing and musical prowess certainly merits greater attention.

Ballymore Eustace is a small town and the local pub Mick Murphy’s Bar is a challenging venue in which to fit three musicians, their equipment and an enthusiastic audience, some new to the music and some who jumped at the chance to see Krista Detor in such an intimate setting.

Dublin is different with the upstairs venue at Whelan’s bringing a quieter mood with less banter between artist and audience. What is evident however across the two shows is the ease with which Krista Detor communicates with and shares energy with those present.

Her new release, Barely, is partly the reason for this Irish tour and the new songs sound wonderful, with an immediate appeal in both melody and structure to stand alongside her existing body of work. They gently settle into the collective conscious with an ease that says ‘we have been here all along …'

The title song is a reflective tale of love in need of rescue and Can I Come Over, For All I Know, Castle in Wales and All the Calls are also songs from the new release that contain much to recommend them with interesting words and arrangements. The feel is one of stripped back colours, with plenty of room and space for the musicians to play in between the overall textures.

Belle of the Ball, Hear That, Red Velvet Box, Always Somewhere are included from a previous release, Flat Earth Diary. We are also treated to Recklessness and Rust, Deliver Me, Clock of the World, Middle of a Breakdown, Lay Him Down and Icarus from earlier albums.

Mudshow and Steal Me a Car are two older songs that are well received along with a great crowd pleaser. A Year Too Long a wickedly funny vignette about a relationship gone wrong, complete with various family guests.

David Weber plays acoustic and electric guitars to great atmospheric effect, coming in and out of the arrangements perfectly to reflect the mood created by Krista on either keyboard or accordion. Mike Lindaur plays fretless 5-string bass guitar in a laid back style that grounds the songs and provides the base for the melodies to weave their magic spell.

Krista Detor is a rare talent in an industry that is overcrowded with artistic wanabees. Her literary gifts are equally matched by her song craft and musicianship and she sings in a voice that can be sweetly seductive, yet capable of great power when she opens out her full range.

Both gigs were celebrated with lengthy applause and the special feeling that perhaps we are seeing his artist at a time before her creative muse explodes upon bigger stages.

Review by Paul McGee    Photographs: (Top) Paul McGee (Bottom) Vincent Lennon

Eric Taylor @ Live at the DC Club, Dublin - Friday 25th September 2015

Returning to Ireland for the first time in a few years, Eric Taylor plays to an audience of long time admirers at this intimate city centre venue. His finger playing style is somewhat compromised on the night with the loss of his favourite picks ,but he soon puts such setbacks behind him to deliver a show of understated skill and sensitive touch in a 'less is more' performance that has the hushed room hanging on his every move.

Sitting in a chair and thumbing through his song book while tuning his guitar, Taylor speaks of his past in extended and elaborate storytelling, punctuated by an occasional grin and laugh while he remembers a specific moment.

His interest in the lifestyle of vagabond troubadours who never really found a settled home, colour his songs and the characters that he captures in the lyrics he writes. He sings about the free spirits and characters of the independent highway, living a code that defers to no man. His tales of whiskey nights and mornings of regret are the stuff of novels and short stories from the parts of living that only brave or crazy men inhabit.

Texas, Texas tells of adventures with Townes Van Zandt in a storm and of riding borrowed horses. The song, Strong Enough for Two references the fragile journey from Mexico City to Houston Medical Centre of a little boy and his family, hoping for a miracle cure and was the subject of a documentary in 1981.

Prison Movie is a song about a life spent behind bars and having to walk always in a line as an inmate. Cover These Bones (a Tim Grimm cover), Reno and Adios are taken from his latest release and visit such areas as Native Indian inequality, failed relationships and dangerous men who turn to a life of crime.

'Carny' is a slang term used in North America for a carnival employee, nomads on the highway of life and such is the restless spirit. He speaks of his early days in the Circus with a fondness and a longing, remembering them as the happiest of days. The song Carnival Jim & Jean captures the bond of such relationships, if not the almost claustrophobic nature of spending too much time together.

Louis Armstrong's Broken Heart tells of the great man at the twilight of his career and the sadness of seeing him used as some dressed up prize. Dean Moriarty is a look at the Beat Generation, inspired by Kerouac in aspiration and hippie ideals, heading out West in search of some illusory American Dream. A cover of Where I Lead Me by Townes Van Zandt is particularly moving and the nameless faces who toil for the simple basics of life are shown compassion and understanding in these vignettes as penned by Eric Taylor.

