The Worry Dolls @ Workman’s Club, Dublin - Mon 25th Sept 2017

This talented duo comprises of Rosie Jones and Zoe Nicol, who originally met at Liverpool University and have been playing together for a number of years, culminating in the release of 2 previous EP’s and their debut album, earlier this year. The ten songs included on Go Get Gone have been receiving widespread acclaim and their decision to uproot to Nashville and record with local musicians has really borne fruit.

So, with an increasing media hum surrounding them, the Worry Dolls come to Ireland for a short tour that sees them play a number of dates around the country. The audience in Dublin is disappointing and indicative of an increasing reluctance to seek out new music that has been all too prevalent in the city over recent months. It is unfortunate, to say the least, as talent like this really deserves a greater platform – hopefully the rest of the tour will see increased numbers coming out to support live music.

The set tonight includes the debut release in its entirety and it is great to hear these songs played in such an intimate setting, stripped down and without studio production and other musicians in the mix. There is a real energy and vibrancy about Rosie and Zoe as they deliver rousing versions of their songs on guitars and banjos, together with some very tasteful harmonica parts from Rosie on certain songs. She also plays a percussion board during the songs that adds a rhythm and tempo to the beautiful harmony vocals and interesting song structures.

Make no mistake, these musicians are going places and have the right attitude and work ethic to get them there. All the songs are written from personal experience and visit such topics of taking chances in life; Train Leavin’ & Endless Road, together with relationships sacrificed; Miss You Already, Don’t Waste Your Heart On Me, and growth through lessons learned; She Don’t Live Here and Passport. Things Always Work Out is something of a mantra for how they approach life on the road and some older songs are also given an airing; Long Gone and Be So Cruel.

We get a sneak-peek at a new song called Tidal Wave, currently in construction, which sounded rather tasty too … The encore is another old number called Drive (Zoe on Ukulele was a treat) and the girls finish up the evening with a smile and a thank you to those who witnessed their first gig in Ireland. Hopefully it will not be their last visit to Dublin and the joy in the performance of these very talented artists is reminiscent of the best in folk & country traditions.   

Review and photograph by Paul McGee

Slim Cessna’s Auto Club @Whelan’s, Dublin - 21st Sept 2017

This was the sound of a band firing on all cylinders (to use the auto analogy). Slim Cessna’s Auto Club were making their Irish debut to a less than desireable attendance number. This was a show that should have been packed and no-one who was there will forget the exhilaration of the evening. Despite the small numbers there they gave a show that was worthy of a much bigger audience. Entering the venue and seeing the banjo’s, upright and pedal steel onstage one might expect something very different than what was actually about to occur. If you put country, country blues, blues, gospel, punk, folk, rockabilly and Radiohead into a blender you might get something like this coming from the PA.

Slim Cessna, Munly Munly, Lord Dwight Pentacost, Rebecca Vera, Ian O’Dougherty, Andrew Warner are the current line-up and they are a tight focused set of musicians who deliver a show that is part revival, part tent-show-but full on entertainment. The first three have been consistent members of the band for nearly twenty years and work together as a well oiled machine. Slim is tall and acts as master of ceremonies. Ceremonies that are equally focused on Munly Munly skeletal thin all black, fedora hatted look. His voice ranges from a whisper to a keen falsetto to a gave deep growl. Don’t mistake this for something contrived rather this is the development of some deeply rooted vision of redemption and temptation. 

Throughout the show there are lyrical references to Satan and to Jesus as well as to a way of life that is partly influenced by living in Denver, Colorado  and its environs. Munly Munly is the chief writer in the band and his words give the band their defining outlook on life (and death). While Cessna and Munly share the lead vocal they are joined by Pentecost and Vera on the choruses. Vera plays the pedal steel guitar in a way that makes it something far more sonic than is usual. At different times she uses both a drum stick and violin bow to draw different atmospherics from the strings. She also plays a keyboard to further add to the band’s arsenal of sound. In this she is joined by Pentacost on his trade mark Madonna-imaged twin neck guitar as well as coaxing discordant feedback from his 5 string banjo. However it is, naturally, the two lead singers whose voices and moves that are an essential element to their uniqueness. Their voices assuming a sense of harmony that relates to traditional church shape note singing - even if in a very different context. They also ventured into the audience to shake hands with it’s members and to get us all down on our knees along with them in beer and supplication.

Much of the material is taken from the most recent album The Commandments According to SCAC but some older favourites such as This Is What We Do In The Country and Jesus Is In My Body - My Body Has Let Me Down. In many ways the titles don’t matter this was a complete show from start to finish. And what a finish. After leaving the stage the band returned for a much deserved encore which saw all the band members onstage in a row singing and clapping along to a prerecorded rhythm track. Then then began to pack up their instruments as Slim Cessna sang a karaoke version of For The Good Times. He then thanked us for being there on the night. Slim, the thanks were all ours as this was a night that will rank with the best that live music has to offer.

Review by Steve Rapid  Photography by Kaethe Burt O'Dea

Aubrey Sellers and Dylan LeBlanc @ Whelans, Dublin - 14th Sept 2017

Expectations, especially when it comes to live gigs are, well, quite often confoundedly the reality of what actually takes place. Having listen to, and enjoyed, the most recent albums by both of the artists playing tonight there was a distinct difference between tonight live shows and those albums. 

First up Aubrey Sellers delivers a set of songs largely taken from her debut album New City Blues She is accompanied by her guitar player (from Nashville) and a  drummer, who she tells us she picked up in London and got him to play country music. Well, from where I was standing, you would be hard pressed to call the sound coming from the trio anything remotely “country.” Not that there was anything wrong with that. The album is an edgy and at times rocky confection with strong vocals and lyrics. Something that she has dubbed “garage country.”

In this context I found both the guitar and her vocals pretty much drowned out by the bombastic drum sound. Sellers is a good singer who can obviously straddle the divide between country and rock with ease. Her version of Gram Parsons’ Luxury Liner (a song that she told us pretty much was the story of her life) showed that her guitar player could embrace twang as well as garage treble. However both played second fiddle to the drumming. A pity overall as Sellers with an acoustic or with the addition of the electric guitar would have been a more effective introduction to her live show and such strong songs like Liar, Liar. Tonight the vocal, electric guitar and drum combination failed to connect.

Equally at odds with the bulk of his recorded work was the powerful set from Dylan LeBlanc who was playing with members of the band The Pollies and celloist Courtney Blackwell. She and guitarist Jay Burgess were fundamental to the sound which was completed by bass, drums and keyboards as well as some energised electric guitar playing from LeBlanc himself. His distinctive, high register soaring vocals were the centrepiece of the show. Even though it was difficult to hear the lyrical content, mainly due to the reverb on his microphone and the volume the band played at. Many of the songs were taken from LeBlanc’s three albums. The latest of those Cautionary Tales was released in 2015 so a new album is due and it is likely to be much more in keeping with the hard rock of tonight’s show.

Mid show there was an extended song that became a cathedral of sound the built to a peak of intensity, control and conscious melody. LeBlanc introduced one song as a new one before adding “ you probably don’t know the old stuff so it doesn’t really matter.” Between songs LeBlanc didn’t chat too much but said his previous visit to these shores had been to a festival in Belfast. This was his Dublin debut and despite the somewhat sparse crowd he gave a great performance that was animated and full of attitude a swell as powerful and compelling music.

He switched to his acoustic guitar for one song mid-set but otherwise he stuck to his black Gretsch and showed that he is as talented a guitar player as he is singer and songwriter. He closed the show after a final encore telling the captivated audience “It’s been great, It’s been Dublin, It’s been fun!” After the show a fellow audience member summed up the general feeling: which was that what she had just heard wasn’t at all she had thought it would be but that it was, in it’s own right. something mighty and memorable. This, then, was a cautionary tale of keeping an open mind and being rewarded (in LeBlanc’s case) by something pretty special.

Review by Stephen Rapid  Photography by Kaethe Burt O'Dea

Nadia Reid & Julie Byrne @ Whelans - 30th August 2017

Twenty-four hours after the appearance of Courtney Marie Andrews at the same venue two more young female artists turning industry heads both grace the stage at Whelans. Equally encouraging is the impressive attendance for both evening’s shows, a welcomed reassurance that emerging acts are not going unnoticed.

Tonight’s double act features Nadia Reid and Julie Byrne, both having released albums earlier this year to positive reviews and both signed to the Basin Rock record label. However, the comparability ends there.  Label mates they may be but their music, styles and personalities are from different ends of the scale. In classroom vernacular Byrne might be seated in the front row, attentive and impeccably behaved with visions of an academic career on the horizon. In contrast Reid would most likely be at the back, restless, disruptive and questioning, possibly firing paper bombs at the front row and counting down the days until she could break out and pursue a more challenging and nomadic lifestyle.

Slipping quietly on to the stage Byrnes demeanour in keeping with her song writing is laid back, wistful, somewhat anxious and unhurried, almost as if she would prefer not to be noticed. Seated throughout her set she expresses her delight at playing at ‘the legendary’ venue and adds that her father is Irish before starting her set with Sleepwalker and Follow My Voice, both from her latest album Not Even Happiness. Her vocal is low pitched, disciplined and relaxed, complimenting her delicate guitar playing. Welcoming her close friend Taryn Miller on stage to accompany her on Korg Mini Moog she continues with Melting Grid from the same album before visiting her debut album with the track Prism Song. Towards the end of her set she asks for the house lights to be dimmed and appears more comfortable on the darkened stage introducing Natural Blue. Her final song I Live Now As A Singer is inspired by travel, reflection and self-determination. Byrne possesses the lyrical ability to create dreamy trancelike landscapes even if her material suffers from time to time from possibly being one dimensional.

Nadia Reid’s studio output to date has consisted of her debut album Listen To Formation, Look For Signs, which dealt head on with personal heartbreak and love lost, and her current release Preservation which found Reid growing from her experiences and coming out the other end reconciled, confident and fighting. If Julie Byrne’s set, body language and material could be described as monochrome, Reid’s was in technicolour. With both microphone stands adorned by bunches of pink roses she takes the stage confidently, colourfully attired in a black blouse and matching coloured harem pants, her guitarist and occasional backing vocalist Sam Taylor equally looking the part in a two-piece tailored suit and plastic boot lace neck tie. Picking up her Gretsch guitar she immediately launches into Preservation and The Way It Goes, two obvious crowd pleasers notwithstanding the fact that her vocal is somewhat drowned out by the powerful sound of her guitar. Explaining that she is now performing show twelve of a thirty four date tour – and convinced that it’s actually Thursday rather than Wednesday – she switches to acoustic guitar for Runwayand Right On Time, both delivered beautifully, bringing her vocal out front where it deserves to be.

Reach My Destination she explains was inspired by reaching the rock bottom status of moving back home to her mother’s house in Port Chambers after a relationship breakdown. The song is underpinned by stunning guitar playing by Taylor, matched equally by his playing on Hanson Street, Part 2.

An unfortunate juncture during the performance found Reid, visibly disturbed, having to pause mid song and call out a couple of people that insisted on talking during her performance – why do ‘talkers’ always position themselves upfront – and while succeeding in shutting them up she did appear noticeably unsettled for quite a while before regaining composure. Ruby, Track Of The Time, Hanson Street Part 2 also featured together with an audience request for Richard before closing with The Arrow and The Aim. Reid made a point of thanking her close friend and producer Ben Edwards for the inspiration and encouragement in the recording of Preservation. Interestingly she did not reappear for an encore, possibly still unnerved by the mid set distraction.

Ironically, printed on the flip side of Reid’s hand-written set list at the front of the stage was the following ‘I Want Freedom For The Full Expression Of My Personality – Mahatma Gandhi’. No truer words could sum up the exceptionally talented young New Zealand artist.

