49 Winchester @ the 3Olympia, Dublin – 1st June 2024

Finishing a brief European tour in Dublin is a cause for some celebration according to Isacc Gibson, chief songwriter and lead vocalist with Virginia based six-piece 49 Winchester. It’s been a run of thirteen shows, visiting eight different countries across seventeen days of hard graft. Nothing new to the band of course as they base their growing reputation around a hard work ethic and a strong sense of unity among the members.

Founded as a three-piece back in 2014, the guitar skills of Isaac Gibson, Chase Chafin and Brandon “Bus” Shelton came together as home town friends looking for a creative outlet for their youthful energy. Their debut album started a momentum that carried through to subsequent releases in 2018 and 2020, with additional players Noah Patrick and Dillon Cridin joining the line-up. Their breakthrough came in 2022 and the release of FORTUNE FAVOURS THE BRAVE an appropriate album title for the band who then gained a greater profile from supporting Luke Combs on a European tour. A total of sixteen dates in Sept/Oct 2023 started a buzz about the band outside of their American audiences and tonight they get to build upon their growing international profile.

The current line-up comprises founding members Isaac Gibson (vocals, guitar), Bus Shelton (lead guitar), Chase Chafin (bass) with Noah Patrick (pedal steel) and more recent members Tim Hall (piano, organ, keyboards), and Justin Louthian (drums). Over a set that lasts ninety minutes the band produce a high energy sound that covers nineteen songs, including the encore Hillbilly Happy which is due to feature on a new release later this year, LEAVIN’ THIS HOLLER. In total the band play six songs from the forthcoming album and they all sit seamlessly into the signature sound that has been honed over recent years of playing together. If you want a signpost then think along the lines of early Lynyrd Skynyrd crossed with a lead singer that sounds very much from the Chris Stapleton school of impressive vocalists.

The majority of the set is taken from the FORTUNE FAVOURS THE BRAVE release and seven songs are featured including the title track, All I Need, Annabel, Damn Darlin’ and the set closer Last Call. Crowd favourite Russell County Line is also included from the same album and it’s always a good sign for the band to see so many in the audience singing along to the words. The set list also includes five songs from the 2020 release III, with Chemistry and Hays, Kansas opening the show and the trio of It's A Shame, Everlasting Lover and Long Hard Life performed also.

There is no doubting the fire within the band, but tonight they are let down by a very muddy sound that results in a distorted mix on the instruments. The pedal steel really struggled to be heard at all, while the drum and bass were very dominant in the overall sound. As a result, a number of the songs suffered from that cruel fate of sounding the same, guitars fighting for space and the rhythm section driving an unchanging beat pattern. The keyboard sound also lost out during certain songs as the musicians strove to deliver their performance dynamic. Much rests on the shoulders of Isaac Gibson, in that he is the sole vocalist and the only member who attempts regular communication with the less than capacity audience. He is a fine vocalist and his energy was certainly something that resonated with the crowd. Hopefully on a return visit the band can solidify even greater support and deliver upon their obvious promise.

Coda: The evening started with the advertised support act Drayton Farley not appearing. No mention was made of his absence and perhaps he had caught an early flight back to America as this was the last date of the European leg of the tour? In any event, we were given local Irish singer Saibh Skelly as a late replacement and she made quite an impression over her short set that included both original songs and cover versions. She spoke about starting out by busking on Grafton Street and building up a strong social media support. Her fine voice and bubbly character endeared her to the crowd and she admitted that she’s “not really country” but had purchased a pair of cowboy boots especially for the performance.

Review and photos by Paul McGee

Carter Sampson @ The Betsey Trotwood - 31st May 2024

Despite a challenging journey from Oklahoma via Denver and Newark, with delayed flights and lost luggage, Carter Sampson's performance at The Betsey is a testament to her resilience. The unique basement setting, nestled within the iconic pub and event venue, adds a touch of intimacy to her set, which is performed to a captivated audience in pin-drop silence. The only sonic distraction is the occasional rumble of the underground trains that run parallel to the venue, adding a unique element to the experience.

It's the opening date of Carson's sixteen-date whistle-stop UK tour, and her set includes selections from her most recent studio recording, GOLD, a dip into her extensive back catalogue of songs, and a couple that bring back cherished childhood memories.

'I almost feel high, despite being completely sober', she jokes, referring to the torturous travel experience getting to the UK before appropriately opening with the confessional Drunk Text. She closes ninety minutes later with Blue River, performed off mic and described as her favourite song ever.  Personal anecdotes like those shared by Carter throughout the evening added a layer of relatability to her performance.

Drawing from the previously mentioned album GOLD, she includes the title track, an ode to her mother, who, despite fifteen rebellious years, remains her best friend and mentor. Also performed is the closing track from that album, There's Always Next Year, described as a pandemic song.

Ten Penny Nail recalls an incident where Townes Van Zandt allegedly barricaded himself – no doubt fuelled by his favourite tipple – into a room in Guy Clark's house after a drunken altercation involving the pair and Guy's wife, Susanna. Hello Darlin', she confesses, was written by Zac Copeland because her own love songs are too complicated; she also includes another Copeland song, Tulsa, and Rattlesnake Kate, both from her 2018 album, LUCKY. The latter, Carter's favourite song to perform, is a thumbs up to the independent wild woman, Katherine Slaughterback, whose claim to fame includes killing one hundred and forty rattlesnakes in one day, among other badass triumphs. Other highlights include Be My Wildwood Flower and Medicine River, the Shel Silverstein-written Queen of The Silver Dollar and, of course, Carter's anthem, Queen of Oklahoma ('I spent eighteen years trying to get out of there but still feel homesick when I'm away').

All in all, this is a riveting and relaxing listening experience from an artist whose material explores a wide range of issues, from deeply personal to observational. The good news is that she announced that she will return to this side again next year with a band.

The evening support act, Sheffield-based Banjo Jen, delivered a highly entertaining set. Her performance included her two most recent singles, Whiskey Feet and Fine Line, showcasing her musical talent and witty storytelling. Her sweet banjo strumming and engaging tales added to the overall enjoyment of the evening.

It was Lonesome Highway's first visit to The Betsey, which greatly supports often lesser-known artists and bands. It's a gem of a pub with three music rooms, great food and refreshments, and friendly staff, and one that I look forward to returning to. A final mention to the promoters Martin and Marion of Black Cat Music Promotions, who continue to provide essential support to roots artists both at home and abroad and gift audiences with memorable evenings like this one.

Review and photos by Declan Culliton

Hurray For The Riff Raff @ The Button Factory, Dublin, 10th May 2024

It’s sixteen years since a young Alynda Segarra first arrived in Ireland. Alongside New Orleans-based fellow vagabonds, christened Hurray For The Riff Raff, Segarra charmed crowds at the back room of Cleere’s Pub in Kilkenny and passers-by on the streets of Galway. Segarra, who identifies as non-binary, continues to front the band, which has gone through numerous line-up changes since those early days.

Subsequent visits back to Ireland have seen them play to increasingly larger audiences, and tonight’s show at The Button Factory was sold out within days of the gig being announced. Their last performance in Ireland was two years ago at Whelan’s when they toured the LIFE ON EARTH album, which drilled into American colonialism and other world issues. This time, the focus is on their most recent project, THE PAST IS ALIVE, arguably their finest and most cohesive record, playing out like memoirs from Segarra’s childhood to the present day.

As the band delves into the new record, Segarra's heavily Brooklyn-accented ‘Go Raibh Maith Agat’ greets the crowd, a personal touch that immediately connects with the audience. They express their pride in the latest project, which they promise to feature in its entirety during the show. Segarra, in a previous interview, described the album as ‘an exercise in memory excavation’, a journey that takes the audience through cherished and deeply personal memories.

The opening song, Alibi, a plea to a hopelessly drug-addicted friend, sets the scene for the fifteen-song full-on show from Segarra and their four-piece backing band.  Happier childhood memories are recalled in Snakeplant, and other stand-out selections from the recent album include Hawkmoon, Vetiver and Colossus of Roads.  This year celebrates the tenth anniversary of their album SMALL TOWN HEROES. Segarra includes The Body Electric from that album, describing it as a game-changing song that directed their songwriting in a more philosophical direction. Also dipping into their back catalogue is a driving delivery of Rhododendron from LIFE ON EARTH and also from that album, Saga, which Segarra explains was written at a time when they were locked into an abusive relationship (‘I don’t want this to be the saga of my life / I just want to be free’). The mid-tempo Hourglass finds Segarra taking a breather and performing the song seated centre stage on a stool, before closing the set with gorgeous deliveries of The World Is Dangerous and, appropriately, with the closing song from the new album, Ogallala. 

Of course, there is more to come, and they close out with a two-song encore. Acknowledging the ongoing support they have received in Ireland for the past sixteen years, Look Out Mama (‘I haven’t played this song in over a year’) is performed acoustically before a roof-raising finale of Segarra’s manifesto and, by now, anthem, Pal’ante. It’s a fitting end to a triumphant return to Dublin by an artist previously described by us at Lonesome Highway some years ago as ‘a young Patti Smith’. That characterisation becomes more and more authentic with each subsequent stage appearance and studio recording.

By way of a footnote, thumbs up to promoters Singular Artists, who, together with the more prominent acts that they promote, continue to support lesser-known roots-based music at affordable prices. Anyone fortunate enough to have attended tonight would have forked out less than the price of three pints in any of the local pubs in Temple Bar, or, indeed, tonight’s venue.

Review and photo by Declan Culliton

Muireann Bradley @ CQAF, Belfast - 7th May 2024

Unless you’ve been hiding under the proverbial stone for the last year, you will be aware of the hype surrounding Donegal seventeen year old, Muireann Bradley (pronounced ‘mwirren’), who started guitar lessons with her father at an early age and diligently worked on her impressive technique during lockdown. Her appearance on Jools Holland’s famous New Year Hootenanny in Dec 2023 catapulted her into the public consciousness in the UK and Ireland, and indeed worldwide, thanks to the reach of YouTube. She has single handedly raised the awareness of guitar finger picking in the country blues, ragtime and folk blues styles, with a three finger technique that leaves other guitar players scratching their heads. 

However, will she live up to the hype tonight? This is her Belfast debut and also her biggest ever audience in the sold out 650 seat capacity marquee at the Cathedral Quarter Arts Festival, in Custom House Square. We needn’t have feared. Despite her obvious trepidation and nervous giggles (‘there’s a wile lot of yous!’) Bradley lost herself in her playing as soon as she picked up her guitar and proceeded to treat the audience to 90 mins of pure gold. The fifteen songs were taken mainly from her debut album I KEPT THESE OLD BLUES and the reverent audience gave her their full attention to the end, which in itself was quite remarkable. Candyman, first recorded by the Reverend Gary Davis in the 1930s, showed her mastery of the Piedmont (N Carolina) style of guitar picking and also introduced us to her clear, true, sweet but powerful voice. Another Rev. Gary Davis song Delia followed soon after, but Muireann explained that she got it from the playing of Roy Bookbinder and Stefan Grossman, which her father introduced to her growing up. There were several Mississippi John Hurt songs, including Richland Woman Blues and the classic Stagolee murder ballad. Elizabeth Cotten, another North Carolinian and hugely influential folk/blues guitar picker and songwriter is clearly a big influence and Muireann played and sang Freight Train and Shake Sugaree with abandon. 

Mostly playing her custom S model guitar built for her by Armagh luthier Ciaran McNally, she also included instrumentals like John Fahey’s version of Buck Dancer’s Choice and Vestapol (which was ‘the first tune she learned on guitar’ - so much for the House of The Rising Sun!). Memphis Minnie provided two tunes, and Dave Van Ronk’s Green Rocky Road provided a welcome change in tempo and style. 

If anyone noticed the utter dichotomy of this young Irish teen singing about brothels, domestic violence, gambling, alcoholism and murder, then it didn’t seem to affect the enthusiasm of the audience - and sure, why would it? Perhaps this is part of her charm. All eyes will be on this talented young woman now to see how her career progresses, but we’ll be seeing more of her, for sure.

Support on the night was from another young Donegal guitar whizz, Eoghan Rainey - is there something in the water up there?! 

Review and photograph by Eilís Boland

The Paper Kites @ Vicar Street, Dublin – 29th April 2024

Melbourne is home to the Paper Kites and the band formed back in 2009 when lead vocalist/guitarist Sam Bentley and keyboardist/guitarist Christina Lacy decided to take their collaborations in music to the next stage. They added the talents of school friends Sam Rasmussen, David Powys and Josh Bentley to the collective and the group now proudly boast a considerable following across the Globe. With six albums and a few EPs to their name the Paper Kites arrive in Dublin to kick-off a European tour that visits nine different countries and eighteen dates over a three week run.

A strong work ethic and years spent building a reputation for quality songwriting and dynamic live performance are clearly evident tonight as the band deliver a hugely impressive set to a sold out Vicar Street. Having a platinum hit in America certainly helps their profile and the 2010 single Bloom was something of a turning point in the band fortunes. In a show that contained eighteen songs the variety of the music is definitely something that separates the Paper Kites out from their peers. Ther classic Americana and Country sound with pedal steel hauntingly played by Matt Dixon is a real highlight and the first half of the show has the musicians weaving their skills into a beautifully delivered texture of gentle sound that is hypnotic and heart-felt.

Sam Bentley admits to writing mainly sad songs and his easy manner and conversation has the audience on his side from the beginning. He quips that usually sad people come to the shows and he has to check in with the crowd every few songs to make sure that they’re doing alright. He also confirms that couples in love come to the shows but often leave wondering if they’re with the right person. His observations are very amusing throughout as is his genuine comments about being in Ireland and playing to a listening audience.

The latest album AT THE ROADHOUSE is given most of the focus with seven songs featured. All are performed with superb nuance by the players and their number is augmented on this tour by musicians Matt Dixon, Hannah Cameron and Chris Panousakis to make an eight-piece touring band. Featured songs from the current album are Till the Flame Turns Blue, Hurts So Good, Green Valley, Good Nights Gone, I Don’t Want To Go That Way, Black and Thunder, and June’s Stolen Car. The latter two songs are featured in the second part of the show and highlight a more rock driven sound that features some superb guitar playing from Dave Powys.

A cover version of the Adrianne Lenker song Anything is also included, and the band also recognise the opening act, English duo Flyte, with an acoustic section that includes a version of Wild Mountain Thyme performed beautifully with six-part harmonies. Other songs from their back catalogue include Between the Houses, Tenenbaum, Arms, Without Your Love and a superb five-part harmony on Paint. The encore comprises a duet For All You Give with Bentley and Lacy singing beautifully together before the full band reappear for the vibrant Electric Indigo.

This show was a resounding success and the sweet melancholy of the music mixed so well with the up-tempo numbers, and all delivered with a thrilling sense of performance dynamic and talent. The sound was superb and really showcased the excellent venue in all its glory. An excellent light show added to the atmosphere and take a bow local promoters Singular Artists for bringing such exciting music to our shores.

Review and live photos by Paul McGee

Mary Gauthier withJaimee Harris @ The Mac, Belfast - 11/04/2024

Mary Gauthier’s special guest, Texan singer-songwriter Jaimee Harris, took to the huge stage in the Downstairs Theatre in the Mac and within the opening minute she owned the room. Wearing her new and spectacularly rhinestone encrusted and embroidered 70s style red suit, and her signature pink heart glasses, she kicked off with her short endearing Opening Act, and from then on she could do no wrong. Only her second time accompanying Mary here touring Ireland, her songs and stories aren’t yet familiar to the whole audience, but she didn’t waste too much time talking, instead she let the songs speak for themselves. Redemption is the theme of Snow White Knuckles, a raw recounting of the horrors of battling addiction (to cocaine and alcohol, in her case). She recounts the story of being thrown into a songwriting project with Dirk Powell (who she had never met before) and the outcome was the next song, A Fair and Dark Haired Lad, which appropriately has a link with Irish folklore. Next came the title song of her most recent album Boomerang Town, followed by the as yet unrecorded Tattoo Zoo, one she ‘imagined’. She closed her short set with Love is Going To Come Again, leaving the enrapt 300 strong audience wishing for more.

Clearly happy with her big welcome back to Belfast, a beaming Mary Gauthier started by reminiscing about the ‘good old days’ when she first came to the city over twenty years ago and how much she always loved playing the Errigle Inn. The stalwarts of the much lamented Real Music Club (and I include myself among this cohort) were feeling quite smug, assuming that she remembered it for the warmth of the audience, however she quickly put us right as she explained that it was because of the wonderful food they served! However, we will forgive her anything, and she went on to give a masterclass in performance, songwriting and humour.

Between the Daylight and the Dark was the first of a selection of songs from across her substantial output of ten albums, starting with DIXIE KITCHEN in 1997. Her partner Jaimee accompanied her on stage on guitar and backing vocals throughout, the chemistry between them undeniable. Not touring a new album this time, but instead she has a book to promote and we were treated to a few readings from the just published SAVED BY A SONG (The Art and Healing Power of Songwriting) which she deftly slotted into the set. One of the anecdotes involved the tradition of the passing on of a guitar, from the late Nanci Griffith (who later became a good friend) in Mary’s early days in Nashville, at a gathering in Harlan Howard’s home. That led nicely into a powerful solo rendition of Griffith’s Ford Econoline from Jaimee Harris. The irony of I Drink, being performed by two openly recovering addicts was not lost on anyone, and Last of the Hobo Kings demonstrated Gauthier’s ability to get into the heart and soul of a character, enabling them to live on forever. One deeply moving song choice was the co-write, with our own Ben Glover, Til I See You Again, a tribute to their mutual friend John Prine. For the inevitable encore (and standing ovation) they performed Amsterdam, recalling Mary’s first time bringing Jaimee to one of her favourite cites - an uplifting end to a wonderful show.

Review and photograph by Eilís Boland

Cinder Well @ The Duncairn - Belfast 22 March 2024

On a wet and windy night, the cosy downstairs venue in the lovely Duncairn Arts Centre (a listed former church building) in North Belfast, was most enticing. A welcoming space, with its sofas, rugs and soft lamp lighting, it has all the atmosphere of a house concert and tonight we were treated to an evening with Cinder Well, the performing name of Amelia Baker’s lo-fi folk project. Californian by birth and raising, Baker has spent the last few years living in County Clare, studying Irish traditional music and subsequently teaching fiddle.

She launches straight away into the opening song Two Hands, Grey Mare from her latest album, CADENCE. ‘Crick in the side of the frozen moon’ she begins and we are immediately transported to a moonlit shore in the West of Ireland and the mythical, mysterious selkie and shadowy ancient forests. Armed only with her rich mellifluous voice and her Strat Squier electric guitar, the songs are bolstered by the presence of Ruth Clinton on fiddle and barely there vocals, the band for tonight. Overgrown finds us still in the forest, where we can almost smell the dank undergrowth, such is the imagery and atmosphere created by her poetic lyricism. Switching now to steel bodied guitar, the inspiration for No Summer, the title track of her 2020 album, hardly needs explanation for this audience! Baker’s quiet presence is quite mesmerising, as she sings of forbidden love, church bells and whiskey in rain soaked Ennis, her home for several years. Explaining that she returned unexpectedly to her Californian home during the pandemic, she delivers the magnificent The Returning, an evocation of being torn between two very different worlds and times, swelling to a powerful chorus - ‘time has taken its toll on me … the returning takes its own time’.

Ruth Clinton explains why she was taking some time to get her fiddle in tune- it lives in her cold house and is not accustomed to the warmth of this building! Clinton performed here previously with her group Landless, who sing traditional songs unaccompanied, and she is one to watch. They continue with more songs from the new album, which was recorded in Venice Beach, including the trancey Crow and the distinctly Celtic flavoured and balladic A Scorched Lament. Next up is a gorgeous a capella duo version of Appalachian musician Roscoe Holcomb’s Wandering Boy, followed by the title track of the new album. Cadence positively oozes heartbreak - ‘your heart is breaking forth/and you know what the pain is for’ Baker repeats, over the droning fiddle and guitar. I Will Close in the Moonlight finds her torn between her Irish and Californian lives, indeed this inspired the very theme of the whole album, ‘but the nightingale comes back to sing/I hope to see you again’.

And then it was over, short and bittersweet. Baker tells us she has moved back to California. Well, we too ‘hope to see you again’, on our wild and windy shores.

Review and photograph by Eilís Boland

Eddi Reader @ The Pavilion Theatre, Dun Laoghaire - 16th March 2024

Tonight is a superb example of what makes Eddi Reader such a consummate performer over the many years that she has been regaling us with her superior vocal talents and witty tales of all that keeps us human. Her generosity of spirit and her joy of life are so apparent throughout the concert and are to be embraced and celebrated. She has the capacity audience in the palm of her hand from the outset and her four piece band rise to the occasion in delivering wonderfully nuanced expertise in the musicianship. John Douglas (guitars), Boo Hewerdine (guitar), Alan Kelly (accordion) and Kevin McGuire (upright bass) shine throughout the evening.

It's a captivating performance from beginning to end with Eddi completely immersed in the music, playing imaginary violin and using her arms in expressive movement to the rich melodies of her band. Her stories of growing up in Glasgow and regular family parties delight the audience, with hilarious memories of drunken uncles and scattered aunts, together with neighbours adding plenty of colour in song. Of course, in the late 1980s she starred as the key figure in Fairground Attraction and their run of success included some great hits such as Perfect, and Find My Love, both of which are performed tonight. Eddi also includes another old favourite from those times in Comedy Waltz as she remembers touting their acoustic songs around record labels who were more interested in techno and drum machines at the time.

Eddi is also a great proponent of Scottish heritage and her song interpretations of the poetry of Robert Burns, for example, are wrapped in loving reverence. Traditional songs like Charly Is My Darling and Leezie Lindsay pay due reverence and tribute to her roots and influences, with her Scottish brogue emphasising the joy of the culture and history. When it comes to exploring emotions and sensitivities of the heart there are no better examples than the songs Patience Of Angels and Kiteflyer’s Hill.  Both songs date back to early releases in the 1990s and give insight into love lost, with innocence and dreams abandoned. Is there a better description of the isolation and loneliness of urban life, and feeling anonymous, than the lines ‘There's a door in a wall, in a house in a street, In a town where no-one knows her name, She's the patience of angels.’

The song I Won’t Stand In Your Way was written by John Douglas after he reflected upon his sons pulling away from the guiding hand of parents and Eddi admits that she struggles to get through the emotion of the song at times. Other highlights are the trio of songs, Hummingbird, Vagabonds and Dragonflies; all received with great enthusiasm and played with great reverence, the lines from the latter song reminding us to try and live in the moment ‘As soon as we're here, we disappear, like dragonflies.’

Boo Hewerdine is such a talented musician, songwriter and producer in his own right, and Eddi highlights his contributions, giving him the spotlight to perform The Night Is Young. There is also reference to Donald Trump and the fact that his mother hailed from Scotland. Mary MacLeod left her homeland in 1930 and Eddi takes her subsequent actions in America as an unfortunate influence and something that Scotland regrets. Other stories of Elvis Presley and her father’s love of his music are part of the overall fun on the evening. Finishing the show with a beautiful performance of Moon River sees Eddi acting the role of an aunt at one of her family  gatherings, pretending to drink a brandy and smoke a cigarette while being urged to sing. She is a natural of course and has the audience joining in the dynamic as she includes snatches of the song Secret Lover into her performance. There is no encore but after two hours of such engaging performance nobody is disappointed and the standing ovation from the captivated crowd is enough proof that Eddi Reader continues to hold a special place in the hearts of the Irish people. Long may she continue to entertain and inspire. A very special show.

Eddi’s husband, John Douglas, opened the show with a six-song set. His sweetly textured vocal blends so perfectly with his dextrous and understated guitar skills and it set the perfect atmosphere for what followed A new song that John wrote for Eddi is played and Still Or Sparkling references the time before they married, and is performed with great élan. The other songs played are all included on John’s solo album which is on sale in the foyer after the show. A cover of the Paddy McAloon song We Let The Stars Go is particularly memorable and sits nicely alongside Maid O The Lough, The Sleeping Policeman, Weightlifting and I’m Not the Fella.

Review and photographs by Paul McGee

Lucinda Williams @ The Olympia, Dublin - 27th Feb 2024

A regular and much-loved visitor to our shores, Lucinda Williams returns to The Olympia, Dublin, tonight, the same venue where she played support act to Mary Chapin Carpenter almost three decades ago. Williams may not be as agile these times, having recovered from a stroke four years ago, but she's in splendid vocal form tonight.

Her one-hour and forty-five-minute set is a trawl through her back catalogue, including material from her earlier albums and her most recent recording from 2023, STORIES FROM A ROCK AND ROLL HEART. She's backed by a killer four-piece band, which includes her long-time guitarist Doug Pettibone and former Black Crowes axe man Marc Ford.

It's the first night of Williams' European tour, and from the opener, Let's Get The Band Back Together, to the third and final song from her encore, Joy, her set plays out as a retrospective journey from her early childhood to the present day.

She is at pains to emphasise the inspirations that fuelled her early love of music, whether that be her introduction and love of 'dark' Irish and English folk ballads (“Good dark songs. Man takes his woman down to the woods, stabs her and throws her in the river. None of the 'all flowers and butterflies' of today's music”) or her exposure as a young child to acoustic blues. She recalls the impact on her as a six-year-old with her father witnessing the itinerant preacher and blues singer performer Blind Pearly Brown play in the streets before introducing the song of the same name. Also underscoring the influence of blues and gospel on her are the inclusion of Elizabeth Cotton's Freight Train and Memphis Minnie's You Can't Rule Me. 

Dark and painful songwriting has featured prominently in Williams' canon, often from first-hand experience. Pineola, she explains, tells of the suicide of her close friend and Southern poet Frank Stanford and personal trauma in her younger life were the motivators for the defiant Change The Locks and Joy, both powerfully performed. Stolen Moments mourns the loss of her confidante, Tom Petty, and her classic Car Wheels On A Gravel Road is introduced as daily life through her six-year-old eyes. Other highlights are the delicate Where The Song Will Find Me, which features sublime pedal steel guitar courtesy of Pettibone, Ghosts Of Highway 20 and a full-on delivery of Essence from her 2001 album of the same name. An impressive rendering of The Beatles, I've Got A Feeling is also performed.

Very much a survivor in an unforgiving and often impenetrable industry for non-conformists, and particularly women, Williams has and continues to operate on her own terms. That fearlessness and devotion to the art she worships has produced a back catalogue second to none, much of which was on display this evening.  

Review and photography by Declan Culliton 

Session Americana @ The Cherry Tree, Dublin - 20th Feb 2024

The joy of living in the moment is perfectly captured in the performance of Session Americana tonight. This superb ensemble really inspired a capacity crowd in the intimate surroundings of the Cherry Tree venue, located in the suburbs of South Dublin. Local promoter Paul Lee has been a keen supporter of independent artists over many years and his enthusiasm to continue featuring international acts of tonight’s calibre and quality is to be admired. How frustrating that illness on the night prevented him from enjoying the fruits of his labour that brought the band here.

Session Americana return to Ireland after an absence caused as much by Covid lockdown as anything else, and the six musicians kick off their European tour tonight in Dublin. The band formed in Cambridge, Massachusetