Hibsen @ Smock Alley Theatre, Dublin - 9th June 2023

Tonight sees the realisation of a dream for both Gráinne Hunt and Jim Murphy. As co-writers of the recently recorded Hibsen album, this premiere launch is everything that both could have been hoping for. Their pairing at an online writing workshop over Covid lockdown has proven to be a match made in the ether as both artists found their collaboration in song to be a joyful and rewarding experience.

Deciding to interpret the fifteen short stories of James Joyce that feature in his 1914 Dubliners novel is a somewhat daunting task. The scale of Joyce’s reputation and writing can only set the most challenging demands of any such collaboration and task. Fortune favours the brave however and it is a testament to the creativity of both artists that the end results are very compelling and a magnificent achievement.

The performance tonight is part of this year’s Bloomsday Festival and with support from the Arts Council, the project is brought to fruition by the performance of all fifteen songs in the beautiful and serene surroundings of the Smock Alley Theatre. Dating back to 1662, when it opened as the Theatre Royal, the history of the venue has witnessed full houses, seven days a week; structural problems over time, intense rivalry from other Dublin theatres, and eventually closure. Recreated as a church in the 19th Century during penal times, the building endured until 2012 when it once again opened as a theatre. It is the perfect setting in which to enjoy the unveiling of this new musical work. Hunt and Murphy are joined by a string quartet which is comprised of the four musicians who also feature on the album; Gerald Peregrine (cello), Beth McNinch (viola), Lynda O’Connor (first violin), and Paul O’Hanlon (second violin).

The remaining musicians on the evening are all members of the Blue Fish Diamond group that was formed by Jim Murphy some years ago and consists of  Axel McDonald (electric guitars), Ronan Quinn (bass), Laura Ryder (keyboards), and Shay Sweeney (drums & percussion). Jim Murphy contributes vocals and plays a selection of three guitars on the night and Gráinne Hunt provides all lead vocals. She is the ideal focal point and first lady of song, with a very accomplished performance throughout, displaying an impressive vocal range and a lovely tone in her convincing delivery of the material.  

It is by no means an impediment if you have not read the original Joyce stories, as each song is brought to life by the colourful arrangements and melodies, together with the well-crafted lyrics. However, there is the added benefit of selected readings from the novel by Irish journalist Frank McNally as a point of reference every few songs. His spoken delivery adds context and augments the musicians’ interplay across the variety of short stories. Such is the quality of the songs that one finds an instant familiarity with the rhythms and the choruses, almost wanting to join with the performers in song as the fine arrangements play out.

Highlights include Two Gallants, The Boarding House, Clay, and Ivy Day In the Committee Room.  The players excel throughout with the string quartet elevating the songs and other musicians rising to the challenge of subtle and sensitive interpretation of the music. The interval break did nothing to interrupt the momentum of the evening and the easy flow of the music built throughout, culminating in a dynamic finalé with the wonderful song The Dead. The intensity of the performance bringing not only an emotional response from Gráinne Hunt but also a cathartic release from the enthusiastic audience that had loved every minute of the performance.

Review and photographs by Paul McGee

Bluegrass Omagh 2023

After somewhat of a ‘blip’ (shall we call it?) in 2022, this much loved event at the Ulster-American Folk Park returned in style on the May 26-29 Bank Holiday weekend. Despite being yet another victim of public funding cutbacks, Richard Hurst and his team in National Museums of Northern Ireland once again managed to put on a superb weekend of music and entertainment, helped by the sunny weather.

One of highlights for the music fan was the annual McConversation, which this year featured one of Ireland’s earliest purveyors of bluegrass, the venerable Niall Toner. His interviewer was the broadcaster and festival MC Frank Galligan, brought back by popular demand after being sorely missed in 2022. Niall regaled the audience with fascinating anecdotes from his long career in bluegrass and traditional country, including how he passed a cassette tape of one of his first compositions to the Nashville Bluegrass Band at this festival in the 90s and it ended up on one of their Grammy nominated albums, TWENTY YEAR BLUES, in 2004. That plea for peace, There’s a Better Way, was performed, along with many more of Niall’s original compositions, by himself and his band at several performances over the weekend.

The American headliners this year were Zoe & Cloyd and The Honey Dewdrops from the US, and Viper Central from Canada. Clearly delighted to have finally made it here after the original 2020 booking was scuppered by the pandemic, Zoe & Cloyd (and band) brought their mix of bluegrass, klezmer and Americana to an enthusiastic audience. Promoting their new release, Songs of Our Grandfathers, Natalya Zoe Weinstein (fiddle) demonstrated her Jewish klezmer influences, while husband John Cloyd Miller (guitar) paid homage to his grandfather, pioneering bluegrass fiddler Jim Shumate, an original member of Bill Monroes’s Bluegrass Boys. The Honey Dewdrops (Virginia), comprising Laura Wortman (frailing banjo) and Kagey Parrish (guitar) were also on their first visit to N Ireland, and their beautiful blend of Americana/folk/bluegrass and original compositions were impressive. Back again after their 2017 appearance, Viper Central were stronger than ever. Their unusual rootsy sound, while bluegrass based, fuses jazz and folk influences into joyous uplifting performances, while they were bolstered by the addition of multi instrumentalist, Jack Garton, on trumpet and accordion! Europe was represented by the return of festival favourites, The Bluegrass Boogiemen (NL) and the equally entertaining Truffle Valley Boys, on their first visit from Italy. The latter are dedicated to paying homage to traditional early bluegrass, which they do with outstanding musicianship, sartorial style and with great humour.

Ireland was also represented by old favourites Woodbine, and newer favourites the Watery Hill Boys, the Broken String Boys, the local Knotty Pine String Band and the new combo, Henry (Janet and Colin). A rare treat was the appearance of Co Down’s Ian Alexander (formerly of Appalachian Strings), who impressed with his original compositions and covers, and his chops on mandolin and guitar.

Poignantly, there was recognition of those we have lost in recent years, particularly the beloved fiddler and all round character, Geordie McAdam, after whom there was a new event created, the Geordie McAdam Open Mic stage, which we hope will become a regular feature.

Debates over the timing of the event continue among the punters, with some favouring a return to the previous early September slot. Unfortunately, the current May dates fall very close to the Westport Folk & Bluegrass Festival, which attracts a similar audience.

Sadly, Richard Hurst will retire soon and it remains to be seen how his legacy will be carried on. Regulars will be hoping for ‘more of the same’, in the hopes that this will continue its reputation as one of the best bluegrass festivals outside of the US. Long may it run.

Report and photographs by Eilís Boland

The Remedy Club @The Workman’s Club, Dublin - 28th May 2023

A new album launch party is always a very joyful occasion to attend. Coming together to celebrate all the hard work and long hours that go into making music and creating an album is really what it’s all about. The sharing of new songs and the fun in playing them to a live audience for the first time is not lost on any of the crowd who turn out in solid numbers to support the Remedy Club tonight. This is their third album release and the title of BACK TO YOU is appropriate, given all the inspiration and perspiration that has been expended by both Aileen and KJ. To have achieved three album releases is reason enough to celebrate in an industry famous for many bodies buried along the wayside.

Aileen Mythen and KJ McEvoy are the creative centre of the band and when they are not performing as a duo, they gather other musicians to help paint the song arrangements with intriguing colours and shapes. Tonight they have invited some stellar players to highlight their new songs and we are graced by the presence of Dave Murphy (pedal steel), Podge Kilbride (keyboards), Phil Gaynor (drums), Shane Fitzsimmons (bass), and co-producer on the album, Gavin Glass who joins the group on electric guitar for four numbers.

As always, Aileen delivers as a charming host and is a dynamic leading lady. Her voice is a beautiful instrument that she uses so well; the rich tones often building to a powerhouse delivery as she compliments the band in full flight. Aileen is always gracious in her praise of others and fulsome in her tributes to those who have helped the career of the Remedy Club. However, at its core, it is Aileen and her husband KJ who drive the entire enterprise; writing the songs, booking the gigs, balancing the books, and dealing with all the marketing and PR that a successful group requires these days in the crazy world of social media overkill.

KJ is such a superb guitarist and his lyrical playing style is delivered with such apparent ease. The reality of course is so different as the long hours of practice required to attain such a high standard can never be taken for granted. Tonight KJ looks very sharp indeed in his hat and waistcoat and is the perfect foil for Aileen as she drives the band's energy to deliver increasingly high-performance levels all round.

The new songs sound great in the setting of the Workmans Club. The rhythm section of Phil Gaynor and Shane Fitzsimmons is locked in tight to the groove and provide the power that drives the beat along, embellished by the creative runs of both Dave Murphy on pedal steel and Podge Kilbride on keyboards. It is the dynamic guitar of KJ that stands out of course and his interplay with Gavin Glass is also a highlight of the evening.

The new album has twelve new songs and tonight we are treated to live versions that really excite the enthusiastic audience. The album title and song Back To You is dedicated to Layla Kay, the daughter of Aileen and KJ and it is played again as part of the encore on the evening. Roll With It is a recent single and is delivered in real style, while the song It’s Alright is dedicated to the enduring memory of Gavin Ralston, a fellow musician and friend who died in 2019. The real highlight of the set is a quartet of songs that really build on the atmosphere and have people dancing along to Texas Sky, Boleyn’s Blues, Worthwhile and I’m Going Home.    

A very enjoyable night of great music, delivered with style, and a timely reminder of the great talent that we have in Dublin among our music community. Buy the album, you will not be disappointed. 

Review and photo by Paul McGee

Morgan Wade @ Whelan’s, Dublin - 24th May 2023

There can be no doubting the increasing buzz around the music of this upcoming artist. Ever since her album RECKLESS was released back in 2021, Morgan Wade has been growing her reputation with a strong touring ethic and an ability to capture the imagination of an audience who like authentic song writing and her open honesty in performance.

Tonight Whelan’s is packed with admiring fans and, on the last date of a short European tour, Wade is joined on guitar by Clint Wells, a Nashville based musician and producer who plays in her regular touring band. The stripped down nature of the performance is a perfect setting to gauge the talents of this artist; nowhere to hide in such an intimate venue; just two stools and three guitars placed centre stage, and an expectant crowd that dwell upon and sing every line of Wade’s songs.

The set is confined to twelve songs over a seventy minute performance focused heavily on the RECKLESS album, with nine songs taken from that very successful release; it was re-released in 2022 by Sony and featured a further six tracks not on the original Thirty Tigers release. Her vocal tone has great character and personality with an edge that reminds me at times of Amy Ray from the Indigo Girls. Wade certainly strikes an image of the single-minded rebel, someone who will not suffer fools and who has a clear idea as to where she is heading.

Her songs are mainly focused around relationships, usually at the point of breaking, or else viewed through the rear view mirror of reflection and lessons learned. Wade also sings about such issues as addiction and recovery, with an honesty that has brought her many accolades for her open approach. Her song, The Night, reflects on the topic of wellness with the lines “I won't shut my mouth, is it a rule down in the south, that you can't talk about your mental health.” She further explores the issue on the sister song The Night (Part Two), with the words “ I'm at war with myself, Battered and bruised from my mental health.” Such honesty in the face of ongoing temptation can only establish Wade as a strong role model for others of her generation who are facing up to inner challenges and decisions regarding life choices and the peer groups that they call friends.

Songs like Run, Last Cigarette, Matches and Metaphors, Mend and Take Me Away are all received with open arms by the audience and the atmosphere is one of communal celebration with the music. It is on the more reflective numbers, such as Don’t Cry and Met You where Wade soars and shows the talent that will continue to lift her above many of the other emerging singer songwriters who are building careers in what can be a very unforgiving industry. There is a new album due later this year but the only reference to this is the inclusion of new single Psychopath in the set. Wade also includes an older song Crossing State Lines which is very engaging. It first appeared on the 2018 release Morgan Wade and the Stepbrothers.

Wade strikes me as somewhat shy in the face of her admiring fans and her between song stories tend to focus around touring anecdotes and the banter with Clint Wells. There is no encore tonight which leaves many disappointed fans hoping that Wade might appear at the merch table where t-shirts are selling in healthy quantities. Despite the low key ending, tonight proves that we are in the presence of a real talent who will continue to forge her own path and build upon the instincts that have gotten her this far on her personal journey. 

Support act Kat Hasty played a short opening set and was well received by the audience. Her vocals were a little light in the mix and increasing crowd noise did her no favours, but she endured with songs like Where The Wildflowers Lay and Burn It Down hitting the mark with those who came to listen.

Review and photo by Paul McGee

Jerry Leger@The Court House, Bangor, Northern Ireland

Despite the disappointing turnout, Jerry Leger was nonplussed. It was the Canadian singer-songwriter’s second only visit to Ireland, and his first time in the newly opened, refurbished and repurposed Court House in Bangor. The Open House not-for-profit organisation has done a magnificent job in turning the defunct listed mid-Victorian bank (and later courthouse) building into a superb venue, comprising a bar and mid-sized gig room on the ground floor, and the spacious but cosy Drawing Room bar on the first floor, with views of Bangor marina and harbour from all the windows. Jerry happily took to the floor there, with the backdrop of the early summer sun setting behind him over the sea, and gave it his all, as is his reputation as a hard working touring artist, with or without his band.

He proceeded to treat the small audience to a selection of songs mainly from his two most recent albums - NOTHING PRESSING (2022) and TIME OUT FOR TOMORROW, his 2019 opus that was scuppered, along with so many other artists’ projects, by the pandemic. He mostly let the songs speak for themselves - well crafted numbers like Kill It With Kindness, Nothing Pressing and Recluse Revisions needed no explanation. Occasionally, we were treated to amusing anecdotes by way of introduction, like the fact that Dead Radio Stars was inspired by his father’s love of radio dramas while growing up in Newfoundland without a tv. There was a song from his 2008 album, which he described as his ‘Gordon Lightfoot’ phase, and he aptly dedicated it to the late singer-songwriter. A cover of Bowie’s Janine followed his endearing tale of how big an influence that icon was on him as a teenager, doing cover songs in a local coffee house. We were transported back to 2010 for Dreamer, Pretender, his girlfriend’s favourite song off the TRAVELING GREY record. Revealing that his songs are generally only partly autobiographical, he admitted that his girlfriend is referenced in The Great Unknown, ‘she’s got a lot of those records/you’ve been dying to hear’.

Almost two hours on, armed only with his vintage monogrammed acoustic Guild guitar, Leger encored with Jeff Tweedy’s You Are Not Alone, a song covered by Mavis Staples recently.

 Leger claimed that ‘he was giving it at least 86% tonight’. For the audience, many of whom were leaving as firm new fans, it felt like 186%.

Review and photo by Eilís Boland

Kilkenny Roots Festival

Seventh Heaven @ Kilkenny Roots Festival 2023

Celebrating its 25th Anniversary, The Kilkenny Roots Festival once more lived up to its standing as the premier roots festival in Ireland. With a hybrid-genre line up that catered for all tastes, it was little surprise that the venues were teeming at the majority of both the ticketed acts and the free trail. It wasn’t possible for Lonesome Highway to get around The Marble City to see all the artists but here are seven that particularly hit our sweet spot.

1. Freeman’s Country Carvery @ Cleere’s

The Honky Tonkers from The Rebel County transformed the backroom at Cleere’s into a Robert’s Western World Nashville experience, with over two hours of classic country music. Joined by the sweet-voiced Anna Mitchell for a number of songs, the six-piece band is on a noble journey to keep real country music alive and kicking in Ireland.

2. Florence Dore @ Billy Byrne’s

Classy, sassy, and full-on, Florence Dore and her razor-sharp band of Mark Spencer on guitar, Jeff Rigby on drums and Bonnie Whitmore on bass, lived up to all expectations with a set that overflowed with positive energy and was laced with catchy hooks.

3. Kassi Valazza @ Kyteler’s

A laid-back set of cosmic Americana from Californian Kassi Valazza mainly featured material from her upcoming album KASSI VALAZZA KNOWS NOTHING. Her crystal-clear vocals and deft playing from her two-piece band were enthralling, rich and hypnotic.

4. Carson McHone @ Cleere’s

Playing to a pin-drop silent room, Austin’s Carson McHone accompanied by Shannon McGrath, performed material from her most recent album, STILL LIFE.  Carson’s crystalline vocals and slick guitar work presented the songs in a stripped- back and impassioned format, emphasising her elegant lyrical style.

5. Spencer Cullum’s Coin Collection @ Ryan’s

The London-born and Nashville-based pedal steel supremo’s mesmerising set genre hopped between prog, folk and freeform instrumentals. Aided by guitarist Sean Thompson and ambient spiritual jazz player Rich Ruth, they cast their musical spell far and wide.

