Ulster American Folk Park 26th Annual Bluegrass Festival - Omagh Sep1-3 2017

Richard Hurst and his team at National Museums NI near Omagh, Co Tyrone have pulled off yet another successful and enjoyable festival of Bluegrass despite the constraints of reduced budgets and sometimes inclement weather. It’s not for no reason that the festival was nominated for an International Bluegrass Music Award for Bluegrass Event Of The Year in 2017.

Utilising the park’s ready made sets of historic American and Irish homesteads, barns, shops and even a replica famine ship, the artists get to play in a variety of indoor and outdoor locations. Most of the stages have an excellent sound system installed for the occasion.

The main stage is a semi-open tented area, close to the bar and food stalls.

Regulars know by now that they can bring their own seating and set themselves up there for the day. The unique joy of this festival is being able to wander through the woods, corn fields and paddocks en route to finding another interesting act from Ireland, the UK, Europe and the Americas.

Wellies and an umbrella are sometimes needed, but this doesn’t dampen the enthusiasm of the crowds that turn up in their thousands every year.

Robirohi returned here from Estonia for the umpteenth time - and they are beloved by the locals. They mostly perform traditional and modern bluegrass covers in English, but this year one of their surprises was an Emmylou Harris song sung in Estonian. They closed out one of their sets with the gospel standard Get Down On Your Knees And Pray - which they did, literally.

Another Friday night highlight was the Sligo string band Old Hannah, who are going from strength to strength. Not bluegrass, no, but they are purveyors of mostly original material in the folk/country/swing realm. 

Flats and Sharps came in for the weekend from Cornwall - they performed six sets over the three days, always at breakneck speed. Each of the five band members are expert players and unusually they play mostly original material. 

Saturday provides a choice of six stages throughout the park, and the clever programming allows one to see most of the acts at least once. 

The Clew Bay Critters were paying their first visit from their Wesport base and impressed with their mix of gentle bluegrass, old time and gypsy jazz - perfect for a sunny(ish) afternoon gig while the punters relaxed on their deck chairs and picnicked.

Richie Foley & Paddy Kiernan are well known throughout the country among fans of the genre, and have played in various combos over recent years. This was my first time seeing them play extended sets together and they were one of my highlights. Paddy (Dublin) plays banjo, including a six-string model, while Richie is equally impressive on both bouzouki and mandolin. Their huge repertoire covered traditional bluegrass and old time tunes, original tunes and even modern covers like Springsteen’s I’m on Fire.

The undoubted highlight of the weekend was the return of one of the living legends of bluegrass, Dale Ann Bradley and her band. She was in fine form and her voice was stronger than ever. She and her band were clearly delighted to be back, and this time she had her son, John Fitzgerald Bradley, on bass. The band’s repertoire is so vast that they played an almost completely different set on each of the three occasions when they played (to very appreciative audiences). Dale Ann lived up to her reputation (five time IBMA Female Bluegrass Performer of the year) with her effortless, clear and pure vocals. And they didn’t just play the usual bluegrass standards and Dale Ann’s own compositions - they covered songs from other genres, for example an 80s hit song by the Gin Blossoms Until I Hear it From You. Dobroist Matt Leadbetter showed that he’s not just a mean dobro player when he took the lead vocals on a Reno and Smiley number. Mike Sumner on banjo is also a multiple award winning player (Winfield, Kansas, Merlefest) and Tennessean Scott Powers impressed on mandolin. There’s a strong gospel influence here and Dale Ann is not afraid to wear her heart on her sleeve. She admitted to getting “choked up sometimes when you’ve lived these songs”. She wasn’t the only one.

Particularly moving was her rendition of the Kenny Rogers song The Stranger, which was covered by Kenny and Dolly. Their cover of U2’s I Still Haven’t Found What I’m Looking For was a complete surprise but it really worked!

The night was ended on high octane by the ever popular RackHouse Pilfer, who played a blistering set. They cleverly weave bluegrass with rock and roll into something indefinable but always very well received, even by the musical purists. There was disappointment all round, however, when they confirmed the rumour that they were to disband (or ‘take a sabbatical’) in two weeks time. Ironically, this coincides with the release of their new rockier album on vinyl and cd. Let’s hope we see them back again in the future.

