Americana Fest UK @ Hackney, London - 29th/30th January 2019

Americana Fest UK was staged over three days in Hackney, London. Kicking off on Tuesday 29thJanuary, the festival included two nights of live showcases from a range of acts both local and international and closed with the Awards Show at The Hackney Empire on the final night.

Lonesome Highway descended on a cold, wintery Hackney via Stansted Airport mid-morning Tuesday and spent two action packed days, meeting old and new friends and listening to some quality music courtesy of quite a range of acts, all wedged into that increasingly populated Americana pigeon hole. As has been the case in The States, the Americana brand in the U.K. has given many artists, previously difficult to categorise, a musical community and an outlet to have their music exposed to a wider audience. The various sets at this year’s festival were staged across five venues, all within walking distance and presenting six acts each evening, all allocated thirty-five-minute slots.

Our first port of call was Night Tales to collect wrist bands and catch some live music. The venue is located beneath railway arches and describes itself as a Bohemia Palace, which is fairly spot on. It’s a mixture of an outdoor garden area, with covered and uncovered sections and a comfortable music room. With the air temperature barely above freezing in the outdoor area and indeed also in the music room, the most impressive Rachel Baiman and her two-piece band warmed the crowd up with a set mostly taken from her excellent 2017 album Shame. Rachel had performed a memorable set at Kilkenny Roots last year when she was touring with Molly Tuttle and it was a pleasure to catch up again with the bubbly and engaging young Chicago born multi-instrumentalist. Her show had not originally been listed in the programme, nor had Grammy Winner and former Old Crow Medicine Show dignitary Chance McCoy, who took the stage next. We had intended moving venues at that time but McCoy had us rooted to the spot with his rootsy mix of folk and indie. He’s scheduled to release his debut solo album later this year which will be very much on the Lonesome Highway radar. 

With two overseas acts under our belts it was time for a change of scenery and an artist from closer to home. Well, Glasgow to be exact, where Martha L. Healy hails from. She has turned quite a lot of heads with her current release Keep The Flame Alight, with comparisons to Gretchen Peters and Nanci Griffith. Recorded in Nashville the album continues to garner very positive reviews and her set at Paper Dress Vintage was well attended. A really quirky and interesting venue, the shop doubles as a vintage clothing boutique during the day and bar/music venue in the evening. Forty-five minutes later after a quick dash through the driving rain and sleet and we were back at Night Tales for the appearance of Caroline Spence. Another young artist that has impressed us in recent years she performed with an accompanying guitarist and played a particularly impressive set, despite the distraction of the many "talkers" in the room, an annoying feature that in fairness, rarely raised its head at other showcases we attended over the few days.

Previous winners of The Glastonbury Festival Emerging Talent Competition,London band TheTreetop Flyers, were the attraction across the road at Oslo, another impressive venue on the circuit. Their self-titled third album hit the Lonesome Highway spot last year and their set certainly did it justice. Kicking in somewhere between folk and indie the material sounds as impressive from stage as it does on album from a razor-sharp live band. One of the most eagerly anticipated artists playing in Hackney was Carson McHone. The young lady from Austin Texas has been signed by the Loose label and had the European release of her brilliant album Carousel a few weeks previously. The album had been out in The States since the autumn and featured highly in our Best of 2018 listings. Playing solo and to a large crowd, the diminutive McHone silenced the crowd at Oslo to pin drop levels one song into her set and proceeded to complete one of the festival performance highlights with standout tracks from the album,including Sad, Drugs and Maybe They’re Just Really Good Friends. Quick dash back to Night Tales to catch another of our favourites, Birds of Chicago, for the second half of their set. Performing as a three-piece Alison and J.T. are joined on stage by their partner in crime, the multi-instrumentalist Steve Dawson and bring the house down with their signature mix of roots and gospel delights. Such is the party atmosphere at Night Tales that plans to venture to some of the other venues dissipate and the decision is made to stay put for the final two acts scheduled. First up for the ten thirty slot are fiddle driven and, in your face, Noble Jacks, who have been building up a head of steam in recent years with their energetic shows. Tonight’s no exception and if the temperature was at zero a few hours previously, it’s risen noticeably by the energy and feet shuffling that they manage to generate. Often outspoken about many of the sub genres muscling in under the ‘country’ heading, it was more out of curiosity than burning desire that had me up front for the final act of the evening, Gangstagrass. A bluegrass and hip-hop fusion who claim to aim for the lovers of both Ralph Stanley and Jay- Z, they certainly know how to throw a party with bursts of raging fiddle followed by frontman Producer Ranch’s machine gun vocals. They don’t manage to win me over entirely but to their credit they are electric in the live setting.

An interview with Carson McHone commenced day two’s musical adventures. Facilitated by Tom Bridgewater of the Loose Record Label, thirty minutes passed in a flash chatting to the engaging and articulate McHone, hearing of her career to date and her ambitions and hopes for the future. Her enthusiasm was admirable and I’ve no doubt she has the skillset to firmly establish herself as a leading light in Americana music going forward. A pit stop for food meant missing The Blue Highways set but feedback on them was very positive. With so much music on offer hard choices had to be made and it was decided to hang out for the rest of the evening at Oslo and take in the five acts programmed for the night. Michaela Anne, an artist well known to Lonesome Highway, was the first of the night. We have been well impressed by her appearances at Americana Fest in Nashville over the years and also seeing her play guitar and backing vocals with both Sam Outlaw and J.P. Harris. On this occasion, she played with a pick-up band and included material from her debut album, together with a recent co-write with Sam Outlaw. After a few sound problems at first, she got firmly into her stride doing what she does best, belting out traditional country. Sam Morrow has been making a lot of waves over the past six months and he’s currently on a U.K. tour with his band. His first two albums had him earmarked as a potential breakthrough Americana artist but his more recent album, Concrete And Mud, and his performance in Hackney gave the vibe of an artist heading down a more southern rock sideroad, with a lot of thumbs up to 70’s bands Lynyrd Skynyrd and The Marshall Tucker Band. Looking and sounding the part, it was good, old fashioned rock and roll. 

Ethan Johns is rightly hailed as musical royalty in the U.K. given his production work with everyone from Ryan Adams to Paul Mc Cartney, but he’s also an exceptionally good musician, writer and gatherer of crack musicians to share a stage with him. His band The Black-Eyed Dogs varies in personnel, dependant on peoples work commitments. I had not seen him perform live before and his thirty-five minutes on stage was the highlight of the festival for me. More a jam session than a structured set, the final twelve minutes was a blistering Crazy Horse like rendition of Gillian Welch’s Revelator, with John’s and Chris Hillman’s guitar onslaughts and Jeremy’s Stacey’s drumming a joy to behold!

Ethan Johns has produced the new William The Conqueror album, Bleeding On The Track, to be released later in the month, so it was fitting that the three piece should follow Johns’ set with a triumphant one of their own. The band, fronted by Ruarri Joseph, often find shelter under the Americana umbrella but their sound travels far beyond such a simple description. Blues, traditional rock and 70’s New York punk sounds all combined to create another festival highlight. They play Kilkenny Roots in May, another opportunity to see a band that improve every time I see them play. With only one set left before the shutters came down at Oslo, who better to bring the curtain down but Bennett Wilson Poole. What started as weekend jams for these gents last year has elevated them to one of the most enjoyed live acts on the U.K. and Ireland circuit and their debut album was far from shabby too! Sweet harmonies, jangling guitars, thumping drums and pulsing bass guitar, but most of all the biggest smiling faces treated us to another celebration of what we all love about live music. Ask Me Anything, Wilson’s General Store, That Thing Called Love etc, etc never sounded better and a spectacular end to a couple of fun filled days that reallybrought the house down.

There were so many other acts that we would have loved to catch in addition to the Awards Show the following evening, which we missed. Such a pleasure to meet with so many of our festival-going friends from U.K., Germany, Spain, Ireland and The States together with the many musicians, PR folk, record label and radio people and indeed musicians,which continue to make this musical merry go round such an endless and thrilling journey. A great introduction to an exceptionally well organised festival that most certainly will be in our diary for next year and hopefully many years to follow.

Review and photos by Declan Culiton

TradFest 2019 Final Concert @ Dublin Castle - 27th January 2019

The final concert of this year’s TradFest featured three acoustic acts all of whom were all on form. The opening act was Laura Cortese & The Dance Cards who are essentially a string quartet playing roots and Americana music. The line up of two fiddles, upright bass and cello was used effectively to play such diverse directions as cajun and Appalachian tunes that were all delivered with a sense of fun alongside the obvious instrumental skills. All four also featured on vocals as the song required. One song was, we were informed, about procreation and prophylactics. They also mentioned that things were little weird in their country right now! But that was balanced with a query as to what the members of the audience felt was their most romantic album choice. They wanted to discuss this at the merchandising table after their performance and it seems that there were may who wanted to express their choices and talk to the band.

Next up was Teddy Thompson. He was appearing solo and in that capacity showed himself to be a fine guitarist as well, as a powerful singer and off the cuff raconteur. Choosing a selection of songs from albums that were prefaced with some humorous comment he noted that he was not exactly a traditional artist but he was, none-the-less, glad to be appearing in “this antiseptic ballroom.” A lot of the songs seemed from his pointed comments to deal with failed relationships. Songs about “not getting the one you want” or of attempts to “stick it” to the one you did have at one point. He has a new album ready for release later in the year and features a new song from that. His final song was “as upbeat as my beat gets” he joked before leaving the stage to much applause.

Headliner Jerry Douglas came stage full of upbeat anecdotes but was cut short by some technical problems with his Dobro. That was sorted relatively quickly and he told us that his last visit to Dublin was with Alison Krauss and that was “amazing” and he hoped this would be too. He opened with a song from the man who inspired him, namely Josh Graves, before moving on to some of his other favourite bluegrass players. Such as Jimi Hendrix’s version of Hey Joe which Douglas sang in a voice suited to the song. This was followed by a medley of tunes that he noted had been, in part, inspired by the likes of Davy Spillane and Moving Hearts. Other writers who he performed versions of their songs were Paul Simon and Chick Corea. He related again that he had always loved being in Ireland. He finished his set with an uptempo instrumental before being called back for an encore and deciding that a slow song would be best as he didn’t want anyone driving home too fast after an uptempo song, so he played his version of Both Sides Now. He then suggested that we could turn to our significant other and say “wasn’t that a nice concert.”

Review by Stephen Rapid  Photography by Kaethe Burt O'Dea

The Remedy Club @ The Hot Spot, Greystones - Sun 27th Jan 2019

The Remedy Club have been local favourites on the Irish music scene for a number of years now. Over this time, both Aileen Mythen and KJ McEvoy have achieved quite a reputation for their music, which was enhanced with the release of the critically acclaimed Lovers, Legends & Lost Causes album in 2017. 

Their live performances have always drawn plenty of interest and their stage presence is fused with an energy and musicality that delivers real quality. This gig at the Hot Spot in Greystones was further evidence of their combined talents and was also a fundraiser for an upcoming trip to Nashville where they are due to record their follow up album.

The full room at the venue was very encouraging, given that the gig was an early one with a 5.00pm start, and the age spread among the audience is proof that their terrific music reaches all ears and all ages. Focusing mainly on their debut release, the duo performs nine of the songs that appeared on the album with I Miss You, Big Ol’ Fancy, When Tom Waits Up and Bottom Of The Hill receiving a warm reaction.

There are always a few cover versions included in their set list and this evening we are treated to Heartbreak Hotel and I’m So Lonesome I Could Cry. Taking on both Elvis and Hank Williams could lead to self-sabotage but not when Aileen and KJ are at the controls. Both deliver performances that are completely convincing and vibrant; whether its Aileen impressing on vocals and percussion or KJ thrilling with his superb mastery of the guitar and his inventive soloing on top of the rhythms created.

A rendition of the old blues standard, It Hurts Me Too, is a stand out and the encore includes a song with support act Conor O’Donnell (guitar) & Robin Kelly (upright bass), followed by a great performance from Aileen on This Is Love, an appropriate sentiment on which to end the show.

Conor O’Donnell opened the evening and included a number of songs from his debut release, Come On In. The album was recorded with producers Garvan Gallagher and Gavin Glass at Orphan Records. Conor is a very assured singer and his Roots/Americana sound is very appealing with plenty of interesting songs, performed with a quiet confidence throughout his set.

The Hot Spot continues to be a very important venue and their motto of ‘keeping live music alive’ is one that deserves full support in order to keep giving local acts the opportunity to bring their music to an audience. Congratulations to Ailbhe on all her hard work and promotion of live music in the Greystones area. It is only a short journey on the Dart from Dublin city centre and deserves all the support you can give it.

And, to finish on support, it is not too late to assist The Remedy Club in their efforts to crowdfund the next album. There are plenty of interesting offers/options to attract your support and full details are available at https://fundit.ie/project/the-remedy-club---new-album.

Review and photograph by Paul McGee

Dori Freeman St Michans Church, Dublin 24th Jan 2019 / TradFest

This was Dori Freeman’s first time to play in Ireland and as her grandmother’s name was Dooley that connection made this trip to Ireland special for her. The impressive setting of St Michan’s may have been slightly nerve wracking at first but she soon settled in and played an 18 song set full of recorded tracks from her two albums and a selection of those which seemed right for the moment. She was ably accompanied by her husband Nick Falk on a small but versatile drum kind as well as banjo and excellent harmony vocals. She was wearing the white Manuel-style jacket she wore on the cover of her last album Letters Never Read. She started the set with that album’s opening song If I Could Make You My Own before playing some new songs from her upcoming third album. In this setting of acoustic guitar, percussion and vocals the immediate impression was of a slightly more country sounding direction than previously. 

Falk noted that they didn’t play bluegrass but were partial to some old time and gospel songs. A number of which they included in the performance. Which also included a Doc Watson song You Must Come In At The Door, another cover was the song Pretty Little Martha as well as their take on the Louvin Brother’s song Today. They had, she explained, something of a penchant for sad songs in their set. However, that said, it was still a warm and uplifting evening even if the hard back pews were a little uncomfortable on the rear and back.

You Say from her debut self-titled album was she told us was her most played song on Spotify (over 2 million plays) with all the attendant lack of royalties that come from streaming services. Freeman has a clear and engaging voice that was well suited the venue acoustics and the sound was good through the evening. She had recorded a song on the second album that was written by her grandfather Willard Greyheart titled Erin & Zorry’s Sneakin Bitin’ Dog which was a tale of an inhospitable mutt. He was hale and hearty and she had just recorded an album with him that she noted had titled out “real well.” It was due out shortly and sound like one to watch out for. As does her third album also due out later this year. Another old song included in the set and on her last album was Yonder Comes A Sucker an early Jim Reeves song that is not without a sense of tongue-in-cheekness. She also played Merle Haggard’s The Worst Is Yet To Come. The encore was a Baptist tune “one that you can dance to” titled Heavenly Sunlight. That seems an appropriate ending to the evening of music in a church. Even if as Falk noted that it was the fist one he’d been in where they were giving a free beer at the door on your way in! 

The evening opened with a short set from noted musician, broadcaster and compere Niall Toner with a his current four piece band. That included upright bass, dobro, mandolin, banjo and guitar. They played a number of Toner’s compositions including Lock & Key, Railroad Dreams and William Smith Monroe. Toner gave the fine band their head with a couple of fiery instrumentals. Toner has been at the forefront of homegrown bluegrass in Ireland for many a year and shows no signs of slowing down as he continues to spread the word.

NB: Both artists can also be seen playing at this years Kilkenny Roots Festival over the May Bank Holiday weekend.

Review by Stephen Rapid   Photography by Kaethe Burt O'Dea

The Delines @ Liberty Hall, Dublin - 25th January 2019

‘I can’t wait to be like I used to be, Oh let’s be us again’ Amy Boone sings on the closing encore this evening. Written from a different context on the song Let’s Be Us Again from The Delines recently released album The Imperial, the lyrics also sum up the torturous road Boone has travelled in recent years and – against all the odds – her remarkable recovery. 

Willy Vlautin has become a household name as an accomplished novelist of late, with his tales of the marginalised and real-life characters down on their luck, trying to survive, often with little hope. Amy Boone, the frontperson in The Delines, could be a character plucked from a Vlautin novel, given her extraordinary past four years. Originally a member of The Damnations, where she played piano, bass, wurlitzer together with lead vocals, Vlautin was so impressed by her vocals that he invited her to accompany Richmond Fontaine on tour promoting their 2011 album The High Country.

In the process of disbanding Richmond Fontaine, Vlautin was convinced that Boone’s emotive vocals were the ideal vehicle to continue bringing his stories to life, and duly formed The Delines, also bringing long-time RF drummer Sean Oldham along for the ride.  Their debut album Colfax was released in 2014, a departure from RF’s core sound, it ventured more in the direction of country soul and was particularly well received by the music press. A European tour followed together with the release of a limited addition CD Scenic Sessions, only available for purchase at their gigs at that time. The band began working on their next album in 2016 but were abruptly halted when Boone was involved in an horrific accident, when struck by a car while walking in a car park, resulting in two severely fractured legs and leaving her in an incapacitated state for over two years. The completion of the album was put on hold while she dealt with multiple procedures, in an effort to restore her mobility. In the final stages of her recovery the finishing touches to the album, The Imperial, were completed and a tour of Ireland and the U.K. was arranged on the album’s release.

Liberty Hall in Dublin was the fourth show of the tour and was, to say the least, a resounding success. Despite Boone’s traumatic past few years which has resulted in mobility difficulties, her performance was outstanding, displaying a confidence in both her vocals and stage presence so far removed from her previous appearance in Dublin, where by her own admission, she was as nervous as a kitten on stage! The completion of the album and the subsequent positive reaction from audiences on the tour appears to have liberated and energised Boone and her vocal performance from the opener and album title track The Imperial, to the final encore and appropriately named Let’s Be Us Again, are simply breath-taking.

Inevitable – and in many ways unfair – comparisons are made between Richmond Fontaine and The Delines. In reality they could hardly be further apart, the only common denominator being Vlautin’s prodigious writing.  Boone’s vocal capability this evening recalls the classic chanteuse Dusty Springfield and indeed Bobby Gentry. Big statement perhaps, but her delivery of the aforementioned The Imperial, Oil Rigs At Night and He Don’t Burn For Me, to name check only three songs, are simply gorgeous. Credit also to the sound engineer, with each instrument and vocal crystal clear throughout the set, whether it be Boone’s vocals, Freddie Trujillo’s bass, Vlautin’s guitar, Sean Oldham’s drums and in particular, Cory Gray on keyboards and trumpet. The added bonus for the show was the addition of our own David Murphy, guesting on pedal steel, as he often does  when Willy Vlautin is in town.  

Colfax may have been a hard act to follow but their presentations of That Old Haunted Place, Cheer Up Charley, Holly The Hustle and Where Are You Sonny reinforce just how worthy a successor the current album is. Straying somewhat more deeply into country soul, its raises the band to altogether loftier heights than previously, not only in their delivery but also the quality of the song writing. Favourites from Colfax are also included, I Won’t Slip Up, The Oil Rigs At Night and the title track, together with Gold Dreaming from Scenic Sessions. 

The Delines were, understandably, considered to be Willy Vlautin’s band and it’s noticeable and commendable how he – and the other band members - have deliberately taken  a background role as simply  band members,  allowing and encouraging Boone to take centre stage and Vlautin’s satisfaction is all too obvious during the performance, a beaming smile across his face at the audiences reaction from the onset. Vlautin’s writing and characters seldom have happy endings. Fortunately, Amy Boone’s horror tale is in many ways the reverse. It’s a triumph in the wake of extreme misfortune and it was a pleasure to join her and the band in a celebration of that this evening. It’s not often you leave a show with memories that linger for days and leave you yearning for more. Fortunately, The Delines return for two more dates at Kilkenny Roots in May. I’m reminded of the beaming grin across Vlautin’s face at the end of the show and expect most punters attending the show left with a similar expression.

Review by Declan Culliton  Photographs by Kaethe Burt O'Dea

Kathy Mattea @ St Patrick’s Cathedral, Tradfest - 25th January 2019

It has been quite some time since renowned Country artist Kathy Mattea played a concert in Ireland. She has been a celebrated and established singer since the 1980’s when the first of her, now fifteen, releases arrived on the music scene. This Tradfest venue is something that she enjoyed fully, revealing that her inner voice kept reminding her “you’re playing in an 800 - year old Church”.  It is indeed a regal setting where you can feel the ghosts of centuries past in the cold air and dancing in the muted lighting that washes across the magnificent ceiling and walls...

Bill Cooley has been Kathy’s musical companion for 29 years now and his understated and dextrous playing  on acoustic guitars tonight is quite a treat to witness live. He is the most fluent of players and has a creativity that enhances each song with harmony lines and solo runs that never repeat across the 16-song set that lasts for 90 minutes. He plays with an economy that always serves the song and Kathy also plays guitar across much of the set. She shows that she is no slouch when it comes to rhythmic accompaniment and her strong playing allows Bill to take flight into his creative colouring of the song arrangements. The sound is excellent, given that the instrumentation is quite sparse and it says a lot that the numbers do not suffer greatly from the lack of a band to add more texture to the arrangements.

It has been 6 years since the last album release but the arrival of Pretty Bird in late 2018 signals a welcome return and Kathy performs 6 tracks from the album. Of these, the sublime guitar playing of Bill Cooley is really highlighted on the traditional Irish Folk song, She Moved Through The Fair. The song title has been turned into ‘He’ for dramatic effect, in what was a haunting and poignant performance from both musicians. The other songs from the latest release were; Ode to Billie Joe (Bobbie Gentry), Chocolate On My Tongue (Oliver Wood), This Love Will Carry (Dougie MacLean), Holy Now (Peter Mayer) and Mercy Now (Mary Gauthier). It is the performance of the latter song that really captures the spirit of the night and her superb delivery is a call to focus on the kindness of our natures in such troubled times. A song for these days of fear and uncertainty indeed.

The set list tonight also included Evenin’ (Mitchell Parish, Harry White), 455 Rocket (Gillian Welch, David Rawlings) and some old hits such as Ready For The Storm (Dougie MacLean), Goin' Gone (Pat Alger, Bill Dale, Fred Koller), Love At The Five And Dime (Nanci Griffith), Untold Stories (Tim O'Brien), Eighteen Wheels And A Dozen Roses (Gene Nelson, Paul Nelson) and Come From the Heart (Don Williams. 

Mattea provides an eclectic mix of styles with a little folk, bluegrass and gospel influences mixed with her interest in Celtic ballads. Having just played at Celtic Connections in Scotland, she speaks of her previous appearance on the original Transatlantic Sessions from 1995. Her stage presence is very confident and assured, showing an easy conversational style between songs with lots of stories about her career and the specific songs she chooses to record. She speaks about being a steward of these songs and says that one of the benefits is being able to bring new songs to people who have never heard them before.

She also reflects on growing up in the music business at a time when you didn’t have a studio in your phone; when a record deal was everything as you needed lots of money to go into a studio. She also speaks about the voice problems she experienced in recent years and the need to attend a vocal coach to help her find her new voice and be able to sing again. If she is singing a register lower than before, then what of it; the skill in song selection at any age is always the key and Kathy remains one of the best interpretive singers of her generation with an intimacy in her delivery which convinces the listener at every turn. 

Indeed, she speaks of her process and technique and of sometimes “having to find your way into a song” and how sometimes this can happen when she is not trying too hard to carry this off. 

Her husband, songwriter Jon Vezner, co-wrote with Don Henry what is considered by many, including Kathy herself, to be her signature tune; Where Have You Been? This is performed with subtle tones by Bill Cooley on guitar, perfectly capturing the moving sentiment of the song. Another number, Mary Did You Know? (Green, Lowry) is sung as a Christmas song but it feels just perfect in this setting.

It proved to be a warm night of song, with some great highlights and the audience were very enthusiastic in their appreciation of this superb artist and her richly talented sideman.

Review by Paul McGee   Photograph by Vincent Lennon

Seamus Fogarty @ The Harbour Bar, Bray - 23rd January 2019

On his first visit to Bray, Seamus Fogarty accompanied by Emma Smith on violin, kick started The Harbour Bar Annual Banjo & Bovril Festival in fine style. Admitting that ‘he was too tight’ to bring his banjo across from London together with his guitar and Emma’s violin’, he carried on regardless, entertaining the enthusiastic audience for the next eighty minutes. Followers of Fogarty will be quite aware that no two shows from the Mayo man are ever alike, even if much of the setlist is similar. Performing as a duo with Emma Smith on violin, the set features the customary chat, delightful deliveries both vocally and instrumentally, audience participation and just to add a bit of spice, some broken strings. You may be forgiven for assuming that musicians travel with spare strings in their first aid kit, in a similar manner that motorist seldom leave home without a spare tyre. Not always the case, as Smith explains at the onset, panic stations were setting in when she broke a string during sound check, only to be rescued by a local who was dispatched to an outlet nearby to procure a replacement and save the day. Not to be outdone, Fogarty manages to suffer a similar fate closing the set and gallantly performs the evenings encore minus a string.

Drawing in the main from his critically acclaimed 2017 release, The Curious Hand, we hear of an unspectacular ‘phone in’ interview on the Joe Duffy Show – his highlight of 2018 we’re told, tongue in cheek – where the presenter was more interested in Fogarty’s research of 250 year old giant Irishman Charles Byrne than he was of his song Short Ballad For A Long Man, inspired by Fogarty’s visit to The Hunterian Museum in London and his opening song in tonight’s show.

A resident in London nowadays, his worldly travels feature in much of his song writing, none more than Mexico, performed this evening with Fogarty explaining the songs origin. While working for an unappreciative building contractor in Boston while living in The States, he finally threw his shovel out of the pram when promised bonuses failed to materialise, telling his boss he was jacking in the job and fecking off to Mexico. The intended journey only reached San Francisco, where rather than continue his travels, he wrote the song instead! The tale is typical of the evenings light hearted banter, combined with some beautiful ballads, elegantly delivered both vocally and musically by Fogarty and Smith. Carlow Town has become his party piece and his yarn of waking up during mass at Carlow Cathedral after a night out on the town is hilarious, regardless of how often you’ve heard it. It’s also invariably accompanied by a dance routine which Fogarty consistently manages to mistime, tonight is no exception, with Smith’s immaculate rendition at least five seconds ahead of her less than co-ordinated partner. 

A further tale follows of a spectacular night in Kerry, trading songs with John Martyn, only for a worst for wear Martyn having no recollection of the encounter the following day!  Fogarty seeks assistance from the audience to perform ‘the talking part’ on his albums title song The Curious Hand. An attendee named Dominic, duly obliges, recounting his tale of a Carlow evening stopover to add the required atmosphere to the song. Included in the set also are Tommy The Cat, Heels Over Head, Van Gogh’s Ear and a new song introduced as ‘new, because we were to lazy to rehearse it!’.

A Seamus Fogarty show guarantees a smile from ear to ear from start to finish, together with stellar tales delivered by an artist quite unique in the alternative folk world.  I’m reminded of the old adage that ‘there’s no show like a (Joe) Dolan show’, which in the modern folk music world should read ‘there’s no show like a Foggy Show!

Review and photograph by Declan Culliton

I Draw Slow @ The Grand Social - Dublin, Fri 21st Dec 2018

It was 2010 when a debut release arrived on the local scene, spawned by a fledgling group of Irish musicians who wanted to find a place at the table in the music industry. Interesting that in the 8 years that have passed, this ensemble has gone from strength to strength, built a very strong fan base, not only around Ireland, but also in America where much of their current activity takes them on a regular basis. The original members are all still present and the definition of musical family could not be more apt when experiencing the obvious bond that these 5 musicians have on stage together. It also results in the impressively tight playing evident throughout and the craft that is brought to each song by such talented players.

When we first heard that debut release, the hope was that this band could endure and be able to support themselves in the stormy seas of the ever- changing music business. So, it is not only to celebrate their success story that everyone gathers tonight for their annual Christmas concert, but also to show ongoing support for their journey that has taken them forward as one of Ireland’s premier acts on the international stage. 

That debut release is also revisited tonight with the tracks, Little Switzerland, Lighthouse Daughter and That Boy’s Not Fair giving every indication that the passing of the years has not dampened down the vibrancy and celebratory tone of their performance and delivery. Much loved favourites, Goldmine and Valentine, are given full vent as the capacity crowd become more and more energised by the onstage performance. 

However, it is the latest release, Turn Your Face To The Sun, that rightly gets most focus with seven songs featured and each one a winner… Apocalypso kicked off the set and renditions of Maria, Alveregna, Same Old Dress Will Do, Twin Sisters and the excellent My Portion are all played with enthusiasm and gusto. New songs are also tried out, Grand Canyon and Queen Of The Wasteland, both received well, as are the tunes Pig Pen and Don’t Kiss In My Kitchen. 

Dave and Louise Holden have always been at the core of the band’s creative centre with their song writing skills and focus on maintaining a performance quality that continues to improve and match expectations. Dave is a very fine guitar player and his vocals blend seamlessly with sister Louise who continues to provide the focal point and energy of their impressive live performances. She dances with a gay abandon that seems to spur the players to even greater heights of interplay and her vocal delivery is very strong and nuanced. With Konrad Liddy providing the fine rhythmic anchor on upright bass, the sparkling runs of Adrian Hart on fiddle are given full flight with Colin Derham on banjo a willing accomplice as the music builds to the joyful tempos that many of the songs contain.

Special mention was made by Louise of the recent death of our beloved Sandy Harsch. Sandy played a part in helping I Draw Slow achieve media recognition early in their career and the generous applause that greeted Louise’s words was both heart-warming and poignant.

The set finishes with Goldmine with the band returning for an encore that includes Garage Flowers and two superb fiddle tunes that bring the night to a satisfying and thrilling conclusion among the many cheering fans that have turned up to witness what was a special evening of music.

Review by Paul McGee. Photograph by Declan Culliton

Dar Williams @ The Workman’s Club - November 22nd 2018.

When it comes to matters of the heart or wry observation on life’s daily struggle, there are few musical artists as cultured and erudite as Dar Williams. Her career, that spans twenty-five years, has brought many accolades for her perceptive writing and musicianship, her collaborations with many seasoned and successful fellow-artists and her penchant for activism and causes in the name of equality and dignity for all.

Folk music has always held a special place in the psyche of the Irish people. It is a music that captures the spirit of the times and is a reflection of the forces within society that drive people to endure. As a mirror held up to assist us in self-reflection Contemporary Folk music is no less diluted as the challenges of these times weigh heavily upon so many of us. Where lies the light?

Dar Williams has always been searching for that light, a path to show the way forward and a solace to those in need of restitution and renewal. Tonight, she plays from her impressive body of work across a set that lasts 80 minutes and covers many of the 9 releases she has to her name.

Her ruminations and tales between the songs are very engaging and somehow, as important as the actual performances on solo guitar. Dar can spin and weave her words into witty and pithy songs of brittle humanity in all its frailty and understated nobility. You cannot help but be enthralled by her craft and communication.

Included in the set tonight are songs from her last release, Emerald. The title track is a look back on a life lived, seen through the memories that are sparked on a car journey. The superb New York Is A Harbour comes later in the set and is filled with imagery of the expectations and broken dreams that are intertwined in the great symbol for hope and the American Dream.

There are also two new songs, Time To Be My Friend and Let The Wind Blow, that sound right at home already and could have been plucked from any period of her discography to date. Old favourites are included such as The Christians & The Pagans, The Babysitter’s Here, The Beauty Of The Rain and the timeless insight of When I Was A Boy.

February and The One Who Knows are wistful ballads and go straight to the heart while the more up-tempo Iowa has the audience joining in on the chorus. Calling The Moon and I Am the One Who Will Remember Everything are also included and the encore, We Learned The Sea, brings everything to a very pleasing end. Always welcome to these shores, Dar Williams has lost none of her ability to engage and inspire in equal measure.

Review and photograph by Paul McGee

JP Harris @ Celtic Music Radio & Nice 'N' Sleazy Glasgow 13th Nov '18

Considering he only plays a handful of shows annually in his adopted hometown of Nashville and does not tour regularly, it was a pleasure to have the opportunity to see Lonesome Highway favourite JP Harris & The Tough Choices for the fifth time in three months, when he performed a blistering set at Nice 'N' Sleazy on Glasgow’s Sauchiehall Street, preceded by an acoustic set earlier that afternoon at Celtic Music Radio Station at Admiral Street. The previous occasions to witness Harris live were at Americana Fest in Nashville, where he played at 3rd & Lindsley, Robert's Western World and Sunday Coming Down at Gallatin Avenue, East Nashville. The latter was an all-day event organised by JP, featuring a number a artists, a spectacular and fitting end to the festival.

The personnel in The Tough Choices is very much a moving target and his touring band on this current trip around Europe are entirely different, but no less talented, than the musicians he had backing him in Nashville. The afternoon acoustic set was a pre-recorded interview and performance for Mike Ritchie’s weekly Sunday afternoon radio show on Celtic Music Radio. The set found Harris joined by his touring guitarist and they performed three songs (J.P.’s Florida Blues #1, Long Ways Back and When I Quit Drinking), all from his recently released album Sometimes Dogs Bark at Nothing.

Mike Ritchie’s interview with the engaging and extremely articulate Harris, included him revisiting his teenage years, his life experience since relocating in Nashville, his continuing support for female artists in the industry – he consistently includes female artists in his band, on this tour Nashville neighbour Miss Tess plays bass in his band together with preforming as an opening act - and an in-depth insight into the recording of his latest album. Harris explained that the album was produced by Old Crow Medicine Show’s Morgan Jahnig and the production was quite unorthodox by Nashville standards. The selected musicians to perform on the album came into the studio, having been given the skeleton of the tracks to consider a few days previously, with the instruction not to confer or discuss them with each other before recording. It's fair to say that the methods adopted were a qualified success and the six songs selected from the album to perform later that evening at Nice 'N' Sleazy sounded splendid in the live setting.

With a five-piece band of pedal steel (and occasional keys), bass, drums and guitars, Harris and his buddies took advantage of the excellent sound, lighting and indeed smoke machine at Nice N Sleazy, to deliver a killer seventeen song set. Kicking off and closing with the only two covers on the set list - the opener was David Allan Coe’s California Turnarounds and the encore a rousing version of Jerry Reed’s Freeborn Man– Harris and his cohorts raced through a free-flowing catalogue of songs that never lost steam. Sparks flew for up-tempo numbers Two For The Road, Gear Jammin’ Daddy, JP’s Florida Blues #1 and Hard Road, complimented by some equally impressive country ballads such as Maria, I Only Drink Alone, Lady In The Spotlight and Sometimes Dogs Bark at Nothing, the slower numbers all performed to pin drop silence. The road tight band were a joy to behold, with note perfect bass, drums and lead guitar, together with cracking pedal steel, supporting JP’s luxurious lead baritone vocals. 

In a market overflowing with plastic and industry manufactured acts masquerading as country artists, it’s a thrill to witness a genuine artist playing real country music with such a talented bunch of musicians and noticeably enjoying himself on stage as much as we were offstage. Make no mistake, Harris is the real deal and if you get the opportunity to catch him and his Tough Choices on the road, don’t pass it up. 

Thumbs up also to support act Miss Tess who, together with her band mate and co-producer Thomas Bryan Eaton, played a storming opening set featuring material from her album Baby, We All Know, before they both reappeared on stage as members of The Tough Choices.

Review and photographs by Declan Culliton

The Mulligan Brothers @ Naas Presbyterian Church - November 12th 2018.

This band is a breath of fresh air and seeing them play live again after a few years is such a joyful experience on a cold Monday night at a relatively new venue in Naas. 

The Presbyterian Church is a very intimate and small space, with the audience taking up the seating in the pews for an evening of highly entertaining music and song from this 3-piece who hail from Mobile, Alabama. This is their third tour of Ireland and the original touring 4-piece has now been reduced for the current dates and includes a female influence for the first time in the engaging presence of Melody Duncan on fiddle and vocals. 

Existing members, Ben Leininger on upright bass and lead singer/songwriter Ross Newell bring a warmth and finely crafted talent to the experience and the superb vocal tone of Newell is without doubt one of the finest live voices I have heard in some time.

Together the three-part harmony vocals are a complete pleasure throughout their generous set that touched on all three of their releases to date. The songs are based on personal observations in many cases but are also rooted in story songs that unfurl a narrative as they weave around the sweet melodies that are crafted from the tight playing on display.

Songs included Cecelia, Thrift Store Suitcase, Oh Susanna, Lay Here and the live favourite, Mama Gets My Soul. The new release, Songs For The Living And Otherwise, is given a good exposure with songs like Roseanne, a nicely crafted story that contains a clever twist, Possession In Gm, I Know That Man, and Great Grandaddy’s War, a song that reflects on the enduring divisions that were caused in the civil war and still resonate in the southern states of America. An evening of uplifting, infectious melodies and vocal harmonies that see this trio really hit the mark. 

The Mulligan Brothers may well have to consider a name change as they are well beyond ‘second chances’ at this point in their career and when you have heavy hitters such as Steve Berlin and Trina Shoemaker producing your records, then you know that you are already headed in the right direction!  

The support act was a local artist, Sina Theil, originally from Germany and now living here. She has a confident presence and a fine vocal that carries her strong set with conviction. Her backing band of three musicians all play a role with fiddle, lead guitar and bass joining together to fill out the guitar and voice of Sina. 

Definitely one to watch out for on the local circuit and already making inroads into the listening public with her debut album Under Cover charting at Number 1 in the Irish Country Download Charts and Number 5 in the Overall Irish Download Album Charts. Her version of Travelin’ Soldier (Bruce Robison), blended with the traditional Irish song, The Minstrel Boy, was a highlight of her set.

Review and photograph by Paul McGee

Deertick @ Whelan’s - 10th November 2018

Minus the Keyboards and Saxophone of Rob Crowell, Deertick have embarked on their current European tour and this stop in Dublin with the 4-piece comprising of John McCauley (guitars, vocals), Chris Ryan (bass, vocals), Dennis Ryan (drums, percussion, vocals) and Ian O'Neil (guitars, vocals), turn in a stellar performance in front of a capacity crowd on a Saturday night that has plenty of competition in other acts visiting the city this weekend.

Despite the fact that the band are playing across much of Europe over a 4-week period, the crowd tonight is dotted with fans who have travelled some distances from other countries to see the Dublin gig. They sing along to every song and their command of each line and lyric is very impressive to witness among the many smiles. Perhaps the fact that the gig was put in jeopardy by a major power cut, just after the support act had performed, only added to the unique atmosphere of the occasion. 

As the stage area fell into darkness, many thought that this was no more than a clever ploy to build up the anticipation and excitement before Deertick took to the stage. Not the case however, as the outage lasted almost 60 minutes before power was restored. The band had appeared to say that they wanted to play and that the gig would go ahead, but the longer the delay unfolded, the more people worried that the whole night might fall flat.

Once the difficulties were overcome, Deertick launched into their set (see photo) with an energy, intensity and power that suggested that they were on a mission to blaze through as many songs as possible before the curfew. They need not have worried as the venue is nothing if not a very relaxed place to enjoy live music and the staff were in no hurry to ask the band to leave the stage. Big applause to the patient crowd who remained good humoured throughout the power failure, even those who had travelled from abroad, as rumours circled that it was the U2 concert at the 3 Arena that had blown up the electricity grid in the city…!

Included on the night were tracks, Don't Hurt, Dream in the Ditch, Clownin' Around, The Bump, Easy, Me And My Man, Card House, Hope Is Big and the guitar heavy rhythms were cathartic as the superbly resigned vocal style of McCauley fought for room in the heady mix of sound and sweat. 

A cover version of the Pogues, White City, was especially well received by the crowd, while songs like Sea Of Clouds, Baltimore Blues No. 1 and Look How Clean I Am ensured that the pace never dropped as the ridiculously tight band twisted and turned driving rhythm into breaks of melody and quieter moments such as, These Old Shoes, Ashamed, Mange and Twenty Miles, ensuring that all seven of their releases to date were featured across the impressive set list. 

The final encore of You Are So Beautiful (Billy Preston/Bruce Fisher) was a fitting conclusion to a night of drama and intensity, not only on the stage and among the audience, but also in the unique circumstances that framed this exciting show.

A word also for the support act, Joanna Barbera, who played solo and was very well received with her easy stage manner and some interesting songs that no doubt had her supply of merchandise take a popular hit after the show. 

Thanks also to my new friends from Italy who were very welcome to Dublin for the show and who generously allowed me to take a photo of the set list, just for completion purposes, but also for any of you collectors out there who seek out such souvenirs!

Review and photographs by Paul McGee

BluesFest @ 3Arena, Dublin 2018

This yearly event has been running since 2013 when London’s Royal Albert Hall was the original venue and artists Van Morrison and Robert Plant were two of the key headline acts. Over recent years the Festival has been extended to include Glasgow and Dublin as cities for the event and this year sees the symmetry of both Van Morrison and Robert Plant headlining on the Sunday night at the 3Arena in Dublin.

FRIDAY

The weekend of great music kicked off on Friday night with performances from Ireland’s Ultan Conlon, followed by guitar legend Steve Miller and band; before the headline act of John Fogarty closed the evening on a real high.

Ultan Conlon played a short set which focused mainly on his recent release, Last Days of the Night Owl. Opening with The Town Square, followed by Fond Memories and Twice A Child, Ultan played with a quiet confidence and his assured vocals won over many new admirers in the growing audience as the night began to take shape. Accompanied by Michael O’Connor on guitar and Dave Curtis on bass, the three musicians played together with an easy style and tempo and the appearance of Mary Coughlan for two songs was an added treat and she brought her own individual stamp to proceedings with her vocal colour on A Weak Heart Like Mine and The Measure.

A quick changeover by the very professional road crews that populated the stage throughout and we were ready for the great Steve Miller, all of 75 years old now, but still rocking out like there is no tomorrow. It was a real pleasure to watch such a consummate guitar virtuoso perform and to witness his impressive style across a range of different guitars over a 90-minute set that included many of his well known hits such as Abracadabra, Space Cowboy, Take The Money & Run, Rockin’ Me and the always impressive Fly Like An Eagle, with its space intro where the wonderful band are allowed to stretch out around the lengthy intro to such a showstopper. 

The encore included The Joker and Jet Airliner both of which had the crowd singing along with gay abandon. He spoke freely about his career and his easy storytelling style which was well received, especially when he gave a brief history concerning the guitars he owns, highlighting a Coral Electric Sitar Guitar (Vincent Bell design), that he purchased for $150 in the 1960’s only to be offered $250,000 for it recently…

Such an enjoyable set with something for everyone and a timely reminder of the huge influence this artist has made on so many of the bands that followed his lead in the 1970’s and 1980’s – not that he is stopping anytime soon; Steve Miller is still a fine talent who continues to burn brightly. His voice is as strong as ever and surrounding himself with musicians of this quality can only be good for everyone who is fortunate enough to catch him live.

John Fogarty follows with an equally impressive band, which includes his son, and he turns in an incredible performance of great stamina as he runs around the stage during a lengthy set that included pretty much every hit in the Creedence Clearwater Revival songbook, plus a few very tasty covers thrown in for good measure. Travelin' Band, Green River, Hey Tonight, Up Around the Bend, Who'll Stop The Rain, Lookin' Out My Back Door, Long As I Can See the Light, Born on the Bayou, Down On The Corner, Fortunate Son are all played to an increasingly fervent crowd who sing and dance to every note. 

It is amazing just how many hits his band had over their career and the legacy lives on with such affection for this artist of 72 years who still sings and moves with such dexterity and ease. The encore included Bad Moon Rising and Proud Mary plus there had also been cover versions of My Toot Toot (Rockin' Sidney), Jambalaya On the Bayou (Hank Williams cover), New Orleans (Gary “U.S.” Bonds cover) and I Heard It Through the Grapevine (Gladys Knight & The Pips cover). He was also joined by his son, Tyler, celebrating his 26th birthday on (Friday 26th)or an energetic and rousing rendition of Good Golly Miss Molly (Little Richard cover) and Psycho (The Sonics cover).

In the band was another son, Shane, who plays superbly on guitar throughout including a terrific trade off with his Dad which proved beyond any doubt that the apple doesn’t fall far from the tree.

SATURDAY

The night started with a set from The White Buffalo, aka Jake Smith and his supporting players, Matt Lynott on Drums and Christopher Hoffee on Bass.

He wasted little time in making an impression with songs like Love Song #1, Go the Distance, Come Join the Murder, Home Is in Your Arms, Joe and Jolene, I Got You, Oh Darlin' What Have I Done, This Year, Into the Sun, The Whistler and The Pilot, all performed with an energy and verve from the trio who really make the most of the 40 minutes that they have been given.

Driven by Lynott (The Machine) on drums and with plenty of punch from Hoffee on bass; the White Buffalo gives full vent to his smoky vocal delivery and rhythmic guitar playing. Eight releases under his belt and well worth your attention. Come back soon.

Next up is a sublime set from the glowing presence that is Alison Krauss. As a keeper of the traditional flame she stands in a special place and her devoted stance to preserving the old traditions of the bluegrass, folk and country heritage is laudable in its passion and scope. Over 90 minutes we are given some 20 plus songs that just pulse with joyful delivery and subtle musicianship of the highest order. The band are a complete joy to observe as they play with understated grace and serve the songs so well. James Mitchell (guitar), Ron Block (guitar, banjo), Barry Bales (bass), Matt Rollings (piano), Jay Bellerose (drums) just knock it out of the park. The beautiful violin playing and vocals of Alison are the cherry on top of this cake that tastes ever so sweet. You can hear a pin drop which is testament to the performance, as the previously noisy crowd realise just how special this performance is.

Sidney and Suzanne Cox also join Alison on harmony vocals and add so much colour to renditions of so many favourite songs. Her set was River in the Rain (Roger Miller cover), I Never Cared for You (Willie Nelson cover), Stay, Forget About It, Baby, Now That I've Found You (The Foundations cover), Ghost in This House (Shenandoah cover), Let Your Loss Be Your Lesson (Little Milton cover),The Lucky One, Sister Rosetta Goes Before Us (Sam Phillips cover), It's Goodbye and So Long to You (The Osborne Brothers & Mac Wiseman cover), Angel Flying Too Close to the Ground (Willie Nelson cover), Didn't Leave Nobody but the Baby (traditional), I Am Weary (Let Me Rest), Down to the River to Pray (traditional cover), Gentle on My Mind (John Hartford cover), When God Dips His Love in my Heart, Walk Over God's Heaven, When I've Done the Best I Can, I Want My Crown, It Is Well With My Soul. Pure bliss from start to finish and a real highlight of the weekend.

Counting Crows are celebrating 25 years as a band and they arrive back into Dublin after a few years since last performing here. The majority of the crowd have been eagerly anticipating this headline act and the energy prior to the performance is clearly evident in the talk and t-shirt displays around the arena. They take the stage with a less than dramatic entrance and their down tempo performance mirrors this laid-back attitude to proceedings. There are of course highlights when everything comes together but a lot of the performance seems unfocused as the ramblings of the past from Adan Duritz labour somewhat across the set. His tendency over the years to portray an angst-ridden, misunderstood thespian wears just a little thin as he faces his middle years and hangs on the nostalgia of a past that can never be relived in reality. There is no questioning his vocal delivery when he is on it, but his too-casual approach to much of the set does nobody any favours. Disappointing, despite the fine band who excel in moments throughout and bring the evening to a close with understated farewells as they leave the stage… 

The set list covered 16 songs and included were:

Mrs. Potter's Lullaby, Angels of the Silences, Omaha, Scarecrow, Miami, Colorblind, God of Ocean Tides, Washington Square, Round Here, Recovering the Satellites, Mr. Jones, A Long December, Hanginaround, Rain King, Holiday in Spain.

Friday and Saturday night reviewed by Paul McGee.

Due to unforeseen circumstances Paul was unable to cover Sunday. So thanks to Ronnie Norton and Joanne Cody for supplying these notes on the evening.

SUNDAY

Through the years I have always found Van Morrison off stage to be distant, reserved, and all in all not the most sociable dude in the world. But close your eyes when he’s on stage or listen to his records and a totally different artist appears. His Dublin appearance copper fastened that opinion for me. He pumped out hit after hit and the fans were enthralled. From the first notes of Days Like This I knew we were on to a winner and once again Van the Musician kept me locked into his dedicated herd of die hard listening fans.

I never was a Led Zeppelin fan. It clashed with my Dublin Folk Boom era. But then we got Rising Sand with Alison Krauss!  However the guy that played the 3 Arena was a totally different performer altogether. This guy hit the ground running and didn’t stop. A very minimal stage set with very effective and syncopated light which matched the moods from start to finish. The band were amazing and as tight as a well tuned Bodhran. Let’s just say I was really impressed and might even grab an album or two of his to fine tune my Robert Plant appreciation.

Ronnie Norton

It being the first time to experience Van Morrison live, I can't compare this with other gigs he has played but I do think we may have witnessed one of his best. He certainly seemed very relaxed and the performance just flowed. There was just one moment where we thought we going to see it all go wrong when he halted a song due to feedback but seconds later all was good again. Again seeing him for the first time, it did feel odd that he doesn’t engage at all with his audience but I think he just lets the music say it all.

Among his set list he played hits like Brown Eyed Girl, Moon Dance, Real Real Gone, and Days Like This. Really feel we very privileged to see this performance and also although he may not have mentioned his band as other artists do but I really have to try and catch him agin

Robert Plant turned it up a gear as soon as he hit the stage. At 70 years of age he still oozes cool! He mentioned early on in the set that this was their last gig in a tour of 70 performances and he really wasn’t sure were they would go next. One thing that was for sure is that it really showed that he and the Sensational Space Shifters decided to make this gig special. 

Robert stated how he has been influenced from his early teenage years by artists such as Buck White, Sonny Boy Williamson and LeadBelly. The music with the Sensational Space Shifters is very much a mix of combining Zep numbers with Robert’s love of the artists above and also the music of North Africa. His set included Black Dog, Carry Fire, Babe I’m Going to Leave You, Little Maggie, Fixin’ to Die, When the Levee Breaks, New World and Whole Lotta  Love. 

The Shifters showed us how it should be done with roaring quitar solos, drum solos, electric fiddle. It was a night where we were witness to musical masters at work and showing that they still have it. I was in awe. 

Joanne Cody

Photography by Ronnie Norton

Thomas Gabriel @ Whelan’s, Dublin - 30th Oct 2018

For Thomas Gabriel, the oldest grandchild of Johnny Cash, this was something of a pilgrimage - to come to Ireland in the footsteps of his grandfather. This included a date in what was the Dreamland venue in Athy, where Johnny Cash had played 55 years ago to the day. In his live show Gabriel pays homage to the legend that is his grandfather and includes many songs associated with Cash. He also includes songs taken from the debut Gabriel album Long Way Home.

He opens the show with Big River, which is then followed by his own song Instant Relief, featuring an extended guitar solo from his guitarist Daniel Toa. Toa was a standout throughout the show giving the Cash songs a different perspective that blended with Gabriel voice, which a has definite echoes of his grandfather’s. They played their version of Fulsom Prison Blues next. It was taken at a much slower pace, which Gabriel mentioned was, for him, more reflective of his ownprison experience. He had served over 7 years in jail. He poignantly noted that he had been let out on a furlough to be a pall bearer at the funeral of June Carter Cash. However, he is now concentrating on his music and putting those darker times behind him, other that recalling them in song. The song Cell was written from the perspective of an inmate and features a slow riff not unlike that in The Rolling Stones Paint It Black.

His rhythm section of Nathan Oxley on bass and Mike Little on drums provided a solid platform throughout that allowed his voice and the guitar to take centre stage. Gabriel did not refer to a setlist, rather he used his iPad to looked at possible song choices as they went through the show. There was no hesitation though from the band who were able to play each choice at a moment’s notice. The songs played from his grandfather’s later albums included Unchained, Rusty Cage and Hurt,which he segued into Everything Must Be Sold - the opening song on his (Gabriel's) album. From Cash’s earlier recordings he played spirited versions ofRing Of Fire and Ghost Rider In The Sky, with another incisive David Gilmore-ish solo from Toa, amongst others in a 20 song set.

After a number of Irish dates, he was having some voice issues to the point of losing his voice after singing Home Of The Blues. Indeed, he had some problems again tonight but recovered well enough to finish the set. This fragility in his voice added some venerability to his song Come To Me. Anyone listening to Gabriel’s voice can be left in nodoubt ofits direct relationship to Johnny Cash. It may not be as deeply resonate but it is still a distinctive instrument. His take on Sunday Morning Coming Down was testament to that.

The show is both a homage to a beloved person and a testament to redemption, suggesting that in the future the show is likely to be less Cash and more Gabriel. However those few who attended the show thoroughly enjoyed both aspects of the show. A show that doubtless shouldhave been enjoyed by many more and once his reputation extends beyond those already acquainted with his music should draw bigger crowds. Again,it is the anomaly of Dublin which for one reason or another seems to be a difficult place to draw an audience of a size worthy of his and other who play here’s talents.

Gabriel closed the show with a rousing second version of Folsom Prison Blues,done this time at the pace of the Cash original. That infamous location was also a place that Gabriel had played on the 50 anniversary of Cash's original recorded show. It is indeed a long way home, but Gabriel is finding his path.

Review by Stephen Rapid  Photography by Kaethe Burt O'Dea

Emily Barker/The Remedy Club @ Cleere’s, Kilkenny 18th Oct 2018

Americana U.K. Artist of the Year Emily Barker literally parked her camper van in Kilkenny to perform at Cleere’s, on her whistle stop tour of Ireland, which also saw her play shows in Waterford, Dublin, Galway, Belfast and Limivady. Joined on stage by the talented Lukas Drinkwater on upright bass and electric guitar, her set covered material from her early career Red Clay Halo days up to her current soulful classic album Sweet Kind Of Blue, which was recorded at Sam Phillips Recording Service in Memphis Tennessee last year.

Concentrating on material from her earlier albums for the first half of her set, she opened with Little Deaths and the title track of her 2013 release Dear River, before performing Nostalgia, the theme song she composed for the BBC TV hit show Wallander. Blackbird from her live 2015 album The Toerag Sessions followed. Despite being somewhat under the weather her stage presence was particularly engaging, with tales of camper van travels and the luxury of a possible shower somewhere on the road. She also joked that she takes some credit for introducing the Father Ted sitcom to some of her fellow Australians while touring there. Whereas Barker's early career output concentrated on the more folk/Americana side of things, her current and delightful album Sweet Kind Of Blue recalls her inspiration and love of soul music as a teenager. The instrumentation and production on the album are phenomenal, not surprising given that it was produced by Matt Ross-Spang and included the cream of Memphis session players on the recording. Performing the material from the album stripped back may have presented a challenge but she rose to the occasion flawlessly and passed with flying colours. Performed in succession were No.5 Hurricane, the simply divine Sister Goodbye- dedicated to the Godmother of rock and roll Sister Rosetta Tharp - and equally impressive Over My Shoulder– co-written with Boo Hewerdine and inspired by the horrific newspaper image of a dead refugee child face down on a beach. She also included More! from the same album in its initial stripped back format, a dreamy slow version before it got ‘souled and Motowned up’ in the studio for the catchy album version. 

She closed the show with Anywhere Away,which she wrote for Jack Gavin’s film Hector and the gorgeous Precious Memories and The Blackwood from her Red Clay Halo days. The evening was further evidence of the limitless talents of Emily Barker, a young lady always prepared to challenge herself and never likely to stand in the same musical spot for very long.

Opening act, The Remedy Club are no strangers to Lonesome Highway or indeed to Cleeres’s, where they performed their own showcase gig only a few weeks previously. Husband and wife duo Aileen Mythen and Kieran McEvoy have been impressing us at Lonesome Highway over the past few years, establishing themselves as the leading exponents of Americana in Ireland. They met with Emily Barker while performing at The Americana Awards U.K. earlier in the year and were invited to support her on this tour. The perfect act to warm the crowd up in the cosy intimate setting, their set included Listenin’ To Hank Williams, When Tom Waits Upand a rousing finale of Big Ol’ Fancy, all from their current album Lovers, Legends and Lost Causes. 

Review and photographs by Declan Culliton

Kimmie Rhodes - Irish Tour 2018.

This artist has been visiting Ireland on a regular basis for a number of years now. Playing small venues around the country does not really do her justice, given her proven pedigree in the music business over a career that has spanned a few generations since her introduction as a real talent back in the early 1980’s.

This short tour is in support of her recent book, Radio Dreams: The Story of an Outlaw DJ and a Cosmic Cowgirl. It is a duet memoir and filled with great stories of a life spent together with her soulmate Joe Gracey who sadly died in 2011 after battling cancer over many years. 

The tour has dates in Rathfriland, Ballyboffey, Armagh, Lisburn & the Naul in north county Dublin. My journey takes me to a house concert in Rathfriland, plus the experience of the final gig at the Seamus Ennis Centre at the Naul.

Kimmie plays from a setlist that covers many of her 16 releases to date and she also allows herself creative licence to deviate away from this as the mood dictates. Joined by her incredibly talented son, Gabriel on guitar, the duo creates a very engaging and homely atmosphere with stories from the road and beyond. Kimmie is a natural storyteller and raconteur and her lengthy song introductions and back stories are equally as fascinating as the songs themselves. 

Drawing from the memories of a music scene that developed in Austin in the late 1970’s, Kimmie regales both audiences with her tales of meeting and being mentored by Willie Nelson. Her husband Joe Gracey was a much-respected singer and DJ before he lost his voice to cancer, only to turn his hand to studio production and working closely with Willie Nelson as part of both family and friends.

The songs include some carefully selected covers such as Buddy Holly (Raining In My Heart), Donovan (Catch The Wind), Townes van Zandt (White Freight Liner) and a new song yet to be recorded, Radio Dreams, to accompany the book.

Old favourites such as Love & Happiness, a song she wrote with Emmylou Harris, sit comfortably alongside Love Me Like A Song, a track she recorded with Willie Nelson.

Windblown is a song about her father and his colourful life, whereas Bells Of Joy celebrates an old Gospel band that she used to admire back in the early days. Just Drove By is the longest song she ever wrote, taking her a number of years to finish, but it captures everything in terms of family relationships and our changing feelings as we move through life.

God’s Acre is about coming home to be buried with those you love and the strength of family ties while Walls Fall Down references the present tensions in the USA and is an old song that has suddenly taken on new meaning with the turn of events there. 

Contrabandistas is a tex-mex workout that highlights the real craft of Gabriel on guitar as he soars and swoops around the rhythm laid down and delivers quite a performance. 

At the Naul, Kimmie sings 2 songs from different perspectives; one, Don’t Leave Me Like This, a bitter memory of the death of Joe Gracey and the other, Yes, a statement of intent in getting back into the light and living again.

House concerts are not really a big thing in Ireland Just yet but increasingly it appears to be a way of finding an intimate space where the artist can perform at controlled costs in the hope of making a profit and the sales of some merchandise. Rathfriland is a beautiful location and a very healthy crowd turn out to support our host Andy and to pay special tribute to the wonderful performance that is delivered.

The Naul is also an intimate setting and tonight there is a new soundboard to be tested – it passed with flying colours. A very attentive crowd sing along to the songs that they know and both performers give everything to that feeling of being in the moment while the magic of live music occurs.

Two excellent nights, spent in great company and you really must catch this superb artist on her next visit to our shores in 2019.

Review and photo by Paul McGee

AMA Report by Declan Culliton

Searching Out Country Music at Americana Fest 2018

It’s necessary to do a bit of digging to uncover what I consider ‘real’ country music these days. Robert’s Western World on Broadway in Nashville is a sure bet for the purist among us and with over three hundred acts performing at Americana Fest 2018, you’re guaranteed a decent representation of acts keeping that flag flying. Six acts in particular impressed and ticked the Lonesome Highway "real country is alive and kicking box." 

Jaime Wyatt at 3rd & Lindsley

Resembling a young Lucinda Williams in both appearance and sound, the striking Californian outlaw artist’s gig drew in the main material from her current album Felony Blues. Recalling her former years as a hell raiser - she did a prison stretch for robbing her drug dealer - Wyatt and her equally tight band delivered a storming set with full on numbers like Wishing Well and Wasco impressing every bit as much as her dreamy delivery of Merle Haggard’s Misery and Gin. Wyatt is the real deal, an artist with the ability in her writing, delivery and stage presence to make giant career steps. She sings from the heart, with pain, emotion and healing oozing from her every word. A festival highlight for those lucky enough to have caught her at 3rd& Lindsley.

Pat Reedy and The Longtime Goners at The Vinyl Bunker

The location for Pat Reedy’s set was a small vinyl record store located in the office of an underground car park. Not the most salubrious of rooms perhaps, but Reedy’s not the type of artist that’s going to grace the stage of The Grand Old Opry. He’s been touted as the most likely ‘country’ artist to follow in the footsteps of Joshua Hedley by making a name for himself way beyond Nashville. His appearance is that of someone that just drifted in from an auto store having spent the day changing tyres. With a three-piece band consisting of a recently acquainted Scandinavian pedal player, drummer and upright bass, he played two short sets of material mostly drawn from his recent release, the wonderfully titled That’s All There Is And There Ain’t No More. A former busker and construction worker, Reedy is the real deal, no frills, dirt under the fingernails and he dished out the perfect mid-afternoon set of raw and ragged country tunes. 

Jason James at Acme & Seed

Having played a solo performance at the same venue at the festival a few years back, James’s return with a full band was a joy to behold. The opposite side of the coin to Reedy, James is immaculately turned out, his appearance more George Jones than Willie Nelson and his performance was equally impressive. Playing to a large - and talkative- audience, it didn’t take long for him to silence them with his smooth Texan country sound, at times sounding like a young George Jones and helped in no small measure by his very impressive band. The new material on offer - to feature in his early 2019 album - sounded every bit as impressive as his 2015 self-titled album, using the same formula of traditional Texan country music, delivered with his silver-tongued southern tones. His signature tune Here Comes The Heartache and the honky tonkin’ I’ve Be Drinking More were standouts.

JP Harris at 3rd & Lindsley

Previous appearances at the festival had seen JP Harris play to smaller crowds at less spacious and less impressive locations, so it was a blast to see him and his entourage - which totalled ten at one stage - given the chance to play one of the larger venues. The stage at 3rd & Lindsley is one of the larger ones at the festival and Harris ensured that every square inch of it was put to use. His band featured guitar, bass, drums, pedal steel and keys with additional backing vocals courtesy of the Watson Twins and Kristina Murry. His set drew on material from his new album – officially released that day - including the title track Sometimes Dogs Bark at Nothing and When I Quit Drinking, alongside the crowd pleaser Give A LittleLovin’.Harris is not only a killer performer, he’s also a staunch supporter and promoter of emerging artists – in particular female East Nashville acts – often investing as much time in pushing them to the fore as he does in self-promotion.A rocking set from an artist that – were there any justice in the music world - would be a household name in country music. 

Mike and The Moonpies at 3rd & Lindsley

With the perfect mix and twang, honky tonk and boogie, Mike Harmeier and his five-piece band were the ideal act to close off the Evenings showcases at 3rd & Lindsley. Living up to their reputation for delivering full on high octane sets with a forty-five-minute onslaught of material that transformed the room into a Texas Dance Hall. Drawing in the main from their recent album Steak Night At The Prairie Rose they accelerated through Might Be Wrong, Getting High At Home and Beaches of Beloxi at breakneck speed. A "send them home sweating and smiling" set of fun music!

Colter Wall at The Station Inn

One of the names on many people’s lips as the emerging young artist on the Americana scene of recent years, the 23-year-old Canadian nabbed a prime slot as the closing act at the revered Station Inn on the night of the Americana Fest Award Show. Playing out like a veteran, he mesmerised the full house with a spell binding stroll through his breakthrough self-titled album with the superb Me and Big Dave and Kate Mc Cannon bringing the house down. No mean guitar picker himself, the addition of a full band elevated his stripped back baritone vocals to another level. A memorable show!

Review and photography by Declan Culliton

AMA Report by Paul McGee

AMA Music Festival, Nashville - September 11th -16th 2018

The annual festival and conference to put all others into the shade. 

Americanafest, now in its 17thyear, is spread across 50 venues over 6 days. Add a lot of music industry discussion groups and panels, afternoon showcases, label parties, BBQ’s and shindigs – followed by the evening fare of artist and band listings; typically, 4 to 5 acts at each venue that run into the midnight hours. Exhausting and exhilarating!

There is an award show that brings together the great and the good of Americana music at the famous Ryman auditorium, but the real essence of the festival is the sense of community, camaraderie and fellowship that can be embraced all over the city in many forms, as many music fans get to meet old friends and form new connections.

The choice of music is like being a kid in a sweetshop, with the similar frustration of not being able to sample everything. Choices must be made and inevitably bands missed along the way. However, there were so many moments to inspire;

MAKING A NAME

Two acts that are gingerly stepping their way through the minefield that is a sustainable career in this music game are My Politic and Arkansas Dave.

My Politic is a 5-piece band, now living in Nashville, who play expressive roots music around the creative hub of Kaston Guffey and Nick Pankey. Fiddle, dobro, acoustic guitars and harmonica merge into an organic sound, topped off by the high energy performance of band leader Guffey.

Arkansas Dave is entirely different and delivers a performance of soulful blues that is hard hitting and quite compelling. His band deliver passionate playing across driving workouts in an impressive set.

STAYING THE COURSE

Diversity in music is everything that makes it great and the attraction of the celebratory, soulful sound of Birds of Chicago sits in contrast with the mellow, reflective style of Erin Rae. Both deliver stellar sets as they continue to hone their craft and build upon careers that are flourishing and moving forward at a pace.

Birds of Chicago have great songs and the key element of interplay between joint-lead performers, JT Nero and Allison Russell. Erin Rae has a calm and restrained stage presence as she gently coaxes her band to higher performance levels in what can be described as dreamy soundscapes on top of which her soothing voice glides.

RISING HIGHER

The impact of breaking stars can never be underestimated as pressure is brought to bear on the existing status quo and order of things. Rightly so, as all things must be subject to change.

Courtney Marie Andrews is a performer who has developed into quite a star with her strong work ethic and some killer songs. Her band is really tight and they play in support of a vocal performance that is highly impressive. Her career is going in one direction only and her powerful talents bear witness to this.

The Lone Bellow are another act that continue to find accelerated momentum around their increasing media buzz. 

They perform here as a 3-piece with a single stand-up microphone, an acoustic guitar and a mandolin. Their vocal gymnastics and harmonies are an absolute treat to witness as they play a compelling set of songs from their 3 releases to date.

THE OLD ROAD WELL-TRAVELLED

Artists such as Emmylou Harris, Mary Gauthier, Eliza Gilkyson, Richard Thompson, John Hiatt and Kim Richey have seen it all before and show their durability and experience while appearing at a number of venues over the festival. 

Far from burning out and fading away, they display an energy that far belies the advances of old father time. Playing songs from new releases, plus dipping into extensive back catalogues, they excite all who witness their powerful presence. They also show no fall in their vocal prowess as performers and continue to display  an easy stage presence that has been earned over time and travel.

HAPPY TO MEET

Whether unknown or just unheard, there are so many acts who win over new admirers and indeed, make up the major part of this festival. Always a pleasant surprise to discover new talent that delights.

Sons of Bill are such a band. They have been around since 2006 releasing albums and are led by the 3 Wilson Brothers. They have a vibrant roots rock sound that is exciting and very engaging.

Samantha Fish plays blues guitar in an incendiary style that fires her song arrangements into orbit and her band create a big sound with warm organ swells, horns and rhythm section to fill out the performance. 

Jaimee Harris played a fine set at the Campfire propaganda day party and Ana Egge also captured the room at the Proper Music Party, along with Ben Glover who closed the event.

Other acts worthy of mention were Neighbor Lady, Mike Farris, Walter Salas-Humara, Tom Freund, Ordinary Elephant and Ladies Gun Club.

SORRY TO PART

All goods things must come to an end and the gathering of friends for Sunday Morning Coming Down provided a gathering of gumbo and good times. The wonderful JP Harris was hosting this event and his generous spirit was evident throughout as he highlighted other artists as well as playing a superb set with his own band. We were treated to the perfectly aligned vocal performance of the Watson Twins and an exciting set from the ever- impressive Elizabeth Cook. 

SPECIAL MOMENT

There were so many of course, but perhaps the one that sticks out and epitomises the festival spirit more than anything else was the Lone Bellow playing on the sidewalk to the line of fans who were unable to gain entry to their sold-out gig at The Station Inn. They delayed their show in order to ease the disappointment of the crowd outside and turned in a 3-song performance that was quite something.

ENDURING MEMORIES

Hearing about a late-night gig at the 5-Spot that led to my finally seeing an old favourite of mine perform live – Webb Wilder. He played a set that was packed with superb craftmanship and electric moments as his crack band turned out performances that made for one of those special nights; a crowded bar, plenty of high & hot energy and smiles all around. Also, meeting Tim Easton and seeing him play again after many years. A seasoned songwriter who continues to produce music of the highest quality. Equally as important was my reunion with Walter Salas-Humara and his unique talents. Founder member of the legendary Silos, he has lost none of his sparkle and the songs are as sharp as ever.

CODA

This was my first trip to the AMA festival but it will not be my last … It is addictive in all that is offered and delivered, in a setting that is just perfect. Music City USA lives up to the name and there is also much else to see and do, outside of the music. Definitely a Bucket List recommendation.

Review and photography by Paul McGee

Ed Romanoff @Whelans, Dublin - Wed 19th Sept 2018

Ed Romanoff was pleased to be in Dublin, or maybe just to be on solid ground after a short flight from Amsterdam turned into something a marathon journey that included a quick visit to Shannon. All due to the breathy interjections of Hurricane Ally. However he was genuinely pleased to be in Ireland for a number of dates to help him embrace his Irishness.Throughout the tour he is being ably supported by the esteemed Clive Barnes whose guitar playing adds much to the overall enjoyment of the songs played. It was clear to see why Mr Barnes is in such demand as a sideman and why he is a compelling artist in his own right.

The songs were mostly from his recent and rewarding album 

The Orphan King

. As is his want Romanoff prefaced each of the songs with a story or reflection on the origin of the song.

The Night Is A Woman 

was his approach to a Van Morrison style romantic ballad, he informed us, while noting that most people hadn’t a clue as to what it was about. Much more definite was the inspiration behind 

The Orphan King

. A song co-written with Mary Gauthier who Romanoff took a DNA test with and discovered he was essentially Irish, his birth father being 100% Irish. As he was adopted into a loving Russian family, he set about trying to contact his Irish father once he discovered his existance. This included the hiring of a number of prover detectives to try and find him, however they never discovered any trace.

Many of his other songs are based on real characters, and his research into their backgrounds and histories often formed the basis of his writing for this fact based material. 

Elephant Man

 is about Joseph Merrick who he imagined finding a female companion to share his life. 

The Ballad Of Willie Sutton

 concerns the bank robber who died in 1980. He was an Irish American who became a bank robber of repute (Making number 11 on the inaugural Ten Most Wanted FBI list). It recounts the part of his life and times preceding his release from Attica State prison on parole on Christmas Eve 1969. Romanoff incorporates much of this detail in his incisive writing. He writes both solo and with a co-writer. Many on the most recent album are written with Crit Harmon.

Romanoff also tells the audience that he only really started to become a writer after the age of 40 and never really thought of himself as a singer, recalling that his (adoption) father was tone deaf and he considered himself the same. He humorously noted that he was advised that it might be best if he mouthed the words of the songs

, by the leader of his school choir. However Romanoff is a much improved singer now and able to deliver his songs with a certain conviction. He would never consider himself a great vocalist but, similar to singers like John Prine, one who is able to deliver the song despite any limitation of his vocal range.

Playing acoustic guitar and sometimes adding a beat with a foot pedal he blends this with the atmospheric guitar of Barnes to create something that is effective and entertaining. Barnes played a couple of full on solos that enhanced the dynamic of the offering. Humour is ever present despite his noting that many of these songs hit the down elevator in terms of mood, but do so within the realm of optimism. Luan Parle joined the duo onstage, adding her exquisite vocals to several songs including a version of Springsteen’s 

I’m On Fire

 sung by Clive. For a couple of numbers Romanoff also calls folk-singer Peter Doran to the stage and they all join in on 

Blue Boulevard (Na Na Na)

. 

Romanoff was called back by the small but attentive audience for a two song encore. The first solo then he was joined by Barnes on his big silver Gretch for the final songs which also saw Parle and Dorian returning on the stage to end a satisfying night.

Review by Stephen Rapid   Photography by Kaethe Burt O'Dea

UAFP 27th Annual Bluegrass Festival @ Omagh - 2018

The stages have been dismantled and the sound equipment packed away after another exciting music festival in the Ulster American Folk Park, outside Omagh in N Ireland (31/08 - 02/09/18). Once again we were treated to a world class lineup of not just bluegrass acts but also old time, folk and cajun bands from the US, Europe and Ireland.

Lonesome Highway sent their two intrepid reporters along - myself and photographer/broadcaster Ronnie Norton as always, to report back on proceedings. We certainly were not disappointed.

Worthy headliners were the Darin & Brooke Aldridge Band from N Carolina, who were on their first visit to the country. Both are multiple IBMA & SPGBMA nominated - Darin for his guitar flat picking and Brooke for her vocals, and they showed us exactly why! They are interpreters of both bluegrass and country standards and more modern songs from other genres - all of which are given their own twist while remaining true to their bluegrass roots. Among the stellar musicians in their band was the impressive 21 year old fiddle player Carley Arrowood, also IBMA awarded.

Despite their youth, the band are quite obviously road veterans and they tear into their sets with no time wasted. Songs like Neil Young’s Powderfinger and pop covers are interspersed with old country classics and a yodelling song which the punters were encouraged to join in on, with varying degrees of success. Carley Arrowood showed that she’s not just a phenomenal fiddle player by taking the lead vocals on one of her own compositions. There are many gospel songs included in the sets, one of the highlights being Darin’s rendition of their friend Vince Gill’s Go Rest High. Darin and Brooke demonstrated their gorgeous vocals on several country duets, including the moving Corn, and the Everlys’ Let It Be Me. Darin’s long guitar intro into WayfaringStranger is truly psychedelic (a nod to his former life with Acoustic Syndicate, perhaps) and their rendition of this oft covered classic is one of the best versions I’ve ever heard. The whole band were quite clearly delighted to be here and endeared themselves to the large audiences at each of their three sets throughout the weekend.

Mike Compton & Joe Newberry entertained, moved and educated their eager audiences in equal measure throughout all their many sets during the festival. Those who are particularly interested in the roots of the music had the opportunity to attend the informal McInterview, hosted by the indefatigable festival MC Frank Galligan, where we enjoyed anecdotes from the legendary duo’s early lives in Mississippi and Missouri, and their subsequent musical journeys. Mike (mandolin) has played with Bill Monroe, John Hartford and later the Nashville Bluegrass Band. They treated us to songs from Gaither Carlton, Doc Watson, Big Mon and the Mississippi Sheiks.

Such is their vast repertoire that very few of their songs and stories were repeated over the course of their performances.

Midnight Skyracer are an exciting new band made up of five young women from N Ireland, England and Scotland. They have just been nominated for two IBMA Momentum Awards and after this, their first Irish appearance, they will be hot footing it to Raleigh in NC for the awards ceremony. Impressively, apart from their instrumental prowess across the board, most of their set is comprised of original songs, written by all five members. And they can all sing, to boot!

Natural band leader is Leanne Thorose, with her lightning fast mandolin playing and powerful gutsy voice. Eleanor Wilkie is impressive on bass, and when she takes the lead vocals on her own composition High and Dry.Our own Armagh banjo player Tabitha Agnew needed no introduction to the home crowd, but her banjo playing has amazingly continued to go from strength to strength. Then there are the twin Carrivick sisters: Laura is equally at home both on fiddle and dobro, while Charlotte wowed us on guitar. Their set is dynamic and fun, and their multiple harmonies are close and sweet. Carrie Hassler’s I’m Going On The Next Train was one of the highlights of their sets for this reviewer.

The Allen Family Reunion were a revelation on their first and hopefully not last trip to N Ireland, home to some of their ancestors. Comprised of two generations of this Ontario family, they entertained and amused their audiences with their musical chops, their warmth and their humour. Mandolinist/fiddle player John P Allen is well known in their native Canada and further afield as a member of the country band Prairie Oyster, although he doesn’t make a deal about it.

Demolition String Band have been here before and are quite familiar to Irish audiences. This time North Carolina based Elena and Boo were joined by Galwegian upright bass player Sammy Rohan, who did a stalwart job of keeping up! The band specialise in breakneck speed versions of songs as diverse as Madonna’s Like A Prayer (I kid you not) and John Prine’s Paradise (Mr Peabody’s Coal Train). Olabelle Reed and Jim & Jesse covers are introduced to the audience, some of whom may not be familiar with the broad range of country, folk and bluegrass artists that the duo love to evangelise about. They are so well admired that Woody Guthrie’s sister Nora asked them to write music for some of the treasure trove of Woody’s lyrics recently uncovered and they treated us to two of these.

Belgian/US Americana/folk band Old Salt were also making their first appearance at Omagh and it quickly became apparent why they won a European World of Bluegrass award in 2017. Led by American Daniel Wall (clawhammer banjo), they are a whirlwind of bluegrass, folk, jazz and old time influences, all delivered with a dynamism and a respect for the tradition. Ghent musicians Lotte Remmen on fiddle, Lara Rossellini on upright bass and Johannes Wannyn on guitar were able partners in crime in the current collective’s line up - their sets were broad ranging and their musicianship was tight. They performed many traditional songs and tunes, but made them their own and they explained the provenance of most of their choices. Both Lara and Lotte have built on their classical training to produce a lush string sound and the band’s harmonies were flawless. About to release their second album, we hope they will be back soon.

Whiskey Deaf, the old timey duo from Portland, Oregon were welcomed back with open arms after their first visit here in 2015. John Kael (guitar/banjo) and Annie Staninec (fiddle) have a huge repertoire of old time and bluegrass tunes and songs and their quiet enthusiasm for the history of the music was infectious. 

Fellow Pynins (US) performed their delicate blend of folky old timey songs which reflect their deep interest in nature and the land. Perhaps their repertoire just wasn’t big enough to handle the five sets spread over the weekend, but their songs and stories didn’t stand up to repeated listens.

Northern Ireland was well represented with sets from the ever popular Northern Exposure (who have expanded their repertoire with the addition of fiddle player Brendan Henry), Broken String Band, Geordie McAdam and the recently expanded Henry Family Band. While Janet Henry was promoting her well received new album Going Home, she and her dobro playing husband Colin were in danger of being upstaged by their children - James, who is fast becoming a banjo player of note, and Olivia who is possessed of a most wonderful pure voice just made for folk singing!

Eilís Boland

Athy’s Godfather of Bluegrass Tony O’Brien with his legendary Woodbine and local Omagh hot shot superstars the “CoolHand String Band” graced the stage and braved all the elements in the Log Cabin Field to give us a full spectrum coverage of Bluegrass to suit all ages and tastes. Woodbine as expected were a little more rooted in tradition, and much loved for it, while the Cool Hand String Band on their first visit to the Folk Park brought a vibrant and young approach and a clear indication that our choosen music is safe in the hands of the next generation. They even, “Lord Save Us” brought the open air crowd screaming to their feet with a blistering version of

Wagon Wheel

.

As photographer to the festival for the past "not so few" years I’ve managed to meet most of my Bluegrass heroes in what has to be the most relaxed and crowd friendly athmosphere possible for musical visitors. With seven stages and venues available I certainly got my cardio workout done over the weekend strolling the length and breadth of my favourite venue world wide for a musical festival. I’ve listed all the bands that appeared and are included in these above two collages more or less in the order that I encountered them. My heartfelt thanks goes to all the performers for their tolerance of the lurker with the long lens and all, and I really mean all of the staff at the Ulster American Folk Park for taking me into the family and creating the highlight of each Bluegrass year for me.

The Bands as I met them were Mike Compton and Joe Newberry, Whiskey Deaf, The Demolition String Band, Old Salt, Old Baby Mackerel, Broken String Band, Allen Family Reunion, Northern Exposure, The Henry Family Band, Fellow Pynins, Geordie McAdam, Midnight Skyracer, Eilidh Patterson, The Cool Hand String Band, Darin and Brooke Aldridge, Two Time Polka and Darin and Broke Aldridge, who once again were back for their spine tingling Gospel Concert in the Meeting House to wind up a really memorable weekend.

Roll ON 2019

Ronnie Norton  

Photography by Ronnie Norton