6. Chuck Prophet @ Kyteler’s

A much-loved and charismatic guitar slinger, Chuck Prophet and The Mission Express’ much-anticipated return to Kilkenny brought the Festival’s curtain down in fine style. Pumped up and enjoying every moment as much as the packed house, Chuck and his band sent us home sweating, with ringing ears, and grinning broadly.

7.     Fantastic Cat @ The Set

On their first visit to Ireland, Fantastic Cat wowed the late-night Set Theatre audience on Saturday night with their blend of high energy pop/rock/folk songs, performed with verve. Their individual songwriting talents merged superbly, along with their harmonies and truly staggering instrument swopping.

Photography and review by Declan Culliton and Eilís Boland

Blue Fish Diamond @ The Workman’s Cellar - 10th February 2023

It’s always of interest when a local band play in Dublin city and tonight the healthy crowd is a sure sign of the increasing popularity that Blue Fish Diamond is achieving. It’s always been a great city for ‘word-of-mouth,’ and the reaction from the room tonight was one of unreserved enthusiasm for the music.

Jim Murphy formed Blue Fish Diamond and their 2018 debut, FROM DARK TO LIGHT, launched them on the local scene as a band with plenty of musical talent and a shared vision in making a statement. The current six-piece includes Jim Murphy (acoustic/electric guitar/vocals), Axel McDonald (electric guitar), Laura Ryder (keyboards/piano), Shay Sweeney (drums/percussion), Ronan Quinn (bass) and Matilda O'Mahony (vocals).

Their sound is Inde-Folk with plenty of subtle interplay and sweet melody laced through the song arrangements. Jim Murphy takes on the lead vocal duties and his tone is clear and impressive. He reminds me at times of the superb Dave Cousins who fronted the Folk Rock band, The Strawbs, back in days of yore. Laura Ryder is a very gifted keyboard player and in addition to her fine display tonight, she also played as the support act, with her band called Laura Ryder Ampersand. They played as a four-piece with drums, bass and cello supporting the somewhat idiosyncratic songs and interesting lyrics of Laura.

The rhythm section is very strong and provides the basis for the other band members to play around the groove and tempo. Axel McDonald is a very talented lead guitarist with a lyrical playing style and a fine tone.

There are a number of new songs included in the set tonight and they will no doubt form part of the new album that is due to be recorded later this year. Highlighted are songs titled, Tonight, The 1980s, Universe, Radio Silence and Gracepark.  Other songs that featured were Stranger Things Have Happened, Servants To A Hand and Pretty Country Boy.

The band released a second album in 2021 called FROZEN STARS ON THE NIGHT and they feature a few of the songs in Sunshine In My Brain, and Morning Star. The debut album is also visited and Hey, Hey is a firm favourite along with the show opener Salvation Call and the encore of Time To Go which contains the immortal lines ‘ Everybody knows when it’s time to go, But we all want one for the road.’ Well, tonight we joined in the collective celebration of live music played with both energy and style.

Review and photograph by Paul McGee

Emily Scott Robinson / Violet Bell / Alisa Amador @ The Grand Social - 29th January 2023

Perhaps a Sunday night at the end of January is not the most sought after date in the calendar of live music events. However, if you were one of the lucky ones to have ventured out on this cold night, you certainly found a rewarding cure for those January blues.

Dublin provided the finishing post for a European tour that included dates at both the AmericanaFest UK in London, and an appearance at the legendary Celtic Connections festival in Glasgow. Touring with Emily Scott Robinson were the multi-talented Violet Bell, a duo based in North Carolina, and Alisa Amador a Boston artist who sang in both English and Spanish.

The concert was split into two separate halves, with both Violet Bell and Alisa Amador performing separate sets before an interval break, followed by Emily Scott Robinson who captivated the room with her considerable talent. Throughout the concert the performers called upon each other, in different combinations, to join in the performance of certain songs. This made for a very fluid and engaging dynamic as the pairings brought rich layers and subtle colour to the superb songs and their performance.

Alisa Amador took the first set and her easy stage presence had the audience on her side immediately. She has a winning personality and a natural charm. Her opening song, a cover version of the 1934 classic, PS I Love You (Jenkins/Mercer), highlighted a sweet jazz influence in the delivery. She also played a superbly seductive Bossa Nova song titled Slow Down, and sang in beautiful Spanish on other songs, Nada que ver, Milonga Accidental and Extrano – all highlighting her lovely pure vocal and deep connection with the music. Another song, Timing was played to great reaction and this is included on her 2021 EP, Narratives.

Violet Bell are from Chapel Hill in North Carolina and they are Lizzy Ross (vocals, guitar, banjo) and Omar Ruiz-Lopez (violin, guitar, banjo, mandolin). They first played together in 2016 on a live recording and subsequently released a number of excellent albums as well as becoming husband and wife. Their performance is beautifully timeless as they dovetail around the sweet song melodies and harmony vocals. The songs are focus on their latest release, Shapeshifter and include Meet Me In the Garden,  All the Stars, Fisherman’s Daughter and Junkie.  The album is based around the tale of the Selkie, mythological beings capable of changing from seal to human form by shedding their skin. It is bound up in Celtic folklore and forms the basis for many old tales from the sea.  

Another song, I Can’t Say Nothing is powerfully affecting; a protest against the racial inequality that is all too prevalent in society. Their set is concluded by a rousing performance of House, a song that captures their spontaneous Folk Roots vibe to perfection. Lizzy has a very impressive vocal range with a lovely tone in her delivery. Omar is richly talented and comfortable on a range of instruments and sings so subtly in support of Lizzy throughout. A very impressive performance and one that was warmly received.

Emily Scott Robinson finds herself at a point in her career when her hard years of selfless touring are beginning to return a deserved dividend. A recording contract with Oh Boy Records was a big stepping stone and her wonderful song-writing gifts and keenly observational lyrical style has placed her in a position of deep respect among her peers. Her vocal tone is quite beautiful with a clear soprano voice that can send shivers down the spine at key moments in her delivery. Her set includes some of her fan favourites in Westward Bound, Things You Learn the Hard Way, Cheap Seats and the song that brought her to the attention of the Prine family and Oh Boy Records, The Time For Flowers. Emily’s latest project is a six-song EP titled Built On Bones. It is a modern interpretation of Shakespeare’s Macbeth and it focuses on the magic and power of women in the guise of the three witches. The cycle of life, death and rebirth is visited and the witches are central in their roles as healers, seers and earth mothers. Tonight the four songs performed are Old Gods, Double Double, Sleep No More and the haunting Men and Moons. The harmony vocals of Emily, Alisa and Lizzy (as the witches), are completely captivating and complimented by the eloquent violin melodies of Omar.

Emily finishes her set with the superb Lost Woman’s Prayer, a celebration to the enduring power of female friendship and kindred spirit. The finale sees Emily joined by Omar on violin to perform Hymn For the Unholy a new song that is both moving and poignant. Another classic from the blossoming talent that continues to engage and inspire all who come together in admiration of her creative muse.

Tonight was all about community and the extended musical family. Even if the musicians have been surviving on a diet of “pure love, excitement and caffeine” while on tour, it proves to be a recipe that can be repeated the next time we are graced by such wonderful, uplifting evenings.

Review and photograph by Paul McGee

Lisa O'Neill @ NCH, Dublin - 26th November 2022.

The NCH has been a friend to Lisa over the years and she is fulsome in her praise of the venue and the support it provides for Irish artists. Tonight sees a performance that has Lisa inviting eight musicians to join her, in various combinations, over the course of two different sets. She starts off with her tribute to dockland workers, Rock the Machine, a song that is much loved by her fans and greeted with great enthusiasm as it sets the tone for the evening.

The stage area is decked with no less than nineteen separate lights, six of which are lit in old-school lampshades and the balance, a mix of LED bulbs. There are also a few chairs and a couch strategically placed to give the stage that feeling of being at home in your living room. It certainly adds real atmosphere to the homely feel and warmth of proceedings.

Lisa introduces performing artist  Kú (Kilian), at this early juncture and he performs a few songs on acoustic guitar, accompanied by Adam Holohan of Ispíni na hEireann, on banjo. Kú has a very traditional vocal style and delivers strong renditions of both Finnegan’s Wake and Murphy Can Never Go Home, in his set. He also plays a Christmas single that has just been released, titled Kú’s Khristmas and his set is very well received.