Spare a thought for Jim Ghedi, another Basin Rock recruit, who opened the show. The young Sheffield folk singer’s band members failed to make the gig due to transport problems leaving him to borrow equipment and perform solo. Given the trauma he performed remarkably well.

Review and photography by Declan Culliton

Courtney Marie Andrews @ Whelans - 29th August 2017

This was not Courtney Marie Andrews first time to play Whelans. She explained that she had come over on the ferry as a teenager having been advised to play the venue by an Irishman of her acquaintance and ended up performing to a couple of people in the public bar before heading right back to the UK on the ferry to do some further busking. This time around there was substantially more people there to see her perform and on the basis of her stunning show a larger venue may be required for her next visit. She was accompanied by her four piece band and delivered a set that was considerably more electric and rocking’ than her studio albums and videos might suggest.

She opened with How Quickly Your Heart Mends from her most recent album Honest Life, already a contender for album of the year in many quarters.  Andrews pointed out that straight after this tour, which ends at The AMA’s Festival in Nashville,  she and the band would be going into the studio to record their next album and that these shows would act as preproduction.  In that light there were a number of new songs in the set, all well received by her fans who would likely be hearing them for the first time. Table For One, Put The Fire Out, 15 Highway Lines and the gorgeous Rookie Dreaming were included from Honest Life together with a selection of  songs from a previous album (On My Page) that had been rereleased by her UK label Loose Music to coincide with the tour. One of these songs, highlighting her skill as a songwriter, is titled Paintings From Michael and is performed solo by her at the piano having explained the story behind the song; that of an incarcerated relation who painted while in prison. Throughout the show her superb vocal ability was readily apparent handling both solo acoustic folk songs and full throated rock work-outs. She also displayed slick guitar playing skills with some delicate finger pickin’ on Woman Of Many Colours also from the rereleased album.

There was some banter between Andrews and the audience, a couple of whom who were effusive in their praise. Another moment was when she strapped on her electric guitar for the first time and someone quipped “Judas” to much amusement all round. At the end there was a tongue in cheek request for Smells Like Teen Spirit which the band briefly, but effectively, played the intro before finishing the set with the crowd pleaser Irene. The encores included a solo version of a new song Rough Around The Edges, which might be the title of the next album and an amped up version of Bob Dylan’s Tonight I’ll Be Staying Here With You, highlighting the versatility of the band.

There was little to doubt the skill of those on the stage. Andrews quipped that they were known as Courtney Marie Band when they played together and the fact that these were her long time regular players (who were featured on her recordings) gave them an undoubted collective ability to serve the songs in the way best suited to that moment of performance. It was also apparent that although, still only in her mid-twenties, Andrews has so much  to offer both as a writer and performer and with a number of album already under her belt has the potential to become a much more mainstream artist. The style and delivery of her newer material also suggested that her next album may be a departure to a fuller rockier sound compared to the more intimate style of the exquisite Honest Life.

Sound designer, audio engineer and musician Scott Hirsch filled the support slot splendidly with a thirty minute set which included material from his debut 2016 album Blue Rider Songs. A former bass player alongside MC Taylor in Hiss Golden Messenger, his style varied from laid back country soul to a fuller bluesy rock sound and his accompanying three piece band included American keyboard and guitar wizard Sean Coleman, currently residing in Dublin. Darkness, Blue Rider and his closing track Isabella were particularly impressive. All in all a great opener from an act more than worthy to be headlining himself. 

Review by Stephen Rapid and Declan Culliton   Photograph (at top) by Kaethe Burt O'Dea. (Below) Scott Hirsch and Sean Coleman by Declan Culliton

Grant Lee Phillips @ Whelans - 23rd August 2017

Edinburgh native Dean Owens, who supported Grant Lee Phillips, is a highly regarded singer songwriter whose album Into The Sea received glowing reviews when released in 2015 . A close friend of Phillips, his thirty minute set was the perfect opener for what was to follow. Not unfamiliar to all things Irish having toured here previously with The Mavericks and more recently with Sharon Shannon in Australia, he joked  early in his set of been taken by surprise by the pin drop silence of the audience at Whelan’s, in total contrast to the rowdy Irish entourage that followed Shannon around Australia. To his credit the quality of his material and his confident and entertaining stage banter engaged the audience throughout, even managing to get them to sing the chorus on his final song. Highlights of his slot were the opening song Valentine’s Day In New York, written in a hotel room while spending some time in New York without his wife, the Ryan Adams sounding The Only One and Cotton Snow inspired by a visit to the Carter House in Tennessee where The Battle of Franklyn took place during the American Civil War and where ten thousand soldiers died during the five hour battle. 

Grant Lee Phillips most recent album The Narrows, released some twelve months ago and his first recording since relocating to Nashville from California, matched the excellence of his early career recordings as Grant Lee Buffalo and much of this evenings show featured material from both ends of career to date. Interestingly, The Narrows and Fuzzy – released nearly twenty five years ago – both feature quite similar looping and atmospheric guitar playing together with his quite unique vocal range. It’s a great compliment to Phillips that this evenings performance, even though delivered solo, managed to recreate the power, quality and excitement of the material from both those albums in particular.

Kicking off with It Ain’t The Same Old Cold War Harry and One Morning, both from his 2009 album Little Moon, he pledges ‘to start the evening off nice and easy and end it up in a coma’ and over the following ninety certainly delivers a storming set ending the evening jacketless, bathed in sweat and elated.

For a creator of bittersweet and often doleful lyrics, Phillips himself is quite the contradiction on stage, upbeat, humorous and possessing the ability to effortlessly engage and enthral. Introducing One Morning he refers to his rural country childhood, open fields, cattle and roosters before joking "I heard you can buy washed and fresh roosters in the stores here and was scratching my head until someone told me we were talking about potatoes!"

Smoke and Sparks, Holy Irons and Taking On Weight in Hot Springs all from The Narrows follow, stripped back versions but all performed wonderfully. A similar pattern of playing a collection of songs from a particular album follows with two selections from Virginia Creeper, crowd favourite Mona Lisa and Josephine Of The Swamps, and three from Mighty Joe Moon, Honey Don’t Think, Happiness and the title track.

Explaining how his relationship and friendship with support artist Dean Owens started in California and continued in Nashville he invites Owens back on stage to join him on two covers, Gram Parsons Hickory Wind and Ramblin’ Man by Hank Williams, which features a striking guitar solo by Phillips.

The highlights of the evening however are probably his selections from the album Fuzzy. Phillip’s vocal delivery on Jupiter and Teardrop is stunning to say the least - soaring, dipping and echoing, aided by the excellent acoustics and engineered sound in the room. Audience requests are satisfied by two more from the same album, Stars ‘N’ Stripes’ and the title track Fuzzy, described by Phillips as his melodic nightmare, both bringing the house down.

The encore and closing track sees Owens back on stage taking the difficult chorus on a rousing Mockingbirds, with Phillips joking ‘you can sing the high notes, the ones I won’t reach having been travelling from London from 6am this morning’. It’s a fitting  close what has been a wonderful evening by an artist who remains every bit as passionate, entertaining and committed nearly three decades in to his career. 

Review and photography by Declan Culliton

Jim Lauderdale/Beth Nielsen Chapman @ NCH, Dublin - Sun 30th July 2017

JIM LAUDERDALE

Quite aside from his standing as a prolific singer songwriter, Jim Lauderdale’s reputation as best dressed artist in Nashville is beyond dispute. He most certainly cuts a dash taking the stage this evening togged out in a multi coloured Liberty print Dandy & Rose shirt and light green embroidered Manual trousers. The stage in a concert hall can be a lonely and unforgiving platform for an artist to perform solo but Lauderdale breezes through his set this evening accompanied only by his acoustic guitar, customary confidence and good humour.

Since his debut release in 1991 Lauderdale has released no fewer than twenty-eight albums, collaborating and working with the cream of country, bluegrass, roots, soul and rock including Rodney Crowell, Ralph Stanley, Elvis Costello, Robert Hunter, Nick Lowe, Emmylou Harris, Lucinda Williams and Buddy Miller.

Tonight’s setlist includes a selection of many of those collaborations and a selection of songs from his latest album London Southern, which was actually written five years ago but only finally surfaced earlier this year. The album was a labour of love, (excuse the Nick Lowe pun), explains Lauderdale later in the show, having been recorded with Nick Lowe’s band and production team.

Opening this evening with Three Way Conversation from his 1994 recording Pretty Close To The Truth and continuing with Midnight Will Become Day and The Hummingbirds from the album of the same name it’s clear that the show will be a trawl through his imposing back catalogue rather than concentrating on his latest album. This Changes Everything, released in 2016, found Lauderdale revisiting his love of the  Texas ‘Red Dirt’ Country sound  and the title track comes next followed by Drive from the same album, a stunning  co-write with the young Texan troubadour Hayes Caryll.

Lauderdale refers to his opportunity to work with bluegrass legend Ralph Stanley and The Clinch Mountain Boys as one of the musical highlights of his career and proceeds to play Lost In the Lonesome Pines and Feel Like Signing Today, both being title tracks of the two albums recorded with Stanley. It’s difficult to perform bluegrass songs solo acoustic but he manages to do both songs more than justice before an impressive a Capella delivery of the gospel song Like Him.

He seeks out audience requests, "songs that I’ve written please, no Wonderwall or even Cosi Fan Tutte given our surroundings in this beautiful Hall!" The King of Broken Hearts, a song inspired by two of his heroes George Jones and Gram Parsons, is requested and duly delivered.

At this stage Lauderdale explains that’s its twenty-five years since he first played Dublin, "my favourite city to tour", recalling that the gig was in Bad Bobs and he was accompanied by his band Buddy Miller, Donald Lindley, Dusty Wakeman and Gurf Morlix. The response to that show, and in particular the praise by journalist Lisa Hand and musicophile Steve Averill, was a hugely encouraging and a significant confidence booster for his career going forward, adds Lauderdale.

Two songs from London Southern are included, both dedicated to the producers on the album Neil Brockbank who passed away earlier this year and Robert Trehern who died in 2015. The beautiful ballad Sweet Time is first up and followed I Love You More, possibly one of the strongest songs he has written to date. Delivered with immaculate discipline it’s one of the highlights of a most enjoyable set by an artist that always delivers whether in a solo show or accompanied by a band.

Finishing his slot with Headed ForThe Hills, co-written with Grateful Dead lyricist Robert Hunter, he insists the audience help him out by singing the chorus concluding what has been a typical engaging, entertaining and delightful Jim Lauderdale show.

Review by Declan Culliton

BETH NIELSEN CHAPMAN

A singer-songwriter and performing artist of some renown with a career that has spanned the decades; indeed, it is 27 years since her debut release in 1990. Of course, she was already active before this release and has written for a who’s who of major artists, in addition to releasing her own work. The names of Willie Nelson, Waylon Jennings, Crystal Gayle, Martina McBride, Mary Chapin Carpenter, Trisha Yearwood and Faith Hill are just a sample of the talent she has written for and her list of song-writing collaborations runs just as deep and too numerous to mention.

Filling in for the original artist Rodney Crowell who was unable to travel, Beth takes the stage with her trusted accompanist Ruth Trimble who plays bass and keys in addition to harmony vocals. In a set that ran for 13 songs Beth puts in a commanding performance with favourites from her song catalogue along with four new songs from a future release.

Ruth Trimble is invited to play one of her songs and sits at the grand piano to perform Goodbye, a beautiful track from her debut release. She shows all the reasons why Beth chose her as a touring companion with a fine performance that showcases Ruth’s beautiful voice and melodic touch on the keys.