Unfortunately I missed one of the popular Saturday events - the McLecture. This year, Dale Ann Bradley was interviewed by Frank Galligan, and sources report that it was a superb and moving experience.

Sunday dawned with more of the same wonderful musical offerings around the park, and although the drizzle arrived, this didn’t stop the families and music fans from turning up and making the most of the day.

Vancouver’s Viper Central were, for this reviewer,  another of the standout acts of the weekend. Despite the fact that they were at the end of a long European tour, and had to have a substitute bass player drafted in for the weekend, they were nothing short of superb in the many sets that they performed. Kathleen Nisbet’s vocals and fiddle playing were matched by the inspired Steve Charles’ flatpicking, and by Chris’s banjo playing. Each of the three of them were more than competent at taking the lead on vocals, although Kathleen’s rich and powerful voice is up there with the best of female vocalists of the genre - could it be something to do with her Irish heritage?! Look out for a review of their latest recording on this website in the near future.

The new addition of some outdoor games and themed photo opportunities was an inspired move and went down very well with children and ‘bigger kids’ alike.

The not-so-secret weapon of this annual festival just has to be mentioned - Frank Galligan. Frank is the best MC in these islands, full stop. His good humour and stories are matched by his deep understanding, knowledge and love of the music and of the characters that populate it, (and his sartorial elegance is equally renowned!)

The day was rounded off by the Spirit Of Bluegrass concert in the appropriate location that is the Mountjoy Meeting House. I just had time to sample a smidgeon of Robirohi’s set, in the atmospheric historic venue as the sun went down, and I was certainly envious of those who got to enjoy the sold out event, capped by the Dale Ann Bradley Band doing what they love best.

There were several more bands playing over the festival but unfortunately I didn’t get around to experiencing them all. And there’s a parallel programme of visits to local schools, nursing homes and churches that only the lucky local residents get to experience. Do put the festival in your diary for 2018.

Report by Eilís Boland  Photography by Ronnie Norton (except Clew Bay Critters from their website)

Marty Stuart & The Fabulous Superlatives @The Olympia, Dublin 12 oct 2017

Marty Stuart led his Fabulous Superlatives onto the Olympia stage to warm applause and great expectations; Expectations that were met in spades. The 22 song set was an expanded version of the one he played earlier this year at C2C in the 3 Arena and it was a masterclass in how country music should be delivered in 2017. The music touched on many different points in Marty’s four decade plus career, from hits such as Tempted, The Whiskey Ain’t Working and the closing Hillbilly Rock which is a song that could be said to sum up their ethos. As usual Marty was dressed in black with a long jacket and flared leather trousers. The band were attired in their blue sequinned, embroidered Manuel suits - which picked up the lighting and sparkled, as did the band.

Stuart said he’d played in bands since the age of 9 and this was the best he’s ever played with. Something that tonight’s show clearly underlined. Highlights were Kenny Vaughan’s sensitive and dynamic playing that saw him move from Rickenbacker to Telecaster to twin-necked 6 and 12 string Gibson (shades of Jimmy Page) to a Martin acoustic. His skill was breath-taking at times. It should be noted too that Stuart is no slouch and the note for note guitar duets the pair delivered were testament to that. However this band is perfectly balanced and Vaughan and Stuart allowed each other the space to play together with one taking the rhythm role if the other was playing lead. Chris Scruggs is an equally adept musician who plays a Fender Telecaster bass as well as an upright bass in the band. In his own work he also plays guitar and pedal steel amongst other instruments. Harry Stinson is a perfect example of the kind of drummer who understands how to drive the music without ever overpowering it, as so many these days do and he has subtlety and sensitivity in his playing.

All are strong singers in their own right and each took time at the microphone. Vaughan played Country Music Got A Hold Of Me and Nice Like That while Scruggs delivered Got the Bull By the Horns. Stinson played his showpiece, Woody Guthrie’s Pretty Boy Floyd, where he held the note on the word Oklahoma for an impressively long time to great applause. Of course they were able to provide stunning harmonies on the acoustic songs where around a single mic they excelled at three and four part close harmonies. During the set the band left the stage and Stuart told of his difficulties in writing a sing about his friend, neighbour, former bandleader and (for a brief period) father-in-law, Johnny Cash. The resulting song which finally came to him, Dark Bird, was a highlight. Also in this solo set he played a version of Orange Blossom Special that focussed on his mandolin playing dexterity. 

Another stand-out was their version of El Paso, a song they had originally agreed to perform as tribute when the legendary Grady Martin was inducted into the Country Music Hall Of Fame. Stuart noted that after he had agreed to do the song he realised  just how long and complex it was but well, they are The Fabulous Superlatives and they could perform it as indeed they proved they could. Another tribute was Mama Tried at the request of an audience member. Stuart told of his being asked to preach at Haggard’s funeral and related what a loss Merle Haggard’s death was to him personally and to the world. Humorously he dedicated the song to an acquaintance, Rooster, whom he described as a real knucklehead who decided to start drinking again to honour Haggard’s passing and then decided he was going to jump a train to go to Hag’s California funeral only to discover the train was in fact only going to another part of the town!

There was a focus on the latest album, Way Out West, which Stuart said was the equivalent of spending 21 days on Willie Nelson’s tour bus. New songs included Air Mail Special, Whole Lot of Highway and the instrumentals Mojave and Torpedo. Other songs played included a great version of Endless Sleep written originally in 1958 Jody Reynolds and a hit for him as well as Marty Wilde in the UK. It was, Stuart said, one of the story songs that got him into country music. He is still there, but far from being stuck in a time warp. He and The Fabulous Superlatives keep the genre (in its many forms) vital and very much alive. Stuart promises to be back with the band next year and many of those who were there will be back again too.

Review by Steve Rapid   Edited by Sandy Harsch  Photographed by Kaethe Burt-O'Dea

Michael McDermott @ the DC Club, Dublin - Sun 1st Oct 2017

Sunday night at the DC Club and Michael McDermott is making a final stop on his European tour. His affiliation with and affection for Ireland are an integral part of his upbringing and he tells some terrific tales of growing up in an Irish-American household with some of that good old catholic guilt and religion circling the extended family members.

Not that it’s a case of running down old tradition and thrashing the past; this gifted artist takes these experiences and hones them into finely crafted songs that play out like short-stories in front of your eyes. He is a very lyrical writer and the words conjure up neighbourhoods and characters that we can all recognise and feel part of, with a sense that we have somehow known them already.

Michael McDermott has been an accomplished song-writer since his first recording back in the early 1990’s and has gone on to release close to 20 albums, either as a solo performer or with his band, The Westies. It is true to say that he has experienced both excess and hard times in the life he has lived.

He is a passionate performer, giving a great deal of energy and honesty to his vignettes on life and love. His stories from the stage tell of drug addiction and robbery, leading to some time spent in prison. This living life on the edge has shaped him and he speaks from a place of self-awareness and maturity about the journey taken.

The set tonight draws from all parts of his career, from A Wall I Must Climb, (released as a single in 1991) all the way through to Willie Rain, a song written for his daughter who was born in 2010. Indeed, these are personal songs and Shadow In The Window is about his father and the relationship they had over many years, defined by a degree of indifference. Ending with the lines "Now there’s a shadow in the window that’s missing; I’m having a hard time letting go – I love you …" Both poignant and powerful to witness live on keyboards.

He played a number of songs from the last album Willow Springs (2016) and Butterfly is a look back to his years as a junkie and the passing of an old friend. Solo acoustic versions of These Last Few Days and Getaway Car are mixed with earlier songs like Trains, A Deal With the Devil, The Great American Novel and No.49 while a new song, I Know A Thing Or Two About Being Knocked Down, is a quick-fire semi-rap that shows all the lyricism and verbal dexterity that his razor-like intelligence can conjure.

Many of the songs contain a naked honesty and if he sometimes uses the stage as a cathartic means to expel his demons, playing acoustic guitar, harmonica and keyboards like this; well, it’s certainly a trip worth taking. As Michael himself sings in the song I Know a Place;

"Yeah sometimes, you feed the darkness, Yeah sometimes, you heed the darkness,Yeah sometimes, you need the darkness in order to ever see the light."

At all points there is a deep humanity and humility at play and the attentive crowd pick up on every part of this compelling performance.

A word also for the opening act, Beki Hemingway who was a very welcome surprise. Living in Gorey, Co. Wexford by way of Denver, she appeared with her husband, Randy Kirkman on guitar and delivered a set of seven songs that highlighted her superb voice and vocal tone. A very engaging performer and someone to watch over the coming months as she tries to rebuild a career that she had stepped away from for a period of 10 years. She has a new release out now titled Whins and Weather and a number of the songs tonight are taken from it – watch this space … 

Review by Paul McGee  Photography by Kaethe Burt O'Dea

AMA Music Festival, Nashville - September 12th -17th 2017

With approximately 300 acts performing this year at The AMA’s, pre-scheduling your intended wish list is essential, notwithstanding that you’re likely to be thrown a few curve balls at the festival with additional events being announced, often at less than a days’ notice. The festival organisers have in recent years developed an incredibly user-friendly app which can be downloaded to an iPhone, listing artists, scheduled showcases, venues and other events, helping enormously with the selection process but also highlighting the numerous unavoidable clashes given the sheer volume of events taking place at various venues throughout the city.

While managing to squeeze in over fifty shows at the festival, I’ve bitten the bullet to select fifteen particular highlights in three categories.

  

J.P. Harris

There’s no show like a J.P. show and East Nashville’s most loved and most tattooed master of all things honky tonk played a blinder at his showcase at The Mercy Lounge. Not wasting a second of his forty-five-minute slot, he launched into material from his forthcoming album, yet to be named, which he’d spent the past few weeks recording in the studio. Hard Road, I Only Drink Alone, Lady in the Spotlight and South Oklahoma all registered as being up to his usual standard. Favourites Two For The Road and Maria also got an airing and with backing vocalists Kristina Murray and The Watson Twins on stage and accompanied by pedal steel, guitar, bass and drums, he transformed the room into a virtual Texas Dance Hall three songs in. You also have to love any artist who name calls his mother on stage and dedicates a song to her together with introducing her to his brethren after the show. A masterclass set from one of today’s finest ambassadors of traditional country music.

Zephaniah OHora

If J.P. Harris is the master he has a more than worthy apprentice in Zephaniah OHora. Hailing from Brooklyn, a location not renowned for fiddles, pedal steel guitars or nudie suits, his debut album This Highway has turned a lot of heads with nods in the direction of Ray Price, Ernest Tubb and Red Simpson.  On stage directly after J.P. Harris may have been daunting but OHora took full advantage of the warmed-up cowboys and cowgirls and gave them lots to dance about. His backing band The 18 Wheelers were vice tight and O Hora’s main asset, his baritone vocal, was used to full effect to deliver classic country tracks from his opening Way Down In My Soul to the title track from his debut album which closed his set. High Class Girl From the Country, Take Your Love Out Of Town and I Can’t Let Go also featured. He looked the part, sounded equally impressive and is riding on one of the best albums of the year. Watch this country space!

Lilly Mae

A musical child prodigy, Lilly Mae Rische has been performing with her family since childhood and is Jack White’s regular stage side person with her exquisite fiddle playing and unique style. Her recent album Forever and Then Some, released on Jack White’s Third Man Record Label, earned her appearances on The Late Show with Stephen Colbert and Conan O’Brien Presents. An eagerly anticipated festival showcase for me, she more than lived up to expectation as Mae and her band, which included bother Frank on guitar and sister Amber on mandolin, delivered a faultless set. The venue was Jack White’s Third Man Records and the delightfully quirky and impressive room featured a striking lighting arrangement. Drenched in blue light Mae oozed class and stage presence, launching into Over The Hills and Through The Wood, Honest and True and Honky Tonks and Taverns from the album, switching from fiddle to guitar between numbers. Not just a prolific fiddle and guitar player, her song writing, vocal delivery, superb band and, it has to be said, wonderful fashion style, ticked a box as one of the festival highlights. She also possesses a lovely personality and a smile that could light up any room. Some people have it all.

Whitney Rose

Whitney Rose is yet another in the stream of quality female artists than Canada has produced in recent years.  Kathleen Edwards, Lindi Ortega, Lori Yates and Sierra Noble all come to mind and Rose most certainly has the formula to follow in their footsteps. Perfecting a South Texas sound rather than that of her native country and in many ways reminiscent of what Kacy Musgraves has been doing (with a bit more edge possibly), she mixes twang perfectly with a bit of rockabilly on the side and has the songs, the appearance and the band to get noticed. By coincidence I got to see her twice in the same day both at The Yee Haw Tent and later at The Mercy Lounge. Her set was drawn in the main from her current release South Texas Suite with a few numbers from Rule 62, an album she is about to release in the coming weeks. My Boots, Bluebonnets For My Baby and How ‘Bout A Hand For The Band all worked even better live than the studio versions giving the impression of an artist still honing her skills and determined to get noticed. Quite comfortable behind her acoustic Gibson guitar or with only a microphone in hand she’s blessed with a sultry twang and a young backing band that have no doubt covered a lot of road miles with her, given how tight their playing was.

Joshua Hedley

Taking the stage at Third Man records immediately after a dynamic set By Lilly Hiatt might be nerve wracking for most artists but Joshua Hedley took it in his stride, reminding the audience on a few occasions that what they were listening to was pure country music, no compromise. True to his word, dressed in a sparkling nudie suit and accompanied by a five-piece band including Jeremy Fetzer on guitar and the ever-smiling Eddie Lange on pedal steel he was, for me, the surprise package of the festival, delivering a set that had mid 60’s Merle Haggard stamped all over it. With a smooth baritone vocal, effortless fiddle playing by Hedley and some dreamy pedal steel and guitar playing by his band, this was pure honky tonk at his best. Hedley is yet another artist that is very much part of the East Nashville music co-op and has previously worked on stage with Justin Townes Earle and Jonny Fritz, served his time playing at Roberts Western World on Broadway and given that he’s not yet  25 years old, it’s not surprisingly he has been signed to Third Man Records. I’ll be first in line to pick up his debut album when it sees the light of day!

 

Drive By Truckers

Cannery Row was the venue for Drive By Truckers, one of the leading lights in what we define as Americana music, and was heaving in anticipation of their first ever showcase appearance at The AMA’s. Once in a while an act play a setlist that you could have penned yourself and this, for me, was one of those gigs. Including Marry Me, Surrender Under Protest, Hell No, I Ain’t Happy hit the spot but the inclusion of World of Hurt (quite poignant given the political turmoil in the States at present and seldom performed live) was the icing on the cake. Having seen the Truckers perform live on many occasions, including a number of times where they were so loud that some of the songs were unrecognisable, this evening performance was the best I’ve seen them. Patterson Hood was passionate, politically charged and in fine form and unafraid to ostracise some of his core following by speaking emotionally about the worrying degree of racism currently pertaining in America. Perfect setlist, sound and vantage position upfront and with Hood and Cooley in sparkling form resulted in yet another festival highlight. Overplaying their forty-five-minute set by an additional ten minutes was the perfect end to a great day’s music.

Aaron Lee Tasjan

A favourite performer at the festival, Aaron Lee Tasjan seems to appear at every venue whether playing with his band, solo or on stage with others. Somehow, he managed to play thirteen times in three days and we were fortunate to catch his showcase in the Yee Haw Tent on the Saturday afternoon. With his unique and individualistic fashion sense - he appeared on stage decked out in a white suit, white hat and black and white snakeskin shoes – you just knew his show was going to be full on entertainment, and he did not disappoint.  Kicking off with Hard Life and Memphis Rain from his 2016 album Silver Tears, his set not only accentuated his song writing skills but also his ass kicking guitar work. A twin guitar onslaught from Lee Tasjan and his side man Brian Wright (more from him later) on Ready To Die brought the house (tent) down. One of the best received gigs of the week by an artist that has it all with lots to spare. A modest and approachable young man he also hung around chatting and chewing the breeze before heading on to his next appointment.

Lilly Hiatt

Twelve months ago, Lilly Hiatt’s appearances at the AMA’s featured in the main material from her then current album Royal Blue, a mix of country, roots with just about the correct dosage of twang. This year’s sets found her ramping up a number of notches and featuring material – the whole album bar one track – from her 2017 release Trinity Lane, most definitely one of the standout albums of the year. Going down a more traditional rock path it’s songs are personal, honest and self-cleansing in equal doses and rock like hell with riffs and hooks to die for.  Kicking off the Thursday evening showcase sets at Third Man Records she manages to cram in ten of the eleven tracks on the album and no doubt have played the entire album given an additional five minutes. Highlights, of which there were many, included All Kinds Of People, I Wanna Go Home, Different I Guess and the monster track The Night David Bowie Died. Hats off to her killer young band whose enthusiasm mirrored that of Hiatt.

Los Colognes

The 5 Spot in East Nashville is the venue where most local artists cut their teeth on the path to bigger venues. It’s also a bar where you’re likely to be rubbing shoulders with as many musicians as local residents or tourists. Their weekly $2 Dollar Tuesday, hosted by Derek Hoke, offers two-dollar entry (free with festival wristband), $2 beers and $2 food. Nashville based Los Colognes were billed to perform Neil Young’s classic album Tonight’s The Night in its entirety. After two opening slots by the excellent Michaela Anne – classic young country vocalist, landing somewhere between Ashley Munroe and Zoe Muth, well worth checking out – and Derek Hoke, we were treated to a stunning performance by Los Colognes transforming what can be a quite depressing album into a celebratory evening. As expected given the venue, they were joined on stage by Margo Price (on her way home from performing at The Grand Olde Opry), Lilly Hiatt and Caitlin Rose whose delivery of Borrowed Tune silenced the room within twenty seconds.  An unexpected treasure of an evening in my favourite East Nashville hangout.

Brian Wright

Multi-instrumentalist and an artist that came to my attention at last year’s festival when he played in Aaron Lee Tasjan’s band, Texas born East Nashville resident Brian Wright played one of the rockiest and most enjoyable shows of the festival at the backyard of The Fond Object Record Store in glorious sunshine to an adoring crowd. I have to admit that I’ve come to his solo work late only picking up his 2013 album Rattle Their Chains in recent months. Mixing soul, blues and good old-fashioned rock with killer guitar licks and a backing band that included John Latham and Aaron Lee Tasjan was the perfect formula for a no-nonsense performance. Ending his set offstage and finishing his solo with guitar pointed skyward surrounded by an audience of all ages was a fitting image to a fun filled and head down rocking set.

Hayes Caryll

Not so many years back The Station Inn was surrounded by gravel surfaced car parks in a location primed for development known as The Gulch. Within five years the iconic venue has become dwarfed and overshadowed on all sides by high rise condominiums and commercial developments. The owners have stoically resisted the option of selling out the site which has been the hub for bluegrass in Music City for decades. Internally it’s a throwback to former decades as if time has stood still and it’s the venue for a terrific show by Austin troubadour Hayes Caryll, not his first appearance at The AMA’s, but his first time to play the hallowed venue. With a 175 seating capacity and possibly in a position to accommodate another 50 standing, it’s essential to get along early as it’s one of the few venues at the festival that invariably attracts large numbers. With this in mind we arrived ten minutes before the doors opened and positioned ourselves upfront for the impressive support act Caitlin Canty, who admitted to being light headed by both the opportunity to play the venue and to appear before Hayes Caryll.  You know exactly what to expect from a Hayes Caryll show, brilliant tales transformed into song, passionate delivery with lots of humour on the side and this evenings set delivered on all fronts with the inclusion of Drunken Poets Dream, Drive (written with Jim Lauderdale), Magic Kid (dedicated and written for his son) and the hilarious Bible on The Dash (a co-write with Corb Lund).  A particular highlight was his inclusion of a recently written song titled Wild Pointy Finger, which he went to great lengths to explain is not a euphemism for genitalia!

Emily Barker

One of the most versatile and diligent female artists on the circuit Australian born UK resident Emily Barker played a short lunch time set at Alley Taps, the same venue that she launched her album (yet to be released at that time) Sweet Kind of Blue at last year’s festival.  Recorded in Sam Phillips Studio in Memphis the album found Barker visiting her soul roots and was subsequently released earlier this year to glowing reviews. Barker has flirted with UK folk, roots and country soul ventures over the years together with writing the theme music for the TV drama Wallander and she has the ability to excel in whatever direction she chooses. With the voice of an angel and aided by a crack backing band, Barker treated us to a sampler of tracks from the album including the title track and the stunning Sister Goodbye, possibly the most beautiful song she’s written. The only regret was that her set had to wind up after four songs but waiting in the wings to perform were Mary Gauthier, Gretchen Peters, Shannon Mc Nally and The Orphan Brigade (featuring our own Ben Glover), which softened the blow somewhat!

Andrew Combs

Having had the opportunity to see Combs play at the festival the past number of years its noticeable how he has grown as an artist over those years both in his song writing and live performances. His latest album Canyons Of My Mind, released in Europe on the Loose label, is one of the most striking releases of the year. Our good friends at Loose Tom Bridgewater and Julia Grant hosted a lunchtime party titled The Loose Lounge featuring a number of acts on their label and giving me the first of two opportunities to witness Combs live. Facilitated by Americana UK the venue was attended in the main by UK and Irish punters and Combs, having performed to an audience that annoyingly talked through his set the previous day at The Thompson Hotel, opened up by noting how great it is to play to audiences from countries that come to gigs to actually listen to music. Playing solo emphasised his exquisite vocal and his short set was played to pin drop silence. His showcase performance took place two days later at The Mercy Lounge where he delivered a knockout set with his full band featuring mostly material from the current album with Dirty Rain, Heart Of Wonder and his anti-Trump masterpiece Bourgeois King hitting the spot.

Courtney Marie Andrews

An artist very much in the ascendancy and likely to make a major impact going forward, Courtney Marie Andrews was one of the most talked about artists playing the festival. Similar to Andrew Combs she is on the Loose label and the impact of her current album Honest Life, released in Europe by Loose, has resulted in it being rereleased in the States. She also featured in the Loose Lounge party performing three numbers solo which not only highlighted her stunning vocal but also her splendid guitar skills. Her main gig was at The City Winery where she performed at an all-female evening which also included sets by Erin Rae, Dori Freeman, Brandy Clark and Kasey Chambers. Understandably the majority of her standout set was drawn from Honest Life with Rookie Dreaming, Table For One and a rousing delivery of How Quickly Your Heart Mends all reinforcing exactly how special this young lady is. Material from her forthcoming album, to be recorded in the coming weeks, suggested a fuller and more country soul feel than Honest Life.

Dori Freeman

On the same bill as Andrews was Dori Freeman, a young lady from Galax Virginia. At last year’s festival Freeman was given the grave yard shift, performing solo prior to Rodney Crowell’s slot, and battling against an audience that did their best to talk over her performance. The City Winery is a seated and very much a listening room and Freeman, accompanied by a percussionist, took full advantage to deliver a gorgeous set visiting both her self-titled album and her sophomore album Letters Never Read, due for release later in the year.  Her song writing is simple, stripped back and personal, perfectly suited to her acoustic delivery with the emphasis on her natural crystal clear vocal. If I Could Make You My Own from the new album and Go On Lovin’ from her debut album were simply divine from an artist who is as authentic and natural as it comes. Who needs backing musicians when you possess a vocal that can silence a room seconds into your first song.

Our flight back home to Dublin from Nashvilla included a stopover at Chicago and ironically, or perhaps fittingly, as we queued to board who should be standing beside us but Pat Sansone of Wilco (he performed a number of times at the festival), giving their song Via Chicago a  complete new meaning!

 

List of acts/shows attended:

Michaela Ann, Derek Hoke, Sally & George, Los Colognes, Lilly Hiatt (twice), Margo Price, Caitlin Rose, Caitlin Canty, Hayes Caryll, Blair Crimmons & The Hookers, Emily Barker, Shannon Mc Nally, Mary Gauthier, The Orphan Brigade, The Deslondes, JD McPherson, The Texas Gentlemen (twice), Joshua Hedley, Lillie Mae, Drive By Truckers, Andrew Combs (twice), Courtney Marie Andrews (twice), Gill Landry, Joana Serrat, The Americans,Vikesh Kapoor, Kasey Chambers,Tyler Childers, Lindi Ortega, Carter Sampson, Kaitlin Butts, Travis Linville, Erin Rae, Dori Freeman, Aaron Lee Tasjan, Deep Dark Woods, Mark O' Connor Band, Reckless Kelly, The Secret Sisters, Whitney Rose (twice), Doug Seeger’s, JP Harris, Zephaniah O Hora, Brian Wright, Hugh Masterson, Band of Heathens (twice), The Wild Reed’s, Wild Ponies, Teddy & The Tough Riders, The Smoking Flowers (twice).The War & Treaty, Big Star Tribute Band (Chris Stamey, Django Haskins, Jody Stephens, Mike Mills, Millie McGuire, Mitch Easter, Pat Sansone)

Reviews and photography by Declan Culliton

Jess Klein @ the DC Club, Dublin - Sept 24th 2017

Sunday night and Dublin city has settled into a weekend wind-down. At the DC Club we are looking forward to the return of the very talented Jess Klein to our shores after a 5-year absence. If you ever need a way to chase away the weekend blues then live music can always provide an answer and in the company of Jess Klein there is no better sanctuary.

Blessed with an emotive and powerful voice, Jess plays a set that includes a number of new songs from her next album, including My Own Beating Heart, Back To My Green, Blair Mountain and Ginny. It is always a risk to include new material that is unfamiliar to an audience but Jess has such a natural stage presence that she has no difficulty integrating the songs into the body of the overall performance.

A very adept guitar player, she displays some lovely touches during old favourites such as Riverview, Travellin’ Woman, Soda Water, Shonalee and Little White Dove. Sadly, the audience is small in number but the honesty and insight of the performance has everyone lapping up each note and nuance. Tougher Than I Seem is another new song and seems to frame the arc of her career across nine excellent and highly recommended releases. The journey of a professional musician is never a smooth road and Jess has seen all sides of an industry that can often be more cruel than kind. However, irrespective of timing and getting the right breaks, talent will always find an outlet and there is a sense of being in the presence of real craft as we witness her many gifts.  

Ireland is an old song that is an obvious inclusion for her only Irish date. There follows a spoken word reading, titled Chicken Soup, that chronicles the life of her Grandmother in her coming to America and raising a family with dignity and pride. The catalyst for this was an attack on a Jewish Cemetery where a number of graves were vandalised, including her grandparents, and the poem is aimed at the perpetrators of such evil actions. It is a really moving performance and honours the struggle that her grandparents had in building a new life and providing a legacy for those who come after.

Mike June joins Jess onstage for the final six numbers and his lead acoustic playing is quite something as he weaves patterns around the fine rhythm playing of Jess. The encore is a poignant version of Beautiful Child, written for her Father and is followed by a real rock-out version of Atlantic City to mark the recent birthday of the Boss.

Jess Klein walks a quiet road when it comes to media recognition. Where others may get the attention and plaudits, she displays an admirable ability to manage her own career and works hard to keep a presence that is away from the shadows and looking into the light. Her wistful delivery and vocal tone blend together with her guitar to capture the listener in acknowledging such an accomplished talent. She is worthy of greater recognition and such artists need to be acknowledged, celebrated and given greater support. Hopefully she can return in the not too distant future when a proper string of Irish dates can be offered to her.

Now married to her fellow travelling musician, Mike June, she joins him on stage during his opening set and sings back-up vocals on a few numbers. Mike played a fine support set of songs from his catalogue, including Election Day, I’ve Got the Darkness, Cotton Fields, Poor Man’s Bible and Hard Times.  He has a confident stage presence and is a fine musician; a perfect foil for Jess and an interesting talent in his own right.    

Review by Paul McGee  Photograph by Paul Dolan

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