Next up to the microphone is the excellent Seamus Fogarty, home from his London base to lend his talents to the evening. He sings and plays with an easy confidence and includes well known favourites Carlow Town and Ghosts from his repertoire. A new song, Never Stopped Loving You (?), is also delivered before the audience is invited to break for an interval, have a drink and a visit to the merchandise stand in the foyer.

The second half of the show continues with Lisa introducing the superb Colm Mac Con Iomaire and he gives a virtuoso display of violin dynamics across a few tunes. Colm introduces his foot pedals and loops as ‘The Recession Quartet’ and they certainly serve him well in creating an impressive sound from which he can create additional melody and harmony parts on his violin. One musical piece is dedicated to the topic of the Israel/Palestinian crisis and the story of two fathers from opposite sides of the conflict who each lost a child to suicide bombers. Their joint efforts to broker peace from the tragic losses has also been the subject of a recent book written by Colum McCann, called Apeirogon. 

Lisa finally takes her place front and centre as the concert enters the final part of the evening. She highlights the new album that is due to be released early next year, All Of This Is Chance, and she previews a number of songs from the recording with Old Note, Birdie From Another Realm, Goodnight World and Silver Seed. Her banjo and guitar accompany her unique vocal style, and whether one finds her phrasing and delivery either full of authenticity or simply too earthy, there can be no doubting the depth of feeling that comes through in the performance. Lisa is very close to nature and sings of the magical qualities of rural Ireland, the silence and the joy of being close to the land and the deeply held conviction that there is a healing balm that surrounds us if we only take the time to let it in.

She visits previous albums with the songs Blackbird (2018) and Pot Hole In the Sky (2016), while her version of the Ivor Cutler song, Squeeze Bees, is  an interesting addition. Lisa also performs a very different version of the classic Come Back Paddy Reilly(Percy French), with the slow arrangement bringing out the poignant message in the lyrics.  If there is one observation to make, then the pacing of the show would have been more balanced with Lisa taking the central role sooner on the evening. While very generously giving time to her invited guests, she takes from her own performance dynamic and the sacrifice made by the inclusion of such diverse artists moves some of the focus away from her own talents.

Lisa has the backing of the very talented Joe Doyle on upright bass, a very lyrical player, and a number of other musicians also sit in on different tunes, with some of the names escaping me in the introductions. There is accordion added during Seamus Fogarty’s set and keyboards play along with Lisa – both talented individuals, with percussion on one song provided by one of her brothers. We are also treated to the wonderful whistling technique of Larry Beau on a few songs and he was a joy to behold as he dovetails and soars on the melody.

Lisa brings the night to a close with her wonderful interpretation of the Bob Dylan song, All the Tired Horses. She was asked to record this song for the final episode of the classic Peaky Blinders tv show which ended earlier this year and her dramatic performance is filled with rueful regret and passionate conviction. Such an entertaining night, from many aspects, and one where the very warm and engaging personality of Lisa shines brightly for all to enjoy.    

Review and photograph by Paul McGee

Cowboy Junkies @ National Concert Hall - Dublin, 17th November 2022

Over a career that has spanned thirty-six years, you may be excused in thinking that the assembled musicians are treading water to a certain extent at this stage.

Happily, such assumptions are completely groundless and the finely honed talents of these five players are clearly at the peak of their collective powers if tonight’s concert is typical of their performance dynamic. The beautiful surroundings of the National Concert Hall provide the perfect location for a band who themselves are both elegant and ageless. Siblings Margo, Michael and Peter Timmons are joined (as always) by founder member Alan Anton and  multi-instrumentalist Jeff Bird, who has performed on almost every album the band has released.

It's a huge testament to their enduring popularity and talent that the band has continued over all this time to forge a singular path through the shark infested waters of the music business and has been releasing albums on their own label, Latent Records, for many years now. Their discography of both studio and live recordings is one that sets the highest standards and there are many compilations also released that bear witness to their legacy.

Tonight, Margo is very enthusiastic about performing in a live setting, post-Covid, and mentions all the challenges that everyone has faced during the two ‘lost years’ of the pandemic. It has been a time for reflection and for also acknowledging the role that we all play in each other’s lives. Margo has always ensured that both the band and the extended family maintained a strong work–life balance and this fiercely held independence that Cowboy Junkies protect, stands as a beacon to every other band who look to follow in their footsteps.

The night is broken into two sets, the first of which is shorter, containing seven songs, and the band perform for close to three hours, including the interval. Margo talks about the fact that they are here to sell albums, and there is a focus on the new release, SONGS OF THE RECOLLECTION,  a collection of nine cover songs that have meant something to the band over the years. Cowboy Junkies has always performed cover songs, right back to their breakout album from 1988, THE TRINITY SESSION. However, the band just doesn’t faithfully follow the original song versions instead they interpret them in a fashion that instantly places the unique sound and stamp of the Cowboy Junkies arrangements on them.

The latest release includes artists as diverse as Bob Dylan and The Cure, balancing them with others like David Bowie, The Rolling Stones, and Neil Young. The first set tonight included three of these cover songs, interspersed with three originals. They opened with the Bowie classic, Five Years, which they put their own magical slant upon while also sticking closely to the original. The early inclusion of their interpretation of Sweet Jane (Lou Reed) followed, an iconic song that is much loved and one that identified the band as a new act to watch when they first played it back in 1988.  Another early inclusion was Sun Comes Up, It’s Tuesday Morning and while the band played as proficiently as ever, dovetailing around each other as each song melody unfurled, there was a sense of being in the lower gears of their power, not helped by the venue sound that saw the vocals of Margo somewhat drowned out when the arrangements lifted and became louder in delivery.

After the interval, we were treated to four songs that very much raised the tempo of the evening, with All That Reckoning (Part One), Missing Children, Escape Is So Simple, and Lay It Down providing the wonderful soundscapes of layered guitars and hushed intimacy mixed with Margo beginning to hit her stride in front of the microphone. The band really doesn’t engage with the audience on any level; no eye contact or spontaneous smiles – leaving it all to Margo as the key focal point regarding communicating; witty asides, comments, observations, and stories to regale the enthralled audience.

The pivotal moment in the second set arrived with the wonderful intro to Lay It Down, the band locking into an extended passage of building the performance – Peter Timmons on drums and Alan Anton on bass perfectly in the pocket of subtle support while Michael Timmons and Jeff Bird created a tour de force of reverb and delay on their guitars, delivering great atmospheric wall-of-sound moments in their resonance and tonality.  There followed an acoustic set of three songs with Black Eyed Man, Rake and Powderfinger, the latter two songs written by Townes Van Zandt and Neil Young respectively. It proved a special moment in the show, with Margo delivering beautifully nuanced vocals and both brother Michael and Jeff Bird accompanying on a selection of guitars, mandolin and harmonica. It was almost like being in a quiet back room of your favourite pub with a fire blazing on a cold winter’s night.

Margo spoke of her reputation as the queen of sad songs and her natural storytelling ability highlighted a tale of being at a private party with Aslan as the entertainment. When the singing became spontaneous in the early hours, and amidst the celebrations, Margo was pressured into taking a turn; her rendition of I’m So Lonesome, I Could Cry had everyone exchanging somber glances as the mood dipped, instead of continuing the revelry. 

The concert wound down with 'Cause Cheap Is How I Feel, followed by an invigorating rendition of Hunted and the gentler, Good Friday.  The final song Blue Moon, as always,  remains a highlight and Margo took her bow before returning for a superb encore that twinned Misguided Angel with Walking After Midnight, the perfect ending to what proved to be a triumphant return to Ireland for this inspiring band of enduring quality and refinement. Whether it was country soul or psychedelic blues workouts, Cowboy Junkies remain at the top of their craft as they continue to define new territories for their unique sound to explore.

Review by Paul McGee Photography by Declan Culliton

The Delines @The Pepper Canister Church, Dublin - 8th November 2022

The soothing soul country sounds of The Delines arrived in Dublin as the final date of a short Irish tour (part of a visit to Europe to promote the recent album The Sea Drift). It highlighted again the tightness and musicality of the band, the obvious highlight being the keyboards and trumpet of Cory Gray. And that doesn’t take away from the rhythm sections of Sean Oldham and (touring) bassist Dave Little adeptness, or that of songwriter Willie Vlautin’s guitar and backing vocals. But front and centre is the captivating voice of Amy Boone. Since Vlautin and Sean Oldham morphed from Richmond Fontaine into The Delines, they have brought together a unit of well-oiled players to bring Vlautin’s blue collar characters to life.