A Texan storyteller with a fine body of work to his name, Eric Taylor is a very accomplished guitar player and song writer and this was an absorbing night of music and tales that are long removed from the daily experience of Dublin inhabitants on a night of reflection and wistful memory.

Review by Paul McGee. Photograph by Vincent Lennon.

Tom Russell @ Live at Whelan’s, Dublin - September 27th 2015.

Tom Russell says that there are only two real scenarios when it comes to storytelling; either a man goes on a journey or a stranger comes into town. This may well be true and it strikes me that Tom Russell is both of these characters – a troubadour of the roads and an artist who visits various locations for a brief stay, before slipping away to the next stop on his personal journey.

Two years since his last appearance at Whelan’s this irrepressible talent returns with a powerful performance that includes all his usual banter, bluster, humour and insight.

Joined by the very impressive Max Di Bernardi on guitar, Tom Russell delivers two sets of stirring and reflective songs that has the capacity crowd smiling broadly and applauding vigorously.

Ever the showman, Russell is like a circus ringmaster as he announces songs with preambles full of interesting asides and stories. The first set is entirely taken from his latest release, the epic Rose of Roscrae, a western folk opera that spans some 25 songs and clocks in at 2 hours of listening time. It is certainly an epic work and he takes us through a whistle-stop tour of the main events in the 8 songs chosen to give a flavour of the tale.

Thought provoking and full of fascinating storylines, the content of Hair Trigger Heart, Johnny Behind the Deuce, Guadalupe, Tonight We Ride, Jesus Met the Woman at the Wel, I Talk to God, He Wasn’t a Bad Kid When He Was Sober and the title song, are all received like old favourites and the pace of the performance is full throttle as Russell and Di Bernardi deliver a stirring guitar tour de force, full of fluid playing, driving rhythm and some dynamic solo work from Di Bernardi.

Putting in a strong second set is key to the overall mood on the night as Tom visits his back catalogue with favourites such as St Olav’s Gate, Blue Wing, Stealing Electricity, Navajo Rug, Who Will Build Your Wall, When Irish Girls Grow Up, East of Woodstock, West of Vietnam - all taking a turn to raise the atmosphere created among those present to witness this talent at play.

A version of Raglan Road is particularly moving and the beautiful Finding You, dedicated to Tom’s wife, is sung with a real tenderness and vulnerability. There are songs dedicated to family members, some of whom are present, to Donald Trump in all his crazy actions and to the ensemble of musical talent who have given their time and energy to the new project, The Rose of Roscrae.

Tom is a fine guitar player and his easy onstage manner adds hugely to a most enjoyable experience. Regaling the crowd with shouts of ‘Ye Bastards’ between songs brings much laughter and response from the audience and Tom handles everything with great aplomb and a smile that shows he is always in control.

A walk on the wild side, a trip down colourful streets, an artful glance at life in all its vicissitudes and a nodding wink at the randomness of it all.

Welcome to the magical world of Tom Russell; song-writer, painter-artist, novelist-writer and a performer who has left an enduring mark upon this Earth.

Review and photograph by Paul McGee

Americana Music Festival, Nashville - 15th to 20th September 2015

Tuesday 15^th September. An announcement at United States Immigration at Dublin Airport that their server has crashed is not the ideal start of the adventure, particularly when you are flying to Chicago with a sixty minute turnaround for a flight to Nashville. 

After an hours delay the systems are up and running again and we are boarded for the flight to Chicago. Relief all around when the pilot announces that flying conditions are ideal and he expects to land as scheduled which he duly does. An hour later and we are aboard for the short flight to Nashville from Chicago as scheduled. 

I and my, annually increasing entourage, discovered The 3 Crow Bar in East Nashville at last year’s festival and subsequently arranged accommodation close by for this year’s festival. The neighbourhood bar in the fashionable Five Points area became a meeting place for food and beers and night caps. East Nashville has been rejuvenated from what was a quite seedy area ten years ago to a very upmarket and hipster area in recent years. It’s fair to say that most of our group are more hip replacement than hipster material but the laid back and bohemian scene is more appealing than the commercialised and touristy accommodation available downtown.