Beth exudes a strong confidence on stage and chats easily between songs with stories about the writing process, relationships, touring and the current state of things. While not specifically talking about the situation in American politics, she does make reference to a lack of empathy and grace before singing the Paul Simon classic American Tune; a most appropriate and classy statement to highlight where her feelings lie. It is her ability to sing from the heart that separates Beth out from many of her contemporaries and her powerful delivery is utterly convincing on both guitar and piano. 

This Kiss, Sand And Water, How We Love and I Find Your Love are all received with great enthusiasm from the audience and Beth includes a song from her recent collaboration with Olivia Newton John and Amy Sky, Stone In My Pocket. She also sings a song written for Willie Nelson back in 1989, There’s Nothing I Can Do About It Now, adding great colour in the last verse by mimicking both Willie and Bob Dylan’s vocal delivery – both carried out with great aplomb.

Her final song of the evening is taken from an astronomy project she was involved with and is the gentle message that light exists everywhere across the Universe. The song is called There Is No Darkness and Beth leaves the stage to a standing ovation which is richly deserved. Beth Nielson Chapman stands at the pinnacle of her art as an accomplished artist of great insight and maturity. Her gift of communication is something to hold close and treasure. 

Review by Paul McGee   Photography by Ronnie Norton

Buddy Mondlock @ The Hot Spot, Greystones - Sat 29th July 2017.

This is a very fine venue, located at the marina in the beautiful setting of Greystones harbour. It is the perfect place to host live music with an intimate setting and the only drawback is that it must rely mainly on local residents for support, which is crucial to its survival.

The journey from the centre of Dublin is a long one and I am sure that many people have concerns over the return leg after the show has ended. However, it is well worth the trip as I discovered on Saturday last when Buddy Mondlock and Mike Lindauer performed a set that had the small crowd waxing lyrical about the talent on show.

At the end of an Irish tour, both musicians play with an easy style that comes from many years of playing together and Mike makes reference to the fact that they first met in the principal’s office at school when they were ten years old.

Playing a selection of songs that includes many fan favourites like The Kid, The Ugly One, Coming Down In The Rain, Mud, New Jersey Sunset, The Cats At The Colosseum and the regular encore No Choice, Buddy proves himself the consummate songwriter with his keen observations on life, love and everything in between. He has a gentle approach to both his guitar style and his vocal phrasing. Indeed, it can be quite hypnotic in a venue like the Hot Spot where the atmosphere is one of quiet listening and attentiveness. Mike plays beautifully on his custom-made bass guitar and compliments the soft vocal delivery with understated harmony vocals and subtle melody runs.

A few new songs are tried and well received, Come Back First, The Witness and Filament will no doubt appear on an upcoming release. Buddy co-writes a lot of songs and tells stories of his time spent in younger days writing with Garth Brooks. As their respective careers took different paths, Buddy waited for one of their co-writes to appear and this finally happened on The Chase (1992) when Every Now And Then was included. The royalties kept Buddy in comfort for some little time and also gave him the joyous experience of purchasing a brand-new car for cash … !

A word for support artist Martyn Travis who entertained with his quick wit and easy conversation. A natural storyteller, Martin comes from a fishing background and has known Buddy & Mike for many years, having originally met in New York. He is a fine guitarist with a clear voice and sings of Salt On My Skin, The Harbour Bar, A Father And A Son, A Place In My Heart and As This Night Becomes Day in a short set that impresses and makes a positive statement of intent for future outings.

Review and photo by Paul McGee

Chuck Prophet & The Mission Express @ Dublin & Belfast -July 2017

The Errigle Inn - 26^th July 2017

Glorious late afternoon sunshine suggested a relaxing road trip from Dublin to The Errigle Inn on the Ormeau Road in Belfast for the return to Ireland of Chuck Prophet and his regular touring band The Mission Express. Or so I thought. On approaching Belfast, a colossal rain storm seemed to appear from nowhere with deafening thunder and spectacular fork lightning as if to announce that Prophet had hit town. As it happened it was a fitting precursor to an enthralling and energetic show that exploded into action shortly after 9pm and continued relentlessly for the best part of two hours.

Prophet is gifted with the ability to write killer songs that tackle difficult issues and struggles whether social, political or personal yet always tinged with humour and an ‘let’s get on with it folks and try and treasure the good moments’ attitude. His current album Bobby Fuller Died For Your Sins, is his most political recording since Let Freedom Ring in 2009 and possibly his most sardonic, moving and uplifting. The album tackles political issues, laments the many lost musical icons in 2016, questions ongoing racism and class distinction in his home city, gun control (or lack of) and conspiracy killing. However, it’s an album that leaves the listener pensive rather than depressed or downbeat. It’s no surprise that his set this evening includes a large chunk of the album together with his customary crowd favourites and the odd killer cover to complete the setlist.

Prophet’s characteristic stage presence, often tongue in cheek, has all the moves, shapes, facial expressions and antics that makes his shows every bit as much a visual delight as a musical feast. Behind this window dressing is a guitar player to equal any in his genre and a band to match in The Mission Express -"the longest Mission Express line up that Stephanie and I have ever had and one that we want to last forever" he explains early in the show. He is of course referring to his wife Stephanie Finch (keyboards, vocals), James De Prato (guitar), Kevin T White (bass) and Vicento Rodriquez (drums) whose combined interaction is faultless throughout the show, as are Prophets frequent guitar solos, more often than not extended from the studio songs versions, delivered on his trusted white fender which he often comments can play the licks unaided at this stage it’s been around so long. 

The hilarious Jesus Was A Social Drinker, which got one of the biggest cheers of the night, had to be included in the set given the lyrics "Jesus wasn’t Irish, just imagine if he was. He might have written poetry and verse, And enjoyed a pint of Guinness every day for lunch." It’s funny, it's clever but also includes some serious input from Finch from her robotic cowbell intro to her brilliant keyboard solo which Prophet encouraged be played a number of times while he casually corrected a loose lead in his guitar amp.

The set had started off with an instrumental intro before launching (1-2-3-4!) into Bobby Fuller Died For Your Sins and kicking on with Fast Kid and Rider or Train. A maestro in terms of audience participation, only a few songs into the set list and he demands a call and response to Temple Beautiful  and from then on  has the crowd eating out of his hands encouraging or rather demanding people to get of their chairs and move.

Bad Year For Rock And Roll is dedicated not only to the musicians that passed away last year but also fittingly to Mohammed Ali, Harper Lee and the politically non-democracy that worryingly prevails, particularly in his resident country. He recounts how he was approached by an elderly gentleman after a recent show in Berlin who tapped him on the shoulder and simply enquired "Mr. Prophet, we’ve created history by taking down walls, why would your people even consider building walls."

Fittingly Barely Exist follows with Prophet reminding us of the hopelessness facing so many people on the southern borders of America and questioning why on earth they should not strive for a better existence by crossing borders to the prospect of basic survival for them and their families.

An extended adaption of In The Mausoleum (written for the deceased Alan Vega of electronic duo Suicide) features Finch sharing vocals with Prophet, who mid song slips his Fender over her shoulders encouraging her to let rip with some beautifully distorted feedback. We Got Up And Played, slowing things down for the only time in a full on set, is introduced as a true story of how unglamorous and difficult touring can be, sound men not showing up, loading in equipment on cold winter nights, long drives in cramped vans and poor crowds. A cover of Rank & Files Amanda Ruth also has Finch centre stage in front on the microphone again before a lengthened Summertime Blues with Prophet and De Prato splendidly sharing guitar licks. You Did with it’s expected audience input rolls on for the best part of ten minutes including a ripping solo by Prophet. Wish Me Luck see Prophet demanding the audience to vocally do exactly that and isn’t content until they drown out his vocal with good luck gestures and Willie Mays Is Up At Bat, a favourite of the baseball loving Prophet and always played in his shows, closes out the show.

Encores include the Howard Tate soul tour de force Shoot Em All Down and the Bobby Fuller classic Let Her Dance with Prophet coming off stage and finishing his solo among the audience. The closer Shake Some Action is proceeded by a tale of seeing the Flamin' Groovies for the first time at the age of fifteen, hearing the best ever power pop song ever written and at that moment deciding what he wanted to do with the rest of his life.

Chuck Prophet, and this can’t be said of many artists, managed to transform a dull, wet Wednesday night into a New Year’s Eve celebratory type evening with a performance that ticked every box you’d hope for in a live show. Great songs, exceptional playing and no end of humour to a very large, appreciative and engaging congregation. I was still grinning from ear to ear when I arrived home after a five-hour round trip that was worth every minute and mile.

Support act John Blek also deserves a worthy mention. An artist that is just as comfortable with the fuller and rockier sound of his work with John Blek & The Rats as he is with his more folk/traditional solo work. Night & The Liquor, Ruby Blood, Lightness Vs.Weight and Little Sparrow from his excellent solo album Cut The Light all featured in a slot that was particularly well received. 

Review and Belfast photograph (above) by Declan Culliton

Whelan’s 28^th July 2017

If the round trip to Belfast could only be tackled by our dedicated scribe Declan, with plenty of positive energy and stamina reserves, then my short trip into Whelan’s was a complete breeze.

The best recommendation I can make is a Chuck Prophet show If you like to rock out and forget the daily routine. The Mission Express, as a band, really kicks up a storm – with both the noise level and their full-on adrenalin attack. Members Stephanie Finch, Kevin White, Vicente Rodriguez and James DePrato play in perfect unison and produce a compelling support behind Chuck, who is the consummate front-man.

He struts and poses over the audience as he cajoles a reaction from all those faces staring up at him. He has a magnetic charm as a performer and the avid crowd hang on his personal anecdotes. His defining quality after you strip everything down is his quality on guitar. Searing solos and wonderful dual play with James DePrato remind me of Allman Bros or Thin Lizzy when they dove-tail together for some extended workouts during the set.

The songs were very much the same as Belfast so I won’t repeat the running order as already outlined above by Declan. Suffice to say that every song is played like it is the first and last time it will ever be heard; total commitment and intensely honest delivery. The inclusion of a Linda Ronstadt song in the encore, Different Drum, was sung by Stephanie and created a pleasant moment of calm amid the tornado that spilled off the stage and into the packed crowd tonight. Fantastic show!

Review by Paul McGee  Dublin photograph (at the top) by Vincent Lennon

Bob Wayne and the Outlaw Carnies @ Thomas House - Sunday 23 July 2017

Welcome to Wayne’s world -  a world of outlaw carnies, trucker’s caps, drinkin, cussin’ and of course some pretty hardcore country music. Though the audience was small enough they made up for it in enthusiasm. Not too many locals though with fans from such diverse countries as Canada and Norway in attendance. They had a good time and Mr. Wayne delivered the goods in a nearly two hour set. 

This time out he was ably supported by the rhythm section of Elmer Johnston on upright bass (with it’s White Trash Dating Service sticker on the side), Drummer John Keeley and Matthew Thomas on upright steel and Telecaster - often played simultaneously. It was Thomas’ birthday and he celebrated by playing his ass off. These guys can grace any stage from a small club to a festival and the evidence is on YouTube. (https://www.youtube.com/watch?v=yK2wj-SKwlE)

Wayne has a way on stage that despite the image is friendly and fun. He has a big voice that give his songs a depth in the somewhat stripped down live setting. His Andy Gibson produced albums have a broader range and a more subtler delivery at times but here there is some raw energy to contend with that rarely lets up.

He has just released a new album Bad Hombre from which several songs were played including Hell Yeah, Stll Truckin’ and Mr. Bandana which sat alongside songs from his covers album that were examples of the Wayneification of such classics as Eric Clapton’s I Shot The Sheriff, Sympathy For The Devil from the Stones and Zeppelin’s Rock ’n’ Roll. There were a host his own songs from his albums as well as Workin’ Man, which was recorded by Hank 111 on his Damn Right, Rebel Proud album much to Wayne’s pleasure. 111 is an obvious hero. These were all well received as was Love Songs Suck which he said was the closest he had to a love song. This and other songs showed  a disregards for the law (Fuck The Law being a case on point) and the laws of being PC. A word of warning - don't go if swear words offend you.

The joys of drug abuse were celebrated and condemned with Dope Train and Everything's Legal In Alabama (the latter with the advisory note of “just don’t get caught”). As well as  a selection of road warrior songs from Till The Wheels Fall Off, Spread My Ashes On The Highway, Sam Tucker through to Hillbilly Heaven and the final song of the night the tale of murder and retribution that is Hanging Tree.

The band gave it loads despite having a power failure in the middle of the gig which did not seem to faze them as they picked straight back up when it came back on. Throughout we got his, by now, trademark Truck Horn sound as well as a number of "Hell Yeahs." Bob Wayne has made Europe his second home and hopefully will come back to play in Ireland again. His is an entertaining and effusive night out and again, it should be mentioned, that the band were right up there with him making everything happen in a way we don’t see to often. This was not the pose of the latent hair-metallers who graced the C2C stage but some real country music taken to the edge and delivered with passion. Hell yeah.

Review and photography by Stephen Rapid

Song Writer’s Circle @ DC Club, Dublin - Fri 21st July 2017

Take a bunch of musicians outside the headlight glare of the media and put them together on a small stage in intimate surroundings; well, you just might stand a chance of some magic happening ... Such was the case on this night of great musicianship, storytelling, variety and just plain ole’ craic.

Bouncing increasingly off each other’s talents as they settled into the pace of things, the writing styles and the lyrical perspective of each song-writer comes to the fore and gives a balance to the overall tone of the evening, which sees 2 hours of swapping songs fly by in what seems like half that time.

Buddy Mondlock is a frequent visitor to these shores and has played many venues across our fair land over the years; tonight, he is joined by the excellent Mike Lindauer on 5-string fretless bass, an instrument that really sings in the hands of this very accomplished musician.

On the Irish side of the stage are Nick Kelly, talented songwriter and filmmaker, not seen in public very much these days but giving a timely reminder of the enduring talent that gave him success in the Fat Lady Sings and subsequently as a solo artist.

Sean Millar is the final songwriter on display tonight and his friendship with Nick over the years has seen him also develop as a singer-songwriter, playwright and poet. Sean was known by the name of Doctor Millar, and both he and Nick were media darlings in the 1980’s who wrote individual, idiosyncratic songs from a finely-honed creative perspective. Sean is joined by his daughter Faith on harmony vocals for the evening and her pure vocal is a sweet counter-balance to the four male voices that differ in delivery and tone.

I counted somewhere in the region of 25 songs shared across the guitars and microphones, including a solo debut for Faith when she delivered a lovely version of Through the Morning, Through the Night (Alison Krauss) -a very appropriate choice!

Buddy is such a strong storyteller and his popular body of work endures over the years. Tonight, we are given some new songs to whet the appetite for a new release and both Filament and Come Back First sit nicely into his set of songs which also include fine renditions of Let Me Go, Break the Cup, The Ugly One, The Dark (co-written with Guy Clark), No Choice and a final sing-along encore of I Count You My Friend. His high pitch vocal delivery gels comfortably with his quietly impressive rhythmic guitar playing and the superb touches added by Mike Lindauer really help to elevate the songs to a higher plane.

Nick Kelly is very personable onstage and smiles easily. His stories are always told with due respect to other creative sources and his joy at being in a live environment is plain for all to see. We are given a taste of Baby, a song from the film, The Drummer And The Keeper, due for release in 2017. He talks about placing objects into songs instead of the usual subject-matter around our emotions and then proceeds to deliver a very clever discourse on washing machines with the song Small Loads. Tennis legend Arthur Ashe is celebrated in a song of the same name while Infrastructure is also included from his recording days as Alien Envoy.

Holy Show revisits his second solo release, Running Dog. Sam And Andre is particularly poignant as it reflects on the friendship between Samuel Beckett and Andre the Giant, a most unlikely topic but one that is steeped in gentle understanding of fragility and love. Republic is a really strong song from the 1997 release Between Trapezes and performed with real passion. World Exploding Touch from the Fat Lady Sings release Jonhson (1993) also sounds fresh and born-again.

Sean Millar has released six solo records over the last twenty years but his influence in Irish music circles runs much deeper than this output. He describes himself as a theatre-maker and as a composer he has gained international acclaim for his theatre show Silver Stars and his work on BrokenTalkers The Blue Boy which have both toured the world.

Tonight we are treated to songs with titles that challenge the graphic designers of the music business, such as I’ve Never Loved Somebody This Much Before In My Life, Hard Years In The Big City, All I Want Is Your Love Girl, Tarzan’s Ambition and Unnatural Bleeder (not just a boxing metaphor) … One song is a particular highlight, Happy Can Be, and has the attentive audience, along with his fellow musicians giggling away to the clever lyric and up-tempo arrangement.

As an experiment, musicians in the round does not always work but when the chemistry is right then the song-swapping and story-telling are a joy to witness. Everyone certainly left the venue smiling broadly and hoping for similar nights of celebrating the creative process.

Review by Paul McGee

Photograph by Vincent Lennon 

Cast Of 'Nashville' Live @ The 3 Arena, Dublin - 19th June 2017

Almost one year to the day since the popular tv series Nashville rolled into Dublin to play a live concert of hits from the show and more. The cast who make the trip are pretty much the same as last year with Charles Esten (Deacon Claybourne), Sam Palladio (Gunnar Scott), Chris Carmack (Will Lexington), Clare Bowen (Scarlett O’Connor), Jonathan Jackson (Avery Barkley) along with others.

A number of the songs played tonight as part of the set list are repeats from the show last year, but this is not a criticism per se, as the material stands up very well and deserves a repeated listen. Each performer takes the stage in a solo capacity for a few songs before being joined by another of the principal actors, either to sing together or to take over for the next section of the show.

This diversity creates an interesting variety and adds to the overall atmosphere, with each performer staying only long enough to achieve maximum reaction from the audience before handing over the microphone to the next in line. Each of the main characters is so comfortable with live musical performance that one has to wonder which talent came first – the acting or the music?

The first half of the show contains 13 songs that are all played with great energy and commitment. The backing band of 5 musicians includes the talents of Fats Kaplin and Colin Linden.

Jonathan Jackson steals the show with two passionate deliveries; Love Rescue Me and Unchained Melody. His voice is pure and strong and his timing in delivery is everything to move the appreciative crowd into a standing ovation.

Chris Camack is very personable and a really fine guitar player as his various performances prove. His blues playing on Texas Flood (Stevie Ray Vaughan) is quite superb, as is his delivery of favourites What If I Was Willin’ and Pieces of You (despite forgetting the words, for a verse…)!

The early part of the show is dogged by poor sound as Buckle Up, with Charles Esten, suffers from microphone problems on the vocals and later, Jonathan Jackson is drowned out by an overly loud backline and keys delivery on Keep Asking Why. These are really just small observations as the entire performance over 2 hours plus is one of celebration and positive energy as Clare Bowen implores the die-hard fans to celebrate the light and not dwell in the darkness of all that is weighing us down in these uncertain times.

Indeed, she is a sensitive flower who flits across the stage in her faerie dress and later completes the outfit by adding wings...! Her voice is beautiful and on her performance of Fade Into You with Sam Palladio, you could hear a pin drop. Equally, when she sings with Brandon Young on Longer she really takes control before following with Little By Little, a new song that acknowledges a positive attitude to living. Later in the show Clare kills it once again with great versions of When The Right One Comes Along and Black Roses.

Sam Pallidio plays his excellent song, Wake Me Up In Nashville which is a big favourite from last year and the story behind the song is one to break many hearts. He also puts in a stellar performance with guest singer Una Healy on their co-written single, Stay My Love.  He also turns in another fine performance on I Will Fall, with Jonathan Jackson on piano and then, with Chris Camack on the hard rockin’ Headed For The Fire.

The audience are surprised by a visit from the artists with Charles Esten and Clare Bowen performing You’ve Got A Hand To Hold on the floor of the arena and later, when Chris Camack and Clare Bowen return to the audience to dance and pose for photos during Stand Up which speaks of love, unity & strength.

The finale features the ever-popular Charles Esten who performs Everything To Me and He Ain’t Me before the entire cast take the stage for a rousing version of David Bowie’s song Heroes. One More Song follows and then a rendition of Danny Boy which blends into the show-stopping A Life That’s Good.

There is no doubting the sincerity of the performance or the earnest comments of the main performers and the crowd love every minute. This show is so popular here and the performers have every right to make the crowd feel special as they face a return to reality and the working day. Tonight brought many smiles to numerous faces and after all, isn’t that what entertainment is really all about? 

Review by Paul McGee with photography by Ronnie Norton

Jackson Browne @ Vicar Street, June 2017

"Legend" is a word that gets misused regularly in connection with artists who have spent relatively little time basking in the midday sun of the media glare. Not the case when you consider Jackson Browne and his expansive career that has covered 5 decades of musical highs in tandem with his ideals and involvement in conservationist and political activities. Arriving back in Ireland after an absence of 7 years, he thanks the capacity crowd for making him feel so welcome on his return, together with his band of sublime players who have travelled for this sold out 4-night residency at the always impressive Vicar Street venue.

We are looking at musicians with massive experience and consummate talents and a backing singer that can lift the song arrangements to a new height when she is given flight. Accompanying Jackson are long-time bandmates Val McCallum (guitar), Mauricio Lewak (Drums), Jeff Young (keyboards), Bob Glaub (bass), Alethea Mills (Vocals) and the acclaimed multi-instrumentalist Greg Leisz (guitar, lap steel, pedal steel). In a word, stunning.

Night One: The first night is laced with songs that please everyone, young and old, with a first set taken mainly from more recent releases and the second set focused on old favourites. Jackson is in great spirits and communicates with ease between songs as he responds to audience requests. He has a keen sense of humour and the little boy still shines brightly from his eyes as he recalls stories from his past and explains the origins of songs played. There were 21 songs in total, including the cover song Walls & Doors (Carlos Varela), A Child In These Hills, I’ll Do Anything, Fountain Of Sorrow and a nightly encore of Take It Easy, the song that in some ways started his career all those years ago in 1970’s California. 

The seasoned touch brought to each song is just a joy to witness as the band play off each other in a knowing fashion that brings smiles all around. Twin guitarists Leisz and McCallum really shine when colouring the arrangements with dextrous solos and subtle touches while the inventive paying of Glaub & Lewak propel everything along with a rhythm and groove that is really impressive. Jeff Young adds rich keyboard swells in addition to providing high harmonies with Jackson on most songs. Jackson is singing really well and his performance on Late For The Sky is one of the best I have witnessed over the years of seeing him play live.

Night Two: We are treated to another set of 21 songs but on this occasion, there are 9 changes to the previous night, many as a result of audience requests. If anything, he runs the risk of letting the audience dictate too much and his changing mood to the numerous requests can lead to a few moments of confusion among the band members. In the main however he pulls it all off with consummate ease; after all, he is playing to a ‘home crowd’ and can do no wrong! My Stunning Mystery Companion, Something Fine, Our Lady Of The Well, Farther On and Lawyers, Guns & Money (Warren Zevon) all get a rousing reaction.

Sky Blue & Black is a real show stopper tonight and the reggae lilt of the Little Steven song I Am A Patriot has everyone wishing for a more rock driven direction with up-tempo material. As Jackson says there are moments when he can sense a crowd thinking "enough of this sensitive shit"…

When it comes to nailing the personal with a universal perspective then nobody comes close; he just hones his craft to produce beautiful words that mirror our own experience in the continuous struggle to walk this road of life with Everyman.

Night Three: Tonight 20 songs are performed and although there will be many cross-overs from the basic set there is still room for new renditions with 5 songs not played on previous nights. There is a particularly poignant tribute to his old friend Valerie Carter who passed away recently with the inclusion of Love Needs A Heart and That Girl Could Sing bringing a touchingly strong performance from all involved. Each night has seen Just Say Yeah and Long Way Around open the show and Doctor My Eyes, Your Bright Baby Blues, Boulevard and Somebody’s Baby are also ever-presents. The somewhat dubious pairing of Rosie and Red Neck Friend as back-to-back songs leave some in the audience smiling with a wry resignation, but the joy of hearing Barricades Of Heaven, Sky Blue and Black, Shape Of A Heart and Running On Empty all played in succession, as the performance built to its climax, more than made up for any dip in tempo previously.

Night Four: And those of us who have been ever-present are in the end stages of conflicting emotions as this richly indulgent experience winds down and we say goodbye to one of the icons in defining the musical map of so many who have been touched by his muse for so many years. Tonight sees 18 songs performed as the second set is shortened due to pressure in catching a ferry to England for the next part of the tour. This is a disappointment to the vociferous crowd who are, by a distance, the most noisy and boisterous of the four nights – uncomfortably so to many who paid good money to listen to the artist himself and not the inane conversations of those who repeatedly try to shout/talk above the songs…

Call It A Loan, The Pretender, For Everyman and I’m Alive are all played with power and majesty while Before The Deluge moves everyone to sing along with a special feeling of unison. A cover version of the Warren Zevon song Carmelita is a very welcome surprise as the set winds down.

The great song traveller is someone that Jackson referred to on his debut album and spoke about how his eyes were opened to the view. Well, he has become that very same great song traveller and has graced us with his humanism and empathetic perspective on our journey through this mortal coil.

He has been the ‘older brother’ for a generation of youth growing into maturity in the 1970’s; verbalising our doubts and fears as we matured into adulthood. Younger fans may see him as a knowing uncle who dispenses sage advice and wisdom. His more strident days of taking overt political stances during the show seem to be behind him now and we are seeing a more circumspect performer who wants to let his beautiful melodies and words do all his talking.

We can look back to realise that he is indeed the muse for so many lives that have followed his path of striving to care for our fellow man and trying to do the right thing by the planet we live upon.

It was a privilege!

Note: For those who want to see the full set lists on each evening, go to www.setist.fm where you will be rewarded!

Review: Paul McGee

Photography: Vincent Lennon & Paul McGee 

Static Roots Festival @ Oberhausen, Germany 9th/10th June 2017

Oberhausen is the location for The Static Roots Music Festival, being held for the second year in succession and is based on the river Emscher in the Ruhr area of Germany. It is a twenty-minute train journey from Dusseldorf and the town has a population of 210,000 people.

The festival promoter is Dietmar Leibecke who has been a regular attendee at The Kilkenny Roots Festival and now a popular member of the Kilkenny Roots Community. It therefore came as no surprise that many of the festival visitors were musical loving acquaintances of his; having flown from Dublin and various U.K. destinations to attend the festival.

The chosen venue was Zentrum Alterberg in Oberhausen. Constructed in 1853 the building is one of the oldest metal processing factories in Oberhausen and functioned as a zinc manufacturing facility until 1981. In its current life the facility is used to host cabaret, cinema, private parties and music events. Perfectly sized to cater for this particular festival the building also has the advantage of an external area, tree lined and semi seated, for punters and artists to mingle plus get some fresh air and refreshments between acts.

The success of any festival is all about knowing your audience when considering your line up and in this regard Static Roots got the mix absolutely spot on. With the large contingent of visitors travelling from Ireland and the U.K., a number of the carefully selected acts invited to play were guaranteed to hit the spot and the inclusion of one of Germany’s top roots bands and a few possibly less known but well researched artists worked an absolute treat. However, acts alone don’t guarantee a bonanza and the organisers had the foresight to engage Winnipeg radio presenter Jeff Robson as master of ceremonies. His knowledge of the artists and school masterly yet diplomatic introductions were an added bonus, ensuring that patrons were whisked indoors as the artists were about to take the stage which resulted in the acts performing to respectful and attentive crowds.

In addition, the sound engineer, although having limited time for sound checks, seemed to get the sound right for all the acts and an impressive stage lighting and perfectly sized music room all contributed to a hassle free and most comfortable two days of festivities. The torrential rain that fell on Friday morning and early afternoon also conveniently stopped a few hours before the festival opened on Friday evening and gave way to some glorious sunshine that evening and all throughout the following day.

So, what about the acts.  Friday evening saw David Corley, playing for the first time in Germany, open the festival having completed a quite extensive tour of Ireland over the previous two weeks. Accompanied throughout the tour by his trusted stage mate and producer Chris Brown, the U.S.  singer songwriter had availed of the services of some seasoned local musicians on his dates in Ireland. Joining him on stage at Static Roots were Brian Hassett (bass) and Cian Heffernan (drums), who both also featured later in their day jobs as members of John Blek & The Rats. Playing a selection of material from his breakthrough debut 2015 album Available Light and his most recent release Zero Moon, Corley’s mixture of upbeat and more often downbeat tales of struggle, agony and rehabilitation was the perfect start to the festival. Sharing guitar and keyboard with Chris Brown, particular highlights were the title track of his latest album Zero Moon and the six minute plus epic Desert Mission also from the same album. Gregor Beresford (Barenaked Ladies, The Bourbon Tabernacle), who played on all Corley’s studio work, took over drumming duties for a couple of songs and favourites such as Available Light and The Calm Revolution were also included in a perfect start to the evening.

 Visitors to Lonesome Highway will be quite aware of this writer's regard for the following act, Peter Bruntnell. His appearances at the Kilkenny Roots Festival (playing four times over that weekend) with his trusted band were memorable and expectations were understandably high for a repeat performance at Static Roots.  Bruntnell and his band (Dave Little, Peter Noone, Mike Clews) are perfectly suited to a large stage and they delivered a faultless set, rocking out to the maximum on Peak Operational Condition, Yuri Gagarin, Where The Snakes Hang Out and Mr.Sunshine from his 2016 classic album Nos Da Comrade and finishing their blistering set with favourites Have You Seen That Girl Again and By The Time My Head Gets To Phoenix.

John Blek and The Rats appearance was one of nine dates scheduled for their latest tour of Germany. They have established a loyal following in Germany in recent few years and well deserved on the basis of their closing slot. Concentrating on much of the material from their album Borders, their stage act is polished, visually striking, technically impressive both in the quality of the playing by The Rats and their ability to provide strong harmonies to charismatic lead man John Blek’s vocals. Funeral Home, Dead Friends and Dance With The Devil, all particularly strong songs on the album, seemed to even step up a gear into overdrive in their live show.

Starting musical proceedings early Saturday afternoon was Beirut born UK resident Nadine Khouri. Joined on stage by a stunning young violin player from Poland named Basia Bartz and slick drummer Jake Long, her style visited dark places often inhabited by P.J.Harvey and Angel Olson, yet at times her sound also brought to mind the more haunting offerings of Jesse Sykes. Playing material from her recent album The Salted Air the singular stand out delivery was Shake It Like a Shaman with its driven, almost robotic, rhythm. Particularly impressive was the dazzling violin work by Bartz who at one stage, while giving the impression of playing with her teeth Hendrix style, somehow managed to deliver a haunting string sound vocally manipulated, not exactly sure how, but wonderfully atmospheric.  Finishing her set with "one more sad song" Khouri played the Leonard Cohen classic Bird On A Wire.

Canadian singer songwriter Jack Marks has been recording for almost ten years now. Very much the travelling troubadour type artist with an exceptional ability to create landscapes and mental images with a minimal few words. His story telling delivery is very much in the same vein as John Prine to the extent that on certain songs you’d be forgiven for assuming they were Prine covers. Playing as a three piece with Alistair Christi on bass and his wife Leslie-Ann on stand-up drums, you could actually sense the audience straining to catch his every singing word from opener Hardware Store to his closing song Greasy Maggie.  Including Heartbreak, Used To Be An Outlaw, and Isabelle from his most recent album Wicked Moon, he was the perfect mid-afternoon entertainer and you could literally hear a pin drop throughout his set.

Erin Rae and the Meanwhiles was an act that I was particularly looking forward to, having seen the young Nashville resident appear briefly at a Margo Price interview show with NPR in Nashville last September. Her debut album Soon Enough made quite an impression on Lonesome Highway last year featuring in a number of our end of year best lists. Playing the first date of her European tour she was accompanied on guitar by Jerry Bernhardt and Dominic Billett on drums and occasional keyboards (both of who played in Andrews Combs Band at Kilkenny Roots), each also adding delightful harmonies. Rae excelled with a set that included Minolta, Pretty Thing (inspired by her childhood obsession of all things relating to the Great Depression), Soon Enough and Clean Slate from her album, together with Playing Old Games, released as a single by Clubhouse records in the U.K. last year. Apologising for having to retune her old trusted acoustic guitar (a 1970’s model given to her by her father), she also introduced some material from her forthcoming album to be released over the next twelve months, Goodnight Sorry For Coming being particularly impressive. The combination of Rae’s exquisite breezy vocals and the flawless playing of her band was bordering on the hypnotic by times and you got a most definite sense from the manner in which her set was received that Rae is a young lady with the songs, vocals and stage presence to make quite a name for herself. Simply divine.

The only act to perform solo at the festival was Kent born artist David Ford. His early musical path began with Indie band Easyworld and his solo career has seen him support Elvis Costello, KT Tunstall and Suzanne Vega. Unfortunately, I was only able to catch the last few songs of his set but strong vocals and confident stage presence were obvious and he certainly made his mark judging by the reception he received when finishing his show.

German band Torpus & The Art Directors were a totally unknown quantity for me prior to the festival but most certainly left a lasting impression after their action packed, high energy and full on set. With immediate comparisons to Wilco coming to mind – and what’s wrong with that – band leader Sonke Torpus had both locals and visitors eating out of his hands from the word go. Comparisons with Arcade Fire had been offered by people familiar with their sound prior to them taking the stage, which accurately described their delivery and energy, though personally I found their sound more Americana than Indie and none the worse for that. Their set featured material from their latest album The Dawn Chorus, well worth checking out on the strength of their live performance.

A more suitable act could hardly have been lined up to close the festival than Danny and the Champions of the World.  With possibly half the attendance being Champs devotees it was always going to be a celebration and more akin to a hometown gig than an away fixture. In football jargon if away goals counted double the result was sealed after only a few songs into their set. Transforming the venue effectively to a dance floor, the band gave the impression of enjoying themselves in equal measure to ourselves. Fast being acknowledged as The Southside Johnny & The Asbury Jukes of the Euro circuit they rattled out crowd pleasers effortlessly with their customary good humour, high octane delivery, exquisite guitar, bass, keyboards and pedal steel playing with the occasional ripping sax solo and Danny Wilson’s sweet soulful vocals. Gotta Get Things Right, Clear Water, Thinking About My Friend, Just Be Yourself, (Never Stop Building) That Old Space Rocket, Stay True all had the venue hopping before they slowed things down with the sing along encore of Henry The Van that sent a buzzing and sweat soaked audience out the doors smiling from ear to ear.

All in all, an enthralling action packed and fun festival with opportunities to renew old acquaintances, meet new like-minded music lovers and mingle with the artists in a friendly hassle-free environment. Thumbs up to all at Static Roots for managing to create, in only their second hosting, a boutique festival that seemed more like a private party from start to finish!

Review and photography by Declan Culliton

MerleFest 2017

Merlefest is consistently named in Top 10 lists when it comes to roots music events in the US, and I was lucky enough, after several years absence, to pay a return visit to the festival, which was celebrating its thirty year anniversary.

The festival started in 1988 as a one off tribute to Doc Watson’s son Merle, who had been tragically killed in a tractor accident. Those veterans from the first festival still tell stories about playing on the back of a flat bed truck. That first event was such a success that it has been developed over the years to where it now welcomes almost 100,000 attendees over four days. Wilkes Community College (nestling in the foothills of the Blue Ridge Mountains in southern Appalachia) continues to be the festival location, and the college benefits financially from the event. 

The music encompasses what Doc described as ‘traditional plus’ – anything from bluegrass, old time, folk, blues, rock and beyond. Merlefest prides itself as being a family friendly event, and therefore alcohol and drugs are not allowed on campus. Those who struggle with this policy will be  relieved to know that you can indulge in your choice of poison once you get outside the grounds! I did find this policy somewhat restrictive initially, but I have to acknowledge that the atmosphere throughout the huge festival campus is the safest and most welcoming that I have experienced anywhere. 

Day One (at last):

This is the easiest day to negotiate because there are only three stages in operation.

Jack Lawrence is revered by the festival regulars, being Doc Watson’s side man for most of the years after Merle’s passing, but also recognised as a solo performer in his own right. Therefore it was only fitting that he was one of the artists to open the proceedings on the Cabin Stage. He is one of the smoothest finger pickers out there, and is no mean singer either. He invited his son Adam to guest with him again this year - I predict we’ll be hearing more from this young man.

Mountain Heart then played a set on the adjacent (permanent) Watson Main Stage. While they are technically proficient, I felt they were somewhat lacking in soul - I wonder if this could be because they don’t feature a banjo?!

The same could never be said of the Del McCoury Band, who unfortunately only had one set here this year. What an incredible performance they put on! What other band do you know that has the confidence to ask for and fulfil requests from their huge back catalogue while they’re in the middle of their set? 

They’re one of the hardest working bands in bluegrass, despite Del’s 78 years. He shows no sign of slowing down, luckily. I was pleased to note that Ronnie is developing a singing voice that is almost as good as his father’s. Del continues to sing tragic songs with that big smile on his face – he can’t help himself because he’s clearly enjoying himself so much.

Next up were a North Carolina duo that are by now quite familiar to European and especially Irish audiences – Mandolin Orange. However, this time Andrew and Emily were joined by their full band – drums, bass and electric guitar. Any fears I had that they might have lost their essence with these additions were completely allayed from the opening song. Still gorgeously restrained, their three part harmonies were exquisite. They amazingly had lost none of that musical intimacy that is one of their hallmarks. An all original set, including some old timey instrumentals, was finished with the achingly beautiful ‘Take This Heart Of Gold’ from their most recent album, Blind Faller, with Emily swapping over to electric guitar.

The night was closed out by the ever popular local boys, The Avetts. The boys grew up on gospel music, Merlefest and Doc Watson. Their father Jim (of whom more anon) is a well known local gospel singer, and is rightly proud of Scott and Seth’s huge success. I remember seeing them for the first time at my first Merlefest in 2003, and shaking my head as I walked past the screaming fans and wondering what the all fuss was about. Over the intervening years, though, I have to admit that I’ve come around to liking them as they evolved into the supergroup that they are now. They played a two hour set to round off the night – to be honest, I feel they could have condensed it down to a sublime one hour set – but the crowd loved it all! 

Day Two:

There are two major hurdles to negotiate today – the unseasonal heat and humidity AND the dilemma of trying to see everything! There are 13 stages of music so it is impossible to see all the acts, however most of the acts play several sets over the course of the festival, so I got to see everyone I really wanted to.

The joy of Merlefest though is that you can find yourself stumbling across a performer or band or collaboration that are new to you and you get so carried away that it throws your well planned schedule!

My morning began with excellent sets from The Stray Birds and Peter Rowan. Sierra Hull then took to the main stage. Having grown up at Merlefest (I remember seeing her here as a child prodigy not so many years ago) and being one of the best mandolin players on the scene, Sierra has taken her music down a more avant garde route. She played much of her set on electric mandolin, accompanied by an upright bass, and while I admire her musicianship, I’m not sure about the musical route she has taken.

I trotted up the hill to the indoor Walker Centre theatre which was jammed for the Merlefest Veterans set led by Jack Lawrence. He was joined this time by old friends Sam Bush, Peter Rowan, percussionist Pat McInerney and banjoist Scott Vestal. The craic was mighty - these maestros have played together in various combinations since they were in their teens.

Next it’s back to the outdoor natural amphitheatre that is the Hillside stage, where I meet up with Richard Hurst of the Ulster-American Folk Park. We enjoyed a fabulous set from another NC band that is well known to Irish audiences – Chatham County Line. As always, the sound quality at all the Merlefest stages (indoord and out) is world class, with smooth swift changeovers and nothing ever running late.

We stayed put at that stage to see Sam Bush joining another supergroup (who has also played Richard’s Omagh bluegrass festival) the Steep Canyon Rangers. Still with the same line up as when they started out , they have lost none of their energy, and were joined for their set by mandolinist and fiddle player extraordinaire, Sam Bush. Sam was everywhere today – equalling Jim Lauderdale’s notoriety for playing with everyone on every stage at this festival!

The excitement had been building all day for the next performance – the first time the Transatlantic Sessions Tour had played outside of Britain & Ireland. This coming together of some of the best Scottish/Irish/English/American roots musicians began as a tv series in 1995, and plays every year at Celtic Connections Festival in Glasgow. The audience loved it – the headlining artist was another NC native, Mr James Taylor. Also featured were Maura O’Connell, the wonderful Sarah Jarosz, and Declan O’Rourke, whose particular brand of Irish banter went down a storm with the audience.

After chairman Jim Lauderdale announced the winners of the prestigious Chris Austin Songwriting Contest (former winners have included then unknowns such as Gillian Welch & Tift Merritt) it was back to the main stage for an even more electrifying set from Steep Canyon Rangers.  

Weary though I was, I left the closing set from jam band Leftover Salmon and hot footed it to the Dance Tent for an unusual but stunning offering from Chatham County Line – this recent side project (Electric Holiday) allows them to indulge their more punk/rock origins and they used their vintage electric instruments to wow the full and reverberating dance tent to full effect! Definitely a festival highlight for me.

Day Three:

I hit the festival main stage bright and early for our own I Draw Slow. Now signed to Alison and Garry Brown’s Nashville based Compass record label, the band have been building a steady fan base by having already played several times Stateside. It was heartening to see the welcoming reception they received from an audience who were quite clearly fans, and I’d say they gained many more with their performance today.

Another favourite with Irish audiences and also a NC native, Tift Merritt (with baby backstage) gave her usual spirited performance, accompanied only by Eric Heywood on pedal steel.

I braved the heat to see the traditionalist supergroup the Earls of Leicester on the American stage, and then fought/climbed my way up the thronged Hillside stage to eventually find a place on the grass to see the Avetts start their Songs of Doc set. The intense heat and humidity drove me indoors to the welcome air conditioning of the Walker Theatre again. There I enjoyed a superb showcase from Irish folk guitar maestro John Doyle (why is he not better known in his native country?) at the Compass showcase. He then brought on his guests Mike McGoldrick and John McCusker who got a chance to wow the packed theatre with their traditional Irish/Scottish chops.

Next it was over to the outdoor Creekside stage for another of the festival’s beloved features - Tony Williamson’s Mandomania. Tony is another Merlefest veteran – a mandolin historian as well as a phenomenal player (he has also played the Omagh bluegrass festival, along with Jack Lawrence, in the recent past). Tony curates this unique offering every year – he brings together well established players like Sam Bush etc and always manages to find one or two of the next generation of players and gives them the opportunity to play with their idols, probably for the first time. The Merlefest audience loves this event, and it is always standing room only. Tony remembers inviting a relatively unknown Californian boy called Chris Thile to play Mandomania – since then they have become good friends. This year the star lineup includes the ubiquitous Sam Bush, Sierra Hull, Darn Aldridge, along with relative newcomers Casey Campbell and Tommy Norris.

The Reunion Jam on the Main stage was fun as well as seriously impressive musically. It brought together the geniuses that are Bela Fleck, Jerry Douglas, Mark Schatz and Bryan Sutton. Much hilarity ensued, culminating in the very rare event of Bela Fleck singing a song (I kid you not)! I returned to the Creekside briefly to catch the end of Peter Rowan’s set, this time with a fuller lineup which included old friend Jack Lawrence.

One of the festivals’ annual highlights was next, and the Hillside was now dangerously packed with thousands of punters all anxiously anticipating the best kept secret of the weekend – the Hillside Album Hour. Every year, Californian band the Waybacks plot and plan the performance of a classic rock or pop album. They drop cryptic hints on social media in the run up, but mostly no one manages to guess until they hear the first chords. Usual host Jim Lauderdale introduced the band along with special guests. The main vocalist this year was Celia Woodsmith of the now disbanded Della Mae. From the minute she opened her mouth we were blown away by this soul powerhouse – certainly she was a revelation to me. And the album featured was … Sergeant Pepper’s Lonely Hearts Club Band. One of the surprise guests was mandolinist Tony Williamson, who featured on When I’m 64 – because he was about to celebrate his 64th birthday! Other guests included Jens Kruger and Sam Bush.

I caught the end of Bela Fleck’s solo set on the Americana stage.

Next highlight was the Guitar Jam hosted by Jack Lawrence. This was a joy for finger picking fans – joining Jack were Bryan Sutton, Stephen Mougin, Tommy Edwards and Steve Lewis.

The indefatigable and hugely popular Sam Bush then took to the mainstage for his powerhouse of a set with his full band.

I’m afraid this reporters little legs were beginning to fade after the day’s intense heat and humidity, and I was barely able to stay awake after Jorma Kaukonen’s lovely set on the Cabin Stage.

I wandered back to my motel with the sounds of  Donna The Buffalo’s jam to accompany me home, but not before I popped in to the Dance Stage to see I Draw Slow playing a blinder to the still eager dancers.

Day Four:

Sunday came all too soon. I was up in time to get to the Creekside stage to see The Gospel Hour with Jim Avett. Jim had already told me about the gospel album he’s been recording with son Seth on production duties. Apparently Seth is a stickler of a producer (according to his proud father!)  but it seems like they might have recorded a cracker. 

The boys and bassist Bob Crawford joined Jim and his daughter Bonnie on stage to complete a pleasant set of traditional gospel songs. 

Mipso took over the Hillside next for an interesting set, which included a nice version of Guy Clark’s Dublin Blues, a tribute to the master songwriter who we lost during the year. Mipso are being touted as the “next big thing” to come out of the Chapel Hill thriving music scene – definitly ones to watch.

Jim Lauderdale played a short set on the Cabin stage, with Tony Williamson as guest. 

Next up was the band that I had been most eagerly awaiting – and they didn’t disappoint – Marty Stuart and his Fabulous Superlatives. 

My words cannot do justice to the living legends that comprise this combo, fronted by the most amazing of them all. They fuse the best of rock and roll, country, rockabilly, gospel, bluegrass, soul and blues into an indefinable thing of beauty. Not even the intrusive arrival of Zac Brown’s helicopter over the trees was able to throw them off their stride.

The day ended with the aforementioned Zac Brown (another NC native) who took to the Main stage with four band memebers for an acoustic set. 

All in all, another successful Merlefest had concluded. 

If you ever get the chance to attend, I can highly recommend it, but it takes some logistical preplanning. Acommodation is booked up a year in advance by regulars. Probably camping is the cheapest option if you can organise that. Alternatively, you can hire a house/cabin locally, but a car is then essential. 

Nearest airports are Charlotte or Raleigh-Durham, all of which necessitate car hire also.

Worth putting on that bucket list though!

Review and photography by Eilís Boland

Aoife O’Donovan @ Whelans, 27th May 2017

"Thanks so much for choosing to come to see me rather than Guns ’N’ Roses at Slane Castle" jokes Aoife O’Donovan midway through her ninety-minute set at Whelan’s, a welcomed return to the Dublin venue for the Irish-American artist. 

Having grandparents residing in Ireland resulted in the Massachusetts born singer songwriter spending many childhood vacations in Co. Cork, with memories that inspired much of the material on her last studio album The Magic Hour. Fortunately, visits from her are still a regular occurrence dating back to her earlier career days as a member of Crooked Still and with Sarah Jarosz and Sara Watkins as part of the trio I’m With Her. She has also toured Ireland solo on occasions and opened the tour for her last album at The Button Factory in January 2016 accompanied by Anthony da Costa and Steve Nister on that occasion.

Tonight’s appearance, the final night of a two-week tour of Europe, features O’Donovan on stage with only her guitar, beaming smile, infectious personality and captivating collection of songs. Starting her set with three songs in quick succession, Hornets and Magic Hour from her current studio album and Red & White & Blue & Gold from her debut album Fossils, her ability to confidently work the room is impressive from the word go with eye contact and banter going a long way to create a ‘house concert’ type atmosphere. Her setlist includes material from her solo work, a snippet of Crooked Still and a number very well selected cover versions which all combine for an intoxicating evenings entertainment.

"Two weeks on tour and I arrive in Dublin on the only rainy day you’ve had in weeks’ she despairs adding that she is reminded of rainy summer days in Lahinch and crushes on the local lifeguards in a former life.

With quite a number of her relations from both Cork and Dublin in the audience she fittingly dedicates Stanley Park to her cousin who is emigrating to Vancouver, whose city park is the inspiration for the song. Suggesting she goes further south to Louisiana for her next song she follows by performing the Paul Brady associated song (which has origins rooted in the 19th century) Lakes of Pontchartrain, a ballad very often included in her shows.

Crooked Still, though primarily notable for their progressive bluegrass leanings, were more than capable of getting dark and spooky with O’Donovan’s vocal well suited to the occasional murder ballad. The inclusion of the folk standard Pretty Polly in the set is more than a reminder of this.

Steve Winwood/Blind Faith’s Can’t Find My Way Home is described as one of her favourite songs and works exceptionally well, a pleasant surprise and a song immediately recognised by members of the crowd of a certain age. Joanna Newsome’s Good Intentions, written some forty years after the Winwood song, also gets a beautiful makeover and fits seamlessly well in the set. Detour, the title track of her recent live album comes next with obvious crowd favourites Lay My Burden Down and Oh Mama concluding her set. 

Her encore, which she names her ‘before The Whelan’s disco song’ is her take on the Bob Dylan written Soon After Midnight, a fitting birthday tribute to the great man.

O’ Donovan never fails to put her heart and soul in to her performances whether solo, with a band or part of another musical diversion. Tonight was no exception and as always she is at the front of the stage in jig time meeting, greeting, signing and chatting with punters and relatives.

A well-deserved mention must also go to Ciaran Lavery who opened the evening in style with a set that included material from his current album Let Bad In. Lavery has been making quite an impression in the past eighteen months both at home but particularly in the States where his was invited by Willie Nelson to play at his BBQ at Luck Ranch in Texas. He has also recently been asked to perform this September at the prestigious Americana Music Association Festival in Nashville, an indication in itself of the potential for the young singer songwriter from Aghagallon Co. Armagh.

Review and photograph by Declan Culliton

David Corley and Band @ Cleeres, Kilkenny -18th May 2017

David Corley at the ripe age of 53, released his debut album Available Light in 2015. Willie Meighan, the pied piper of all things music in The Marble City, was out of the blocks shortly after its release educating his customers and going a long way to establish the album as the Rollercoaster customer album of the year in 2015, by a country mile it has to be said. Corley’s first invitation to our shores was to appear in Kilkenny that year and subsequently perform at The Roots Festival in 2016. Corley and Kilkenny are a marriage made in heaven joining other artists such as Willy Vlautin of Richmond Fontaine, John Murry and Peter Bruntnell to name a few who publicly declare the city and in particular the music room at Cleeres to be a very special and magical place.

That subsequent meeting of minds led to a collective  high level of expectation from the audience,  Mr. Corley and his entourage on his return to Kilkenny, as much a celebration of goodwill, friendship and of course the captivating show that is guaranteed when Corley performs. Accompanying him on his tour of Ireland are his producer and band member Hugh Christopher Brown and Canadian singer songwriter Suzanne Jarvie.

Chris Brown and Suzanne Jarvie’s set was delivered as a duo and featured material from albums previously released by both and songs from Brown’s recent recording Pacem and a preview of Jarvie’s latest work due for release later in the year. Having played Ireland last year it was obvious that they had attracted a number of return punters familiar with their material. The opening song To The Lighthouse, from Brown’s new album titled Pacem, immediately connected with the punters. A beautiful song which recalled duets by Bonnie Prince Billy, the combined vocals of Brown and Jarvie are perfectly matched. Jarvie performed Before and After from her debut album Spiral Road, the title track of the album she’s is currently working on called In The Clear, both gorgeous folk songs soaked in country. Bob Dylan’s Senor also featured which she introduced by remarking how great it was to be in Europe for a while as far away as possible from the current corruption in the States. Brown invited Corley on stage to share the vocals on the quite stunning Moved By Hands To Shelter ( also from the Pacem album) accompanied also by Ger Moloney on accordion.  Brown, tongue in cheek, recalled how he christened it ‘the heart attack song’, composed in hospital visiting Corley when he was recovering from a near fatal heart attack in The Netherlands in 2016.

Taking the stage with Chris Brown and what he described as his garage band Corley’s set initially concentrated on material from his second full album Zero Moon released the previous week. His band consisted of Chris Brown on guitar and keyboards and locals multi-instrumentalist Peter Flynn on bass, Dan Pearson on drums and Dave Holland on guitar with Suzanne Jarvie adding backing vocals and Ger Moloney joining them on accordion on certain songs. Initially propped on a stool to ease a dodgy knee as a result of walking the cobbled street of Kilkenny Corley explained that his garage band had less than five hours to rehearse for the set and pleaded understanding. Over the next ninety minutes he transported everyone in the room through dark, painful and joyous landscapes recounted with his trademark gravely whiskey soaked baritone. Having kicked off with Take Me Down Some and Burning Chrome Corley casually asked his band how they were doing to which Holland cautiously replied ‘Ish’! Brown, always the producer and mentor, took the bull by the horns and after apologising for turning his back to the audience while playing guitar, coached the rhythm section through the next few songs one of which was the epic Desert Mission, one of many highlights from the new album. Despite inevitably straying occasionally Brown’s calming influence on the band  kicked in even managing to eradicate drummer Pearson’s initial ‘dentist waiting room expression’ and relaxing him to the extent that by the end of the set he was delivering backing vocals.

Continuing with material from Zero Moon Corley introduced Never Say Your Name as ‘a song about a girl and I don’t write love songs’ and Whirl, from the new album but written a long time ago which featured Corley switching keyboards and guitar with Brown. Suzanne Jarvie joined them on stage for Zero Moon, a monster of a song, intense, passionate and beautifully delivered both vocally by Corley and the band who appeared to relax and grow as the set developed. ‘Time for some old songs now’ declared Corley before   launching in to Available Light and Easy Mistake from his debut album after which he confided that they were played in the wrong order from the set list to add more confusion to the set. A classic delivery of The Calm Revolution ended the set like a tornado with Corley giving Dave Holland the nod of encouragement to take off the shackles and improvise resulting in some ripping sonic guitar work that brought the house down. Encores included Down With The Universe with Moloney back on stage to add accordion, Vision Pilgrim and Blind Man before Corley finally left the stage after a remarkable evening’s entertainment.

‘I have dreams of walking in to this bar and this music room. It’s such a magical place for Chris and myself to return to, like nowhere else’.

Three hours earlier Richie Healy had opened the evening with a storming set of futuristic alt-folk accompanied on stage by another set of crack local musicians in Conan Doyle (handmade Kydd Bass, extraordinarily beautiful instrument!), Kevin Bruce (Guitar) and Ger Moloney, whose accordion playing added another dimension to all the acts he contributed to over the course of the evening.

In the bar afterwards Corley apologised for the show being a bit on the loose side. On the contrary the spontaneity, improvisation and first night apprehension by the band all added to a most memorable night by an exceptional and very special artist.

Review and photography by Declan Culliton

Andrew Combs @ Kilkenny Rhythm & Roots

Andrew Combs is yet another talented young artist to emerge from East Nashville in recent years, joining the growing list of names flying the flag for Americana, Alt-Country or whatever the latest hip title for the genre might be. The East Nashville scene appears to be akin to an artistic co-op as so many of the same musicians, predominately female by the way, seem to pop up either in each other’s bands or featuring on their albums. Think Margo Price, Nikki Lane, Caitlin Rose, Molly Pardon, Lera Lynn, Erin Rae, J.P. Harris, Kelsey Waldon, Steelism, and you’ll get the picture. Enough talent in that lot and their bands to host a festival in its own right.

Combs and his band Jerry Bernhardt (Guitar), Dominic Billett (Drums) and Charlie Whitten (Bass) arrived in Kilkenny jet lagged and got straight down to business with gigs scheduled for lunchtime in Cleeres on Sunday 30th of April and the closing show of the festival at Kytelers on Monday 1st May at 9pm.

Hitting the festival armed with his latest and most ambitious and mature album to date, Canyons of My Mind. He also came accompanied with the tightest three-piece band you could imagine and their chemistry on stage at both shows was a joy to behold. Material on his latest album features dreamlike layers of strings on a number of tracks and he and his band managed to recreate the material live quite wonderfully, not an easy task. My first experience of Combs live was as the opening act for Caitlin Rose in Whelan’s four years ago, his talent apparent as he played an acoustic set of strong self-penned material before appearing with Rose’s backing band. It’s now barely nine months since the last occasion that I saw Combs perform with his band at The Fond Object in East Nashville and the progress over that short period of time has been staggering. His latest album may have caught a number of his followers slightly off guard, the Roy Orbison and Nilsson influences remain but a hardcore, edgier and fuller sound has also crept into his work allowing his band to let loose at times, a dimension which works spectacularly well in both his live performances at the Festival.  

His first show at lunchtime in Cleere’s to a sold-out house is a definite winner, a highlight of the weekend, a pin drop performance in fact. Togged out in a smart black suit, white shirt and cowboy boots he plays the perfect set focusing, as can be expected, on quite an amount of material from Canyons of My Mind mixed with some of the highlights from his earlier work.  In true traditional country writing style, unrequited love is well represented in particular by Lauralee and the beautiful Hazel, which Combs performs solo as an encore at both shows.

The more sonic additions on the current album also work spectacularly well live, Heart of Wonder and the anti-Trump Bourgeois King, which ended the sets at both venues, delivered with total passion on both occasions.

The closing slot at any festival can be the poisoned chalice with expectations high and in Comb’s case made all the more challenging having already performed the previous day and in quite a few cases to the same punters. The festival organisers made a brave choice given that previous years had featured rockabilly and blues bands bookending the festival and performing high octane sets to an expectant audience. In this case, they got the artist selection spot on with Combs and his band having the ability to rock out at times but also managing to silence a potentially boisterous audience, on the more mellow choices such as Too Stoned To Cry from his debut album and the equally moving Rainy Day Song and Strange Bird from his 2015 release All These Dreams.

Combs most definitely has the potential to follow in the footsteps of his Nashville neighbours Sturgill Simpson and Margo Price by making a major industry breakthrough and on the evidence of these two performance it’s more than well deserved.

Review and photograph by Declan Culliton

Kilkenny Rhythm & Roots Review

The Kilkenny Roots Festival is now in it’s 20th year and it has evolved over the years to it’s current singer/songwriter Americana axis but with enough diversity of music to pretty much please ever taste from some hardcore country to the harder edges of rock. There are numerous venues taking part in the event and while some are more suited to the live process all have gained their reputations as welcoming venues. Here is a selection of just three of many acts playing this year.

There were obvious highlights, as there are every year, and they will depend on personal taste but from the word of mouth on one such act was the Western Centuries. The band, who feature three key singers and songwriters, had a winning combination of musical skill, humour, love of what they do and perhaps most importantly a set of good songs. Western Centuries consists of Cahalen Morrison, Jim Miller and Ethan Lawton who ostensibly play rhythm guitar, lead guitar and drums respectively. But in truth are more variable with Morrison and MIller swopping acoustic and electric guitar depend who was taking the lead vocal on their self-written song. However it doesn’t stop there as Morrison and Lawton also swop roles with the later coming to the front to sing and Morrison playing the drums. This proved to allow for some onstage banter and for the set to have a variety that was with entertaining and effective. Completing the line-up and adding much to the overall context of the show was upright bassist Travis Stuart and very talented steel player Leo Grassl. The steel added a layer to the overall sound that grounded it solidly in traditional country roots.

However, Western Centuries are not retro copyists and are in fact a living, breathing entity whose music is as relevant to an audience now as it would have been back in the ‘50s. The set included several from their debut album Weight Of The World. These included Knocking ‘Em Down, Off The Shelf, Hallucinations, In My Cups a song that Lawton noted was about his 6th grade teacher who had got into trouble; a bar fight with another adult he added rather than anything more salubrious. They also played Double Or Nothing by special request. There were also some new ones such as Cloud Of Woes and Three Swallows - a drinking song or rather a song about drink that references the Powers Whiskey label. There was one about a telemarketer, an inverted individual who likes to drink at home listening to his own records in his own private honky-tonk. One that mentioned “warm guns” and the way they played it tonight was, they said, their best yet. These tales from the “United States of Weird Americans” are scheduled for the next album which they are hoping to start recording on soon. 

They played two sets to a packed room, at one point asking the audience to move forward in the already crowed space to allow late comers to enter. Then commenting that there was room for one onstage who could play tambourine or rub board! They also asked that any pictures of the band should not show them drinking as the told their families that they didn’t drink on tour. This envisaged a big laugh as the evidence was very much to the contrary. Aside from the obvious strength of the playing and songwriting on offer there was a sense of ease and humour among them that enhanced the enjoyment of the show. One that finished with them being called back for an encore. That was dedicated to some of the great musicians lost recently and was a spirited version of Merle Haggard’s Tonight The Bottle Let Me Down. But tonight the band didn’t let us down and showed that Western Centuries would be welcome back at any time.

Holly Macve, joined by her three piece band, played a short 40 mins set that confirms her a new and interesting voice. One who seemed to have been a highlight of the weekend for many. Drawing on her debut album Golden Eagle. Initially she took the stage accompanied only by her guitar player Tommy Ashby who brought some subtle but telling tones to her songs. Anyone familiar with her voice on record would have seen her duplicate it’s tremulous and tender voice onstage. Those who may have been fans of Paula Frazer and Tarnation will recognise a similarity. Though having seen both acts Frazer and her band varied the tempo and mood of the songs more than Macve does here.

Macve moves between (borrowed) acoustic guitar and electric keyboard for different songs. Some employ bass and drums to underpin them with an added depth but alongside the key element of her voice it is Ashby slide guitar that is the main focus of the song. Aside from the her own songs the 9 song set included two covers, Melanie Safka’s We Don’t Know Where We’re Going a staple of her live set and sung solo at the piano before with to guitar one which she described as risky - a version of Willie Nelson’s Crazy (performed for Willie’s birthday that day) with a fine Nelson influenced electric guitar solo from Ashby. Communication between Macve and the audience was sparse enough as she preferred to let the music speak. Something that worked in the short set but may have seem lacking over a longer time frame. 

There was a pervading melancholy to her songs of heartbreak that included a piano-led Golden Eagle and closed with a slow lament in Sycamore Tree. She left the stage to resounding applause from the faithful as well as a set of new fans and there is no denying her talent and voice. It will be interesting to see how Macve develops her sound and songwriting in the future making her next album one to watch out for when it emerges.

Another making his debut at the Kilkenny Festival was the former Sons Of Fathers member and now solo artist Paul Cauthen. His album My Gospel finds the singer/songwriter delivering his music with a solid voice and traditionally leaning soulful country sound. In person it is a different story as it is stripped right back to it’s essence of story, voice and guitar … and Cauthen’s presence. Which is a big one which holds the audience’s attention for the hour long show. “I come from Texas and have been traveling America for the last 10 years. Now I’m thankful to spread my music across the big water” are the words that Cauthen greets us with. He also tells us that coming here to Kilkenny was the first he had stepped outside of an airport and that previously the oldest thing he had seen was the Alamo. He reflected that Kilkenny was a beautiful old city. 

He also told us that his relationship had recently broken down and that had resulted in some new songs. He said that the particular lady had been his muse for 5 years. It is these hard won (and lost) relationship with family that are at the core of Cauthen’s writing and of his album. A couple of the songs especially received a strong reaction from the audience who felt empathy with their theme and immediacy. These were Better Last Name and Hanging Out On The Line. Other songs that came from the album included

Let’s It Burn, Still Drivin’, Saddle as well as the title song. His version of Fulsom Prison Blues also we well suited to him and was equally well appreciated. 

Cauthen’s music has the air of an outlaw and his beard and black cowboy hat pretty much reflect that image. But that is backed up by his mix of tender and tough, of passion and pain. Contrasts that make his music more real and rewarding. This is obvious across the set of personal ballads that talk of his life and times, of his background and upbringing. His father, he explained, was leader in the church in Tyler, Texas and that his grandfather and his twin brother would lead the service. He also sang there and was dressed up in a 3 piece suit to make him look snazzy in the church. However, he then quipped, “I haven’t been snazzy since!” 

That grounding may play an important part in the way his voice is used to express his inner feelings. It has been noted that there are reminders of Waylon Jennings in his vocal as well as a hint of Raul Malo's vocal dexterity. Cauthen also impresses with his range and delivering that goes from big and boomy to something gentler and considered. An hour in this basic form might well be enough and it would be interesting to see him with a band next time out. Either way Cauthern made his mark and wetted the appetite for his next album and his next visit.

All of these gigs took place in the welcoming surrounding of Billy Byrnes pub whose back room is one of the premier venues that participates in the Roots Festival. 

With thanks to Willy Byrne, John Cleere and also to Willie Meighan

Review by Stephen Rapid   Photography by Kaethe Burt-O'Dea

John Prine @ Bord Gais Theatre - 13th April 2017

The accolade ‘living legend’ is all too often bandied about carelessly when describing some of our surviving roots / country singer songwriters.  Recent years has seen the passing of Merle Haggard, Leonard Cohen and George Jones, all who unquestionably fall in to this category, leaving a handful of artists including a very ill Glen Campbell, Willie Nelson, Kris Kristofferson, Loretta Lynn and John Prine carrying the torch. 

Prine’s inspiration to so many of this generations burning lights (Jason Isbell, Sturgill Simpson, Ryan Adams to name but a few) is beyond doubt and the chance to still witness him in full flight is an opportunity not to be missed. Like Cohen in his latter years and as a result of recovery from throat cancer, Prine’s vocals have dropped a few octaves from his younger days, but in many ways his new found gravely vocal perfectly suits his more recent recordings and still manages to do his vast back catalogue justice indeed.

Prine’s wife Fiona, being Irish, practically guarantees us an annual if not bi-annual show in Dublin and some eighteen months after his last appearance in Vicar Street its business as normal for the enthusiastic audience this evening.

The added bonus this evening is the support slot by Amanda Shires. A regular visitor to Ireland in recent years the selection of Shires as support act also gives Prine the option of including a number of his well-loved duets in his set. The presence of Jason Isbell (Shires' husband) on stage gives the evening another dimension.

"Six shows in seven days, they shouldn’t do that to an old man" announces Prine three songs into his sold out show this evening. Having kicked off proceedings with Love Love Love, Glory of True Love and Long Monday it’s evident even at this stage that the full house at Bord Gais Theatre are in for a treat. Opening act Amanda Shires who showed a sense of humour with the remark that "you guys seem to have named your toilet bowls after me!" had already wooed the crowd with a thirty minute opening set, playing in a duo with her husband Jason Isbell and performing Devastate, Pale Fire, Swimmer, Wasted and Rolling before closing by sharing vocals with Isbell on a cover of Warren Zevon’s Mutineer.

Prines’s regular band this evening, Jason Wilber on guitar, Pat McLaughlin on mandolin, acoustic and electric guitar and Dave Jacques ("the best bass player in the world") on upright and electric bass are also accompanied, welcomed but somewhat surprisingly, by Kenneth Blevins on drums. An unusual departure for Prine to feature a drummer on stage but he explains, "never had a drummer, but heard this guy play my stuff recently and changed my mind".  As can be expected the playing is sublime to the extent that it is impossible to highlight any one of the players above the others. The three and sometimes four part harmonies accompanying Prine’s low down vocals aren’t half bad either.

All the crowd pleasers are delivered, Your Flag Decal Won’t Get You Into Heaven Any More ("an old song that I dust down and bring out at every presidential election, think I’m gonna leave it out for a while this time!"), Hello In There which he dedicated to his mother in law, Angel From Montgomery this time dedicated to Bonnie Raitt. What follows is a solo slot by Prine and his trusty acoustic guitar - one he bought it in 1968, and played on every song hes written,also quipping thatit "could play the show all on its own." He delivered side splitting versions of Jesus The Missing Years and That’s The Way The World Goes ‘Round.

At this stage we are over an hour into a typical Prine show but what follows for the next sixty minutes is magical. Firstly joined by Shires on stage, Prine delivers a saucy duet of In Spite Of Ourselves with Shires adopting Iris De Ment lyrical role to perfection. The duo continue with Unwed Fathers before Prine invites Isbell back on stage and asks him to select one of his own songs. Prine tell us that "I love singer songwriters and this man is the best I’ve heard in the past twenty five years." Isbell obliges playing Travelling Alone noting that it was Mrs. Prine’s favourite song of his which he freely admits having ripped off from John Prine.

Prine returns on stage and tells the tale of how he came to meet Galway born Fiona, his current wife ("she’s given me three wonderful sons, two grandchildren and the happiest twenty five years of my life") in 1988 in Blooms Hotel after he had performed at the Point as part of The Sessions. She then joins him on stage for My Happiness, the duet included with her on his latest album For Better, Or Worse. A solo Sam Stone ("for all the veterans in the world") follows before his band, Shires and Isbell come back on stage for a grand finale that includes Speed Of The Sound Of Loneliness (dedicated to Nanci Griffith) and a rousing Dim Lights, Thick Smoke and show closer Lake Marie.

In response to the deafening applause and cheering from the audience the whole entourage return to stage for an encore of Paradise to conclude the show. From a personal viewpoint I have had the pleasure of attending many wonderful John Prine shows over the years. This evening’s performance, for me, surpasses in many ways any of those experiences and judging by the reception John Prine and all his accomplices received at the end of the show, I’ve no doubt many other would concur.

Review and photograph by Declan Culliton