Given the onstage conversation, the well-oiled may also have an additional context. Boone revealed that a band meeting had been held to decide should they get to bed at a reasonable hour or simply stay up and chase that last pint in Ireland! Other topics were the current mid-term American elections, and wanting to slightly misbehave in the setting of the church they were playing, about which Vlautin noted the irony of helping to raise funds to save such old church buildings when “we are the people who they beat the shit out of.” He revealed that when trying to convince Boone to join the band he had spent eight months solidly writing songs that he hoped would convince her. They did and then they played what Vlautin felt was the best of those, The Oil Rigs At Night from the debut album Colfax.

The played songs from all the albums, such as a stunning version of The Imperial which again shows Gray’s prowess on the piano, through to more recent material like Little Earl, to new songs which they plan to record on return to the US. They opened with Don’t Miss The Bus, Lorraine and finished the set with a new song about drinking on the sidewalk in excessive heat - though cautioning that alcohol may not be the best means of rehydrating in such conditions.

They left the stage and moved behind the stage before coming back, returning for a three song encore, as Vlautin noted as he stepped on his Gibson SG again that there was “no place to hide back there.” They started with a song about which he noted was one they don’t play often to which it was noted (by his fellow band member) that “we played it last night.” That caused Boone to laugh and remark that she missed the old days before the internet when you could get away with some bullshit. Boone had wanted Vlautin to write her a love song and he noted it was to be one were someone was not left in a ditch or decapitated - Let’s Be Us Again fit that bill.

A highlight for this writer was a song from their recent 7” single The Lost Duets, released to tie in with the tour and it was a pleasure to hear the two voices duet in the song, something they both love to do but couldn’t find a place on the previous albums where it fitted in. My Blood Bleeds The Darkest Blue was, in some ways, a nod to earlier recordings but was performed live to perfection, as indeed were all the songs featured tonight.

The opening set was delivered by Mark McCambridge of Arbourist who performed with voice and electric guitar and who did well in holding the audience’s attention. He played songs from previous albums and a couple from his next album. A difficult task often, but in this venue, it meant that the audience were forcibly attentive and not out in the bar for his set as there wasn’t one! An unusual enough experience for an Irish gig but one that seemed to work.

Review by Stephen Rapid Photograph by Kaethe Burt-O’Dea

Charley Crockett @ The Workman’s Club, Dublin - 28th October 2022

When Lonesome Highway interviewed Texan Charley Crockett in 2020 at the height of the pandemic, his parting words were ‘They better watch out in country music, because I’m only getting started.’ More than delivering on that pledge, the intervening two years have found Crockett in dynamic form, recording five albums and selling out shows across America, Europe and the U.K.

The show at The Workman’s Club in Dublin was his first appearance in Ireland (‘my first time in Ireland y’all, but believe me, we’re coming back’) and next time around the promoters will need a much larger space to host Crockett and his well-oiled band, The Blue Drifters. Christening his core sound as Gulf and Western, Crockett draws inspiration from country, gospel, blues, rockabilly and R&B, and his performance, with an absolutely cracking band, was a masterclass for those fortunate enough to have been among the attendance in the heaving and sweltering hot venue.

Donning a leather jacket and a white Stetson that remained on his head throughout the twenty-five-song set, Crockett crooned, played acoustic guitar, switched to banjo for a few songs, and also put his instruments to one side for a hip-swinging delivery of Jerry Reed’s I Feel For You. Backed by lead guitar, upright bass, pedal steel, drums, and keyboards (keys player Kullen Fox also played trumpet and accordion), Crockett raced through a set that featured six selections from his most recent release THE MAN FROM WACO, as well as dipping into his extensive back catalogue. Despite his exhaustive war chest of songs, the animated audience was singing along to most, if not all, of his selections, with Music City USA, The Man From Waco, Odessa and Welcome To Hard Times being particularly well received.

Crockett paid tribute to his close friend and mentor James Hand, who passed away in 2020, by including three of Hand’s compositions, Baby Don’t Tell Me That, Midnight Run and Lesson In Depression. He also recalled the late Tom T. Hall with a reworking of Lonely In Person and executed a full-on honky tonk version of Tanya Tucker’s Jamestown Ferry.  Announcing the closing song as his favourite, he finished off the set with the blistering rockabilly Goin’ Back To Texas. He returned to encore with the funky In The Night, capping off what was a dazzling performance by an artist at the top of his game, surrounded by a road hardened collection of players that didn’t put a foot wrong.  

The hardest working artist in country music, Crockett has taken complete control of his own destiny since his debut album in 2015, recording and touring on his own terms and steadily increasing his exposure far beyond the cult following of his early career.  From busking, hopping freight trains, playing on street corners, and recovering from open heart surgery in 2019, he has single-handily succeeded in establishing himself as one of, if not the most vital artist of his time in keeping authentic country music alive and kicking. By way of continuity, he can also take credit for introducing the genre, and many of the artists that inspired him, to a younger generation of listeners.

A mention is also merited for the support act, Theo Lawrence. The ideal opening act for what was to follow, the French country singer songwriter more than held the crowd’s attention with a slick set of songs that brought to mind a young Marty Robins. 

As a side note and from our perspective at Lonesome Highway, it has been heartening in recent months to witness younger audiences coming out to roots and country gigs in Ireland. Both Charley Crockett and Sierra Ferrell have sold out recently, an indication that quality acts like these two and many more are getting through to a wider and younger audience. I’ve no doubt both of them will be returning to our shores given the reception they received and from word of mouth, many like-minded acts will follow.

Review and photographs by Declan Culliton

Tenille Townes @ The Workman’s Club, Dublin – Friday 14th October 2022.

My introduction to the music of Tenille Townes came as part of the C2C Festival, back in March last, at the 3Arena. She was given the opening slot on the Friday night and didn’t get enough stage time to make a strong impression on the small crowd, many of whom were only arriving at the venue during her set. This second visit could not have been in greater contrast. Kicking off her European tour in Dublin proves to be a wise decision as the reaction from a packed Workman’s Club audience could not have been more positive.

Tenille returns with just her guitars for accompaniment and her stripped down acoustic performance gives everybody gathered a rare opportunity to hear her songs in a completely new way. Often the original magic in creating a song on acoustic guitar can get lost in the studio and the nuance can fall victim to overproduction techniques that change the dynamic. Well, there can be no hiding place when you face a room full of  people who want to study your every move and to observe your playing style up close and personal. Happily, Tenille not only writes superbly crafted songs full of honest emotion and empathy but she also exudes that star quality in her performance that marks her out from a lot of the new generation of female country artists. Her high-octane stage craft is very infectious and the pacing of the show is beautifully judged with the audience on her side from the start.

Tenille is genuinely surprised by the enthusiastic crowd singing her song lyrics back to her and clearly warms to the task of displaying her special qualities. A winning personality and broad smile are ever present as she chats easily between songs, explaining the stories behind the lyrics and the feelings that she channels through her words in being able to reach out to people and make connections.

The set includes seventeen songs, all performed with an energy and style that confirms the huge passion Tenille has for being in the moment and sharing the electricity generated by a full venue, post Covid. There are seven songs played from her recent album, THE LEMONADE STAND (2020), including opening songs, Where You Are and White Horse.

During Covid lockdown, Tenille wrote a new batch of tunes, many from a more personal perspective, and her recent EP release, MASQUERADES (2022) includes seven of these. Tonight, we are treated to three of the tracks and Same Road Home, When’s It Gonna Happen and Sound Of Being Alone are featured. Her powerful vocal is delivered with such confidence, adding great character to the performance. The more up-tempo numbers like Come As You Are getting balanced by a look into the reflective side of her song writing and her insight into issues such as homelessness, social injustice, and the cruelty of fate and circumstance. Tenille delivers a very moving performance of Jersey On the Wall – I’m Just Asking in which she questions the presence of a deity who would allow random acts that bring pain and suffering to people. In this case a true story of a car crash that took away a young life and all the potential not fulfilled - the meaninglessness of it really hitting hard on the chorus. Not one to ever hold back, Tenille visits the issue of homelessness on Somebody’s Daughter, through her experience of meeting a young girl begging on the street, a situation that Tenille has acted upon by holding an annual benefit for child shelters – a cause that has seen her raise in excess of $1.5 million in financial support.