Tuesday night for your Lonesome Highway scribe kicks off the festival with a visit to Basement East in East Nashville, a mere ten minute stroll from the 3 Crow Bar. The evening’s event is titled Sin City v Guitar Town and features The Bottle Rockets, Jesse Dayton, Jonathan Tyler, Keith Gettis and Aaron Lee Tasjan & Friends.

Aaron Lee Tasjan's friends include Lilly Hiatt guesting on vocals and acoustic guitar, Megan Palmer on fiddle and backing vocals, Kevin Gordon on rhythm and lead guitar and Nikki Lane on vocal. The set develops into a wonderful jam session with nine musicians on stage. The Bottle Rockets end the evening with a stirring set of heads down rock 'n' roll and include favourites $1000 Car and Trailer Mama in their set as well as material from their latest album due for release later this year. A rocking’ start to the festival and great to reunite with friends we met in previous years including WHFB Indiana Radio DJ Angela Backstrom, her husband Al and friend Ann Marie. 

Despite the late night and loss of six hours crossing the Atlantic it’s an early 7am rise on Wednesday morning and a stroll around East Nashville in the beautiful early morning sunshine.

To satisfy the insatiable appetite for CD’s and vinyl collection among our group a drive out to some of Nashville vintage music megastores follows. The Great Escape at 5400 Charlotte Avenue, specialising in second hand CD’s, vinyl, magazines and books, is the first port of call. With thousands of albums price at $0.99 the weight restrictions on American Airlines are most certainly going to be difficult to observe. 

Not content with considerable purchases at Great Escape our next destination is McKays Nashville at 636 Old Hickory Boulevard for more rooting. McKays is even larger than The Great Escape, think of your largest Tesco store and you’ll get a feel of the proportions involved. 

Preparing your schedule in advance of the festival is essential as the choice of acts is mind blowing. Having said that, regardless of how meticulously you prepare you'll always encounter a curved ball when you hear of an additional gig being thrown into the mix at the last moment or a performance at a local bar not necessarily part of the festival.

It's intended to make Cold & Bitter Tears late afternoon show on Wednesday at The Tin Roof to catch Mary Gauthier and James Mc Murtry perform songs from the soon to be released Ted Hawkins tribute album. Disappointingly the non-availability of taxis and the prospect of a ninety minute walk in 30 degree heat from East Nashville results in the venture being abandoned.  With a few hours to kill before the evening gigs it’s decided to check out small craft brewing house The Jackalope Brewing Company on 8^th Avenue. The disappointment of missing the earlier show soon dissipates after a few pints of Leghorn Rye Indian Pale Ale. 

Wednesday evening’s choice of venue is The City Winery for performances by The Contenders, James Mc Murtry and Patty Griffen. The City Winery opened its doors last September and is the most upmarket of the venues used during the festival. It's best described as a music restaurant with table seating only and waiter service unlike the majority of the other venues which are standing only or limited seating. Despite the lack of atmosphere and somewhat sterile environment both McMurtry and Griffen's sets are top quality. McMurtry, not renowned for on stage banter, excels with a solid set taken from Complicated Games, released earlier this year. Copper Canteen, You Got Me and Carlisle’s Haul stand out in particular. 

Patty Griffen playing acoustic guitar and piano is accompanied by David Pulkingham, universally considered to be one of the best guitarist in the industry. Her set concentrates on material from her recent album Servant of Life, offering a mixture of gospel, blues and country all beautifully delivered with her unique vocal. New material is delightful and justifies the positive reviews the album has been earning.

Thursday evenings schedule brings us to Cannery Row, about a ten minute walk from downtown Broadway. With three venues under one roof, Cannery Row, The Mercy Lounge and The High Watt and fifteen acts on offer we start the evening with The Stray Birds at The Mercy Lounge. Recent visitors to Ireland, they are a three piece from Lancaster, Pennsylvania who feature superb harmonies and playing, very much styled on a Gillian Welch /Dave Rawlings theme. They entertain with some cover versions, new material and a rousing finale of the title track of their recent album The Best Medicine. Local residents and Caitlin Rose’s backing band Los Colognes follow and transport us back to the days of the Allman Brothers with their high charged and hugely enjoyable set.  

Next up at the same venue is the delightful Lera Lynn and her band. Lera has recorded two quality albums in recent years and was commissioned by T Bone Burnett earlier this year to compose and record material for this season’s True Detective series. She also performed on the Letterman Show this year exposing her talent to a wide audience. Having seen her perform at the festival in previous years to small crowds it’s refreshing to see a full house for an artist who records such quality material and tours continuously. Her set includes My Least Favourite Life from The True Detective series and a number of songs from an album she is currently working on together with Out to Sea and Coming Down from her last album The Avenues. Lera also tells us that she intends finally to make it across the pond in January to the U.K. and hopefully also a show in Dublin. One to watch out for.

Next door in The High Watt we are treated to slide guitars, exquisite harmonies and fifty minutes of mid 70’s southern rock from Winnipeg’s finest The Bros. Landreth before the dash back downstairs to catch the second half of Honeyhoney’s set.  

Friday afternoon finds us in Broadway at the Acme Feed and Seed bar to catch a few acts not originally featured in the festival programme. Luther Dickinson, later in the evening to feature in Jim Lauderdale’s band, plays a stormer of a set with the tightest band imaginable which features local legend and session player Fats Kaplin on fiddle. Dickinson is the son of Memphis pianist and producer Jim Dickinson and a member of The North Mississippi All-stars and his blues guitar style is as good as it gets. Unfortunately due to time restraints it’s only possible to catch the opening numbers from Lilly Hiatt and her band before heading down to 3^rd and Lindsley to nail a position up front for what has been my most eagerly anticipated evening of music at the festival. The collective line ups every night at the various venues are mouth-watering but the Friday night offering at the 3rd and Lindsley is, for me, unparalleled. Commencing with Sam Outlaw (interviewed in Lonesome Highway in August) followed by Lee Ann Womack, Whitey Morgan, Jim Lauderdale and Uncle Lucius.

The quality line up understandably attracts a full house. Sam Outlaw is an artist in the ascendancy which is understandable after witnessing his slick forty minute set. The Los Angeles resident is backed by superb Nashville sessions players and performs material from his latest album Angeleno, produced by Ry Cooder. His is coolness personified, looks the part and says all the right things. It’s heartache and love gone wrong all the way and a throwback to 60’s traditional country. The stand out songs from the album Who Do You Think You Are? and the title track sound even better live and there is no doubt that Sam Outlaw has the talent to follow a similar path to Sturgill Simpson in respect of commercial success and recognition in the coming years.

More used to performing to audiences multiples larger than this evening Lee Ann Womack's set is absolutely stunning. Justifiably renowned in the industry for her warmth and personality not withstanding one the best female country vocalists, her sixty minute set includes a broad range of material from her career. She kicks off with Never Again, Again from her debut album but it’s the material from her Grammy nominated 2014 album The Way That I'm Living that is particularly impressive. The stripped back songs on the album allow her angelic vocal to dominate and her delivery of Send it on Down and the title song are to die for. A highlight of the festival for me without doubt. Whitey Morgan and the 78’s that follow are hard hitting Texan hard-core country. Beards, long hair, denim, tattoos, cowboy hats and volume dominate the stage and we are served up songs of trains and cocaine. A hard hitting, powerful, dust kicking set that is a complete contrast to the previous artists but none the less enjoyable. 

The Jim Lauderdale slot that followed is also an unexpected diversion. Jim takes the stage immaculately dressed in blue pin striped suit and floral red shirt to announce that he's going to do things a little different this year. His entire set is based on his forthcoming double album of Memphis blues entitled Soul Searching and his band also features a horn section. Luther Dickinson, seen earlier in the day at Acme Feed and Seed, excels on guitar. As expected the quality of all the playing is top drawer but equally impressive is how well suited Lauderdale's vocal is adapted to this latest venture. The material is also so impressive and reinforces exactly how talented and versatile the man is. As usual Jim comes out to the audience after his set for handshakes, hugs, photos and chats.

The venue thins out to very small numbers by the time Uncle Lucius hit the stage for the 12am slot with many punters heading to The Mercy Lounge to catch the American Aquarium gig. We decide to stay put and despite the small numbers in attendance we are treated to a glorious full on bluesy set by the band. A fitting finale to five hours entertainment of the highest quality.

Saturday morning finds the author been driven to West Nashville to be measured for a bespoke western shirt. The shirt in question is a Christmas present from the family and is being designed and tailored by Janet Aspley of Dandy & Rose. Janet, who lives and operates Dandy & Rose from Lewes, Sussex, is in Nashville both for the AMA’s and to continue her studies in the fashion industry. She has designed and tailored shirts for Jim Lauderdale, Rod Picot, Danny Wilson of Danny and The Champions and numerous private clients and is such a wonderful designer, seamstress and an example of someone who adores what she does. It was a pleasure to finally get to meet Janet and where better to get measured for the shirt than Nashville.

The trip out to Oakhill, where Janet is staying, is not uneventful, to say the least. A stubborn sat nav directs us to the most luxurious and upmarket estate imaginable with detached mansions situated on acres of manicured lawns and exquisite landscaping. We spend twenty minutes driving around the estate trying to locate No.844 and finally in desperation head out to the main road again to regroup. Eventually we are redirected to an adjacent estate and locate the correct house which is located a few fields away from where the sat nav had previously brought us. It transpires that Martina Mc Bride and other celebrities reside in the upmarket estate.

Saturday afternoon’s choice is the Bootleg BBQ-UK Underground at The Groove record store in East Nashville. Each year the UK is represented at the event together with some American acts. This year’s UK acts are Martin Harley, Lee and Leigh and The Dreaming Spires who are particularly well received. Free BBQ and beer are on offer sponsored by the organisers which is greatly appreciated. The beers on offer, it transpires, are 7.3 and 6.4 per cent alcohol content and understandably have the punters in good form in the glorious sunshine.  The afternoon also featured sets by Frankie Lee and another chance to enjoy outlaw Whitey Morgan and the 78’s who has also played the previous evening at the 3^rd and Lindsley. With multiple choices for the evening’s schedule we decide to stay local and head to the Basement East for Oh Pep!, Crooks, Sarah Potenza and JP Harris to round off what has been another cracking day’s entertainment.

Ok, so here's the deal. You're invited to a Sunday outdoor party which includes complimentary food and beer together with entertainment by a number of bands. You're also likely to be shoulder to shoulder with a number of renowned musicians and music industry folk. Can't be bad.

Such an invitation was extended by East Nashville resident and honky tonker JP Harris when he hosted his annual back yard party at The Fond Object record store in East Nashville on Sunday 20th September, the last day of the Americana Music Festival. The party is aptly titled Sunday Morning/Coming Down and is attended by festival punters, members of the local music community together with many artists who had performed at the festival. JP prepares and cooks endless portions of gumbo which he personally serves to all the guest. He also manages to introduce all the artists before performing a storming set with his crack band. Nikki Lane and Shelly Colvin join him on backing vocals for the second half of his show.

The afternoon also features sets by Luke Bell, sounding like a young Wayne Hancock, instrumental duo Steelism, Shelly Colvin, showcasing her about to be released album and finally JP and his band The Tough Choices. A rousing version of Sunday Morning Coming Down with vocals by JP and guest Nikki Lane appropriately closes the afternoon’s party in style.

It is so pleasing to see so many musicians including Robyn Hitchcock, Anne Mc Cue, Parker Millsap and many others listening to the acts and mingling with the crowd. A great reminder of how the music community in East Nashville operates and how supportive they are of one another.

After such a stunning afternoon in the brilliant sunshine enjoying the music, company, bands, beers and gumbo it's time to head downtown to the 3rd and Lindsley for the final show of the festival which features Jay Farrar performing the songs from Son Volt’s Trace, recorded twenty years ago. The support act is Parker Millsap and the show is being recorded live on Lightning 100 Nashville Radio. Farrar’s band consists of Eric Heywood, who played on the original album, on pedal steel with multi-instrumentalist Gary Hunt completing the three man band. To witness this performance in such a small venue is memorable, particularly stripped down versions of Drown, Windfall (featuring two pedal steel players) and Too Early.

A fitting end to six days of wall to wall music including daytime events, outdoor parties, barbecues and evening showcases.

The cost of a wristband to attend all the showcase gigs and parties at the festival is the princely sum of $50. Punters who wish to attend the Americana Awards Show at The Ryman need to join the association which costs in the region of $350 but includes entry to conferences and various industry related events throughout the week.

Looking forward to next year already.

Overview diary and photographs by Declan Culliton