Another powerful performance is When I Meet My Maker a song that echoes some of those big questions that we all have when growing up and Girl That Didn’t Care reflects back on childhood and the lost sense of innocence. A new song, As You Are is well received and her questions concerning having a meaningful relationship while building her music career informs the words of When’s It Gonna Happen, a new single taken from the MASQUERADES release.  Another song, The Last Time is a highlight, with everyone relating the core message of living in the moment and the need to make lasting memories.

Tenille is never afraid to tackle an iconic song and tonight she offers up renditions of I Still Haven’t Found What I’m Looking For (U2), Hallelujah (Leonard Cohen), Landslide (Fleetwood Mac) and a killer final encore of the classic standard, At Last (Gordon/Warren).

This was a night where this Canadian artist could do no wrong. One of those shows where you knew that it was special to be in the room. The trajectory of her career will continue to reach greater heights and her return to Ireland will certainly see much bigger venues beckon. An impressive songwriter and musician, Tenille displayed both a vulnerability and honesty that  brought a special edge and joy to her stage performance.  She delivered her music with both aplomb and élan – and on this night, the enthusiastic crowd felt the presence of real star quality.

Coda: The opening act tonight was Saibh Skelly, our local talent that has been gaining a lot of traction on social media of late. She has all the confidence of a fearless 17-year-old and her performance wins many new admirers. Playing songs from her debut EP, she sings in a quietly powerful vocal tone and highlights her new single Grow Up in a set that is impressive and indicative of greater success to follow.

Review and photo by Paul McGee

Annie Keating @ The Whale Theatre, Greystones - Thurs 6th October 2022.

Playing in Ireland for the first time while on a second trip this side of the Atlantic Annie Keating was booked into the beautiful Whale Theatre, an intimate venue in the seaside town of Greystones, has all the hallmarks of the perfect setting for her talents. This tour of England and Ireland saw Annie accompanied by a really great trio of musicians in order to augment her superbly crafted songs and to provide a live performance dynamic beyond what a solo show could offer. The level of stage craft and the interplay between the musicians was a real highlight on this night of absorbing music.

Annie played two separate sets, allowing the attentive audience to refill their drinks and to visit her well stocked merch table, containing all her album releases, a tour programme and t-shirts. She has always been a gifted songwriter and seeing Annie play live confirms what a superb performer she is too. Always leading from the front with her energy and enthusiasm, she is also a natural storyteller, something that will endear her to an Irish audience, and she regaled us with tales of the songs, their inspiration and the manner in which they were created. We get plenty of insight into the writing process during Covid that led to the fifteen songs that became her latest release, Bristol County Tides, where an intended three week stay with her family during lockdown turned into a six-month period of reflection and taking stock.

Delighted to be back out on the road, this Massachusetts-born, Brooklyn resident exudes a self confidence and swagger that was infectious and had the audience engaged with her songs from the very start. Her songs can be from a deeply personal space or populated by characters she has encountered along the way. Her onstage presence has something of the swagger of Bonnie Raitt and her vocal tone has similar qualities to that of Mary Gauthier – leading the band with both inner confidence and outer bravado.  Annie thanked the crowd for their generous response, noting that her body of work may be largely unknown in this part of the world, but the listening room impressed her as she confirmed this is not something she expects when playing back home in America, where the crowds tend to be noisier and not as attentive.

Drawing on material from her latest album, with five tracks, Annie also delved into her past and featured a further five songs from her 2008 release, Belmont. A further eight songs are included in her generous set and they included tracks from three additional albums, together with two new songs from her new project, Twenty 22 Tour EP, an eight-track production of unreleased songs, available only at her live shows. A further song, co-written with the superb Lynne Hanson, is also given a test run and the rocking Lies and Dynamite was certainly well received by the enthusiastic crowd.

Indeed, the presence of a drummer on this tour gives Annie licence to really rock it up and there were plenty of highlights throughout the set where the band really take everything into overdrive. Joe Coombs on guitars is a very gifted musician and his lyrical playing complimented the song arrangements beautifully as he weaved around the melodies with economy and precision. The impressively tight rhythm section of Scott Warman (electric and double bass) and Jamie Dawson (drums) provided the power that fuels the performance and their subtle playing was the bedrock of the show. All three musicians played with a finely honed understanding of the song structures, and the dynamic in their delivery was all the more rewarding when they decided to stretch out and raise the temperature on occasions, such as the up-tempo workouts of  On the Road By Ten, Hank’s Saloon, Storm Warning, Marigold and On the Loose.

Annie showed her more reflective side and thoughtful insights on songs like It Already Hurts When You Leave, For the Taking, Belmont and Kindred Spirit. Joe Coombs exceled with bottleneck guitar on both Third Street and Valentine and the tribute to John Prine on the encore song, Angel From Montgomery, was a perfect way to bring this excellent show to a satisfactory conclusion.

The Whale Theatre, which opened in 2017, is a beautiful venue with superb acoustics and Annie Keating certainly grasped her opportunity to leave an indelible mark on the audience with this very accomplished, assured and impressive debut performance. Until the next time, Annie…!

Review by Paul McGee Photography by Declan Culliton

The Brother Brothers @ The Workman’s Cellar, Dublin - 24th September 2022

“Hello everyone” was Adam Moss’ greeting to the audience in this local venue, one that, given the talent of the brothers, should have been much larger. Moss then suggested that we all move forward so it wouldn’t look empty in any pictures from the night. They then proceeded to play a set of songs from all their releases plus one new song that, unusually, didn’t focus heavily on the current album COVER TO COVER. The only selections from that release were their arrangements for James Taylor’s You Can Close Your Eyes and The Beatles’ I Will. The latter, which was very well received, showed their dexterity as players and interpreters of the non-original material they play.

Adam, with twin brother David, then showed, not only their immaculate sibling harmonies but also an equal affinity as musicians working in tandem. Adam played violin (or fiddle if you prefer - depending on the song) and occasionally guitar while David switched between guitar and cello. The previous night they had gone to Gweedore and ended up playing a couple of songs in the famed Leo’s Tavern, as their Belfast gig had been cancelled. However, Adam noted, “we couldn’t understand a goddamn word” that was said to them. 

They opened with On The Road Again and during the hour long set included songs such as Ocean’s Daughter - which they preceded by the thought that we had the technology to fix the carbon problem, if not the well. It also featured some fine jazzy overtones in the violin playing. Adam switched to guitar and David to cello for Banjo Song - one that didn’t have a banjo in sight! Tugboats was taken from their debut EP of the same title, as was Cairo, IL, a tale about a town from their home state that had once been a hub of water traffic, but had lost out to rail transport and was now full of fine out-of-time boarded up mansion houses. Worth a visit if you happen to have time to spare in the State, they reckoned.

For an introduction to the song Sorrow, Adam said it was interesting that when they first came here they never heard anybody say “Happy Days”,  but they heard it a lot now. It’s something he might have exclaimed as two Guinness were brought onto the stage, instead ”sláinte” more than sufficed.  The song Frankie was about their current homebase in Brooklyn which is being eroded by gentrification and development. This kind of inter-song banter was more notable than during their last gig in Dublin some four years ago, as was the overall appreciation and size of the audience. They are the kind of act that should be playing a venue like the National Concert Hall, and possibly would be, with some greater exposure.

They finished the evening with a song that they have played at practically every gig since they started performing together, after separately pursuing different musical directions. That song,  Angel Island, written by Peter Rowan, was one that showed that while we should learn from the past, we never seem to. It, like all of the previous material, was rendered with an empathy and understated passion that is the trademark of the Brother Brothers’ musical journey and talent. May they return soon.

The evening was opened by local act, Mark Austin,  playing some acid-folk which, while he held the audience’s attention, was so drenched in reverb and phasing that it tended to render one song indistinguishable from the next. A little thought on how the songs would best be received would give him a better chance in the long run. 

Review by Stephen Rapid and photographs by Kaethe Burt O’Dea

Americana Music Festival, Nashville - September 2022

15 OF THE BEST FROM AMERICANAFEST 2022

With AmericanaFest cancelled in 2020 and out of bounds for overseas travellers for the scaled-down event last year, Lonesome Highway arrived in Nashville hugely enthusiastic about meeting friends old and new and, most importantly, seeing as many acts as possible over the festival. The inevitable clashes resulted in missing numerous artists and bands on our radar but we did manage to see over 70 acts during the festival.

Delayed flights and missing luggage failed to dampen the festival and once more it delivered a host of memorable moments from acts ranging from traditional country, alt-folk, indie, gospel, bluegrass, soul and Americana.

The temporary closure of Cannery Row deprived the organisers of three venues that traditionally offered the punters fifteen acts from which to choose, each evening. Newer venues such as the The Wash at Eastside Bowl and Riverside Revival compensated although, given their locations, logistically made it difficult to hop from venue to venue each day.  Favourites like The Station Inn, The Basement, 5 Spot and Exit Inn, represented the old guard of established rooms that have fortunately managed to keep their doors open despite the pressures from vulture developers. Dee’s Cocktail Lounge really came into its own this year, presenting a genuine country honky tonk, hosting excellent shows and being managed by the most welcoming staff. The legendary Tuesday night at The American Legion continues to grow, attracting vast numbers of listeners and dancers.

With over 70 shows attended, it’s a thankless choice highlighting the ones that really hit our sweet spot, but here are the 15 that stood out for us.

Shannon McNally @ Dee’s Cocktail Lounge

Not an official festival showcase but who would miss the opportunity to see this luminary host one of her September residencies at the best bar in Nashville? Outlaw country and soulful blues from an artist and band that appeared to be having as good a time as their captive audience.

Kelsey Waldon @ Riverside Revival

A reminder, if we needed it, of just how good Waldon’s new album NO REGULAR DOG is. A smile-inducing set from the word go, alongside killer playing and that classic country voice.

Jesse Daniel @ 6th & Peabody

Filling the dance floor with his opening number and with a crack six-piece band, it’s little wonder that Daniel is consistently selling out shows as his reputation continues to rise.

 S.G. Goodman @ Riverside Revival

An incredible performance from Goodman included the festival highlight for us, with a stunning intro to her opening track Work Until I Die. Pure class.

Kristina Murray @ Dee’s Cocktail Lounge

J.P. Harris described Kristina as the finest country voice in Nashville when he introduced her on stage a number of years back at AmericanaFest. Her show was a reminder of those sage words and a performance that brought to mind Emmylou and her Hot Band in the mid-70s

Jim Lauderdale @ Exit Inn

An artist that has captured the shifting colours of Americana over the years, Lauderdale’s latest offering GAME CHANGER is as ‘country’ as it gets. It featured strongly in the set and his infectious smile never left his face from start to finish.

 Sunny Sweeney @ The Wash at Eastside Bowl

Sassy, funny, and in splendid voice throughout, Sweeney and her band demonstrated exactly why MARRIED ALONE is one of our favourite albums of 2022.

Shawn Williams @ Dee’s Cocktail Lounge

Very few artists can perform a solo set for eighty minutes and hold the listener’s attention from start to finish. Williams achieved that and more with her raw vocals, slick guitar playing, and most of all, killer songs

Whitehorse @ The Wash at Eastside Bowl

Husband and wife team Luke Doucet and Melissa McClelland have been quite experimental with their releases in recent years. Their latest album, I’M NOT CRYING, YOU’RE CRYING, is full of twang and swing and their showcase included lots of both, capped off with a measured cover of Gram and Emmylou’s We’ll Sweep Out The Ashes In The Morning.

Lyle Lovett @ The Wash at Eastside Bowl

A masterclass of cool and an extremely moving set from Lovett, with exceptional playing from Jeff White on guitar, Luke Bulla on fiddle and Viktor Krauss on bass.

Margo Cilker @ The Basement

It was a family affair from Margo Cilker, with her husband and sister on stage with her. On first hearing of her new material, we can expect her next recording to match the lofty heights of 2021’s POHPRYLLE.

Amy Ray @ The Wash at Eastside Bowl

Few artists have been as fiercely devoted and outspoken in defense of equal rights, gender equality, environmental issues and the survival of Native American communities as Indigo Girl, Amy Ray. Those passions and generosity of spirit were evident in a breath-taking set that included selections from her recently released album IF IT ALL GOES SOUTH.

Jaime Wyatt @ Exit In

Deprived of the opportunity to tour her 2020 album NEON CROSS due to the pandemic, Wyatt was in fine fettle.  Sounding glorious and looking elegant in a dazzling outfit, her set was delivered with maximum verve and gusto.

Florence Dore @ Dee’s Cocktail Lounge

The surprise package of the week for us. When you have members of Son Volt    (Mark Spencer) and The DB’s (Will Rigby, Gene Holder)  in your band, you can   expect a blistering set. That’s precisely what we got, an all-killer and zero-filler performance that had me first in the queue at the merch desk for Florence’s new album HIGHWAYS & ROCKETSHIPS.

Brennen Leigh / Kelly Willis / Melissa Carper @ Robert’s Western World

Three high-spirited friends inviting you into their world of country, roots and bluegrass in the only genuine downtown honky tonk in downtown Nashville, the legendary Robert’s Western World.

Reviews and photography by Declan Culliton

The Handsome Family @ Liberty Hall, Dublin - 17th September 2022.

Two acts at the opposite ends of everything played in Dublin last night. The Handsome Family was my choice, no contest. The fact that they were both performing on the same night was certainly a topic not to be wasted as the trio came on stage, and Rennie Sparks introduced herself as ‘Garth Brooks’, her husband Brett as ‘Garth Brooks’ and their percussionist, Jason Toth, by that name also. There then followed something of a rant from Brett which was not exactly appreciative of the big G. He told us that the day Garth Brooks started flying around the stage on a wire was pretty much the end of country music. Would Hank Williams Senior or Junior have done that, he mused, while adding “ he’s (Brooks) symptomatic of everything we’re trying to destroy.” Rennie commented that they had come here to get away from American flags and cowboy hats and here they were amongst a veritable sea of such cheaply sourced items.

The trio then proceeded to playing songs from their rich back catalogue that included such titles as Don’t Be Scared, So Much Wine (a Christmas song, they noted), Back In My Day, 24 Hour Store, Octopus, The Bottomless Hole, Weightless Again and of course the well received Far From Any Road, the song used so effectively as the theme for season one of True Detective. The song had also been used, briefly, in the film Lost City which starred Sandra Bullock. Brett said that he liked Bullock, as they had both been in Odessa, Texas, facilitating another comment about a fan letter received by a knowledgeable person who had discovered their music through Real Detective!

Rennie played her Hofner bass and banjo, while Brett was seated and played acoustically, with percussionist Jason Toth on drums, percussion, xylophone and Omnichord, adding much to the overall sound. Pedal steel and electric guitar player Alex McMahon, who had accompanied them on their UK and Irish tour to date, was absent due to his upcoming nuptials, but undoubtedly his playing would have added another layer of excellence to the delivery of the songs (as reported by LH writer Eilís Boland, who attended the Belfast gig a few days earlier). Although, as they say, you don’t miss what you don’t know. What we do know is that the sonorous voice of Brett contrasted with Rennie’s harmonies and effective musical contributions, and although Brett has previously dissed his guitar playing ability, it held together well.

The lyrical aspects of Rennie’s writing should not be overlooked either as it has a magical (or perhaps more correctly mystical and mythical) quality that is close to unique and that husband and wife collaboration produces something that is very special. Not, perhaps, for the boot scootin’ brigade but much appreciated by the attentive audience. Those in the know know that it is also the stage comments and exchanges that are very much a part of a Handsome Family show.

In one particularly long rant about the viability of music, Brett reasoned that once you buy an expensively imported vinyl album its scratched, ice ring recordings were the answer for Rennie! She then told Brett she would give him 50 bucks right there if he’d just play the song! And so it went on, with asides about other such topics as a song being a blatant rip off if anyone could spot it. There was a tale of a car alarm going off at night when they lived in Chicago. It gave out the message “I’m being tampered with” - which he said was true in the end, tampered with by the disgruntled neighbours. As regards items for sale, Rennie said she would be selling her hat, a spectacular black feathered affair, which she described as perhaps a mammoth’s eyebrow, and would be for sale, but it would need to be fed.

They promised some new music next year and played two new songs, one written based on the things Rennie said in her sleep during lockdown, which she tried to cope with by resorting to sleep aided by sleeping pills. One repeated phase that she spoke, but had no memory of, was the phase “Come into the circle, Joseph”, which may or may not be the actual title of the song. The other song was written as a performance closer and it was played as the final song in a two song encore. Goodnight was a good place to end what was an enjoyable family night out.

The opening act was chosen by the band and was an engaging set by another former Chicago resident, singer/songwriter Daniel Knox. A bearded and long-haired piano player, he was fittingly unique in his delivery which at times reminded me of the string of Randy Newman and the music of Scott Joplin - but then that’s just me! He arrived onstage with a sheaf of printed lyrics, and after each song he dramatically took a page, scrunched it up, and threw it on the ground. The between song exchanges were also amusing. Star Trek, Mr Rogers and the local burger chain Supermacs all came in for comment. He had a voice that went from baritone to, on occasion, falsetto and had a percussive and melodic playing style that was perfect for his lyrical themes and Mr Knox, judging from the numbers at the merch table, made a lot of friends here too.

Goodbye Mr. Brooks, I’ll be sticking with this particular family in the future. Handsome is as handsome does.

Review by Stephen Rapid. Photograph by Kaethe Burt O’Dea

HURRAY FOR THE RIFF RAFF @ WHELAN’s DUBLIN - 31st August 2022

‘Thanks for not forgetting about me and coming out tonight,’ remarks Alynda Segarra, three songs into Hurray For The Riff Raff’s thirteen-song set at a crammed Whelan’s.  It’s over nine years since Alynda and her band charmed punters at the Kilkenny Roots Festival with an acoustic set of gypsy folk songs. Eight albums and as many line-up changes later, Segarra and her chosen players continue on a musical path that has found the New Orleans-based singer, songwriter, musician, and poet continuing to experiment to great effect across multiple genres of folk-influenced music.

An ultra-passionate writer and performer, Segarra’s writing has often dealt with personal issues of the past. Her latest project LIFE ON EARTH took something of a U-turn, visiting more present day and political issues of American colonialism and injustice, alongside the challenges of survival while surrounded by a world in disarray.

As expected, much of tonight’s setlist draws heavily from the current album. Introducing patched drums and retro analog keyboards, the sound on the album is a slight departure from the band’s previous work and alongside their salsa-influenced rhythms the songs work magnificently in the live setting.

She instantly connects with the audience, opening the set at pace with Wolves, swiftly followed by the dance inducing Pierced Arrows.  The guitar driven Pointed At The Sun captures the frustration, possibly semi-autobiographical, of an artist struggling to remain creative.  ‘You can take my life, but don't take my home,’ she sings proudly on her gentrification anthem Rican Beach, taken from her last record, THE NAVIGATOR. Speaking passionately from the heart, she introduces Precious Cargo as an indictment of the U.S. Immigration and Customs Enforcement, closing the song with the chant, ‘No, me no never see no handcuffs, ‘til I get to the U.S.A.’

The Body Electric is dedicated to all the survivors of violence against women and minorities, and she adds that a similar motivation inspired Saga, based on Christine Blasey Ford’s Senate testimony about her sexual abuse. Segarra and her three sidekicks returned to material from THE NAVIGATOR for two encores, Hungry Ghost and a powerful delivery of Pa’lante, closing what was a spectacular return to Dublin.

Segarra’s career has progressed from the stage shy performer of a decade ago to being the Patti Smith of her generation. An avid commentator on social injustice and inequality, her performance this evening was further evidence of an artist that can capture the intensity of post-punk, rap, folk, and New Orleans’s Street music and mould them into something quite beautiful.

Also worthy of a mention is support act Sister Ray. Her delicate songs dealing with interpersonal suffering and emotional survival were played to an attentive and appreciative audience who hung on to her every word.

Review and photograph by Declan Culliton

Marty Stuart & his Fabulous Superlatives @ Indigo-O2, London 26/8/22

It was Lonesome Highway’s first visit to this impressive, more intimate venue (seated capacity 2800), part of the huge O2 Arena complex. First up was Sam Williams, performing songs from his debut album, Glasshouse Children, accompanied only by an acoustic guitar player. The album’s title song and Can’t Fool Your Own Blood showed that he has some potential as a songwriter, though many of his songs are co-writes and he leans towards a country pop sound, with vocals reminiscent of Dylan LeBlanc. He had a relaxed stage presence, cutting quite a dash in his cerise velvet suit and glittery boots, and wearing his grandfather’s white Stetson. He referred a couple of times to the pressure accompanying his legacy - he is the son of Hank Jnr, and grandson of Hank - which he struggles with and wants to be identified as a person and artist in his own right. Time will tell.

Marty Stuart then hit the stage with his Fabulous Superlatives and we were treated to a whirlwind 90 minute set of outstanding songs and instrumentals, covering the gamut of country music from bluegrass to Western Swing to gospel to Americana. Marty has a huge set list from which to choose, and wastes no time between songs, so anxious is he to put on a good show. Old favourites like Tear The Woodpile Down, This One’s Gonna Hurt You, Time Don’t Wait and Tempted were interspersed with many cover songs, where Marty generously pays tribute to other stalwarts of the genre. His blistering solo mandolin version of Orange Blossom Special is preceded by an extended affectionate anecdote of his meeting with the writer, Ervin T. Rouse. Travis Tritt’s The Whiskey Ain’t Workin’, Waylon’s I’ve Always been Crazy and Marty Robbins’ El Paso are superb. Marty’s generosity also extends to allowing his band to shine individually, so we were treated to guitar maestro Cousin Kenny Vaughan’s version of his own song Country Music’s Got a Hold On Me; Handsome Harry Stinson emerged from behind the drum kit to play guitar and sing, mostly notably Woody Guthrie’s Pretty Boy Floyd; and Prof Chris Scruggs switched to upright bass for a phenomenal performance of Surfari’s surf rock anthem, Wipeout. We were also treated to some new songs - Friend Of Mine already sounds like a classic, while Sitting Alone was surprisingly Byrds-like, right down to Kenny Vaughan’s Rickenbacker guitar. Suffice it to say that the (below capacity) audience went home with a smile on their face and a satisfied mind.

Review and photo by Eilís Boland

The Felice Brothers @ Whelan’s, Dublin - 9th July 2022

‘From Francis of Assisi to the fans of AC/DC, we all shall live again,’ sings Ian Felice on the closing song of an electric show by The Felice Brothers at Whelan’s. The lines from We Shall Live Again are a fitting statement to a memorable return by Dublin’s favourite sons, and daughter, to the same stage as their previous pre-pandemic gig in late January 2020.

The Felice Brothers have evolved musically and in personnel from their swashbuckling appearance at The Sugar Club in Dublin in 2008.  That initial line-up included third brother Simone Felice and their raucous Pogues like stage show was the order of the day back then.

Understandably, with seventeen studio albums in their back catalogue, they have experimented - not always with absolute success - but they have hit a purple patch in recent years with both UNDRESS (2019) and FROM DREAMS TO DUST (2021), showcasing Ian Felice’s continuing maturity as a classic American songwriter. Their current line up is also arguably their strongest and longest lasting. Brother James joins Ian, playing keyboard, accordion and occasional lead vocals, Jesske Hume plays bass and Will Lawrence on drums.

Drawing in the main from their most recent album, they wow a packed house with a nineteen-song setlist that includes two encores. It’s the second last date in their tour of the U.K. and Ireland and they’re in sparkling fettle, with the ever-smiling James in particularly buoyant form and the often-withdrawn Ian in equally cheerful and engaging relaxingly with the audience. When a pint of Guinness is placed on the front of the stage by a punter, tongue in cheek, he reminds the doner that the band is a four-piece, resulting in another three beers finding their way to the stage.

It’s difficult to select the highlights of a show that sparkled from start to finish, but the selections from the new album are particularly impressive. Kicking off with Jazz on the Autobahn, six of the opening seven tracks are from that album. Silverfish, Valium, Let Me Come Home, Inferno and All The Way Down follow that opener and other showstoppers include Days Of The Years, Cherry Liquorice and their anthem, Whiskey In My Whiskey.   Ian’s raspy vocals, poetic lyrics and distorted guitar sound is ably supported throughout by a well-oiled rhythm section, upbeat accordion and keyboards, and four-piece harmonies.

The Felice Brothers have perfected the art of blending rowdy rock ‘n’ roll with showstopping skeletal folk ballads. Both are presented to perfection this evening confirming their growing status as one of the most complete and impressive live acts on the roots circuit. All in all, a triumphant return and exhilarating evening’s entertainment.

Review and photograph by Declan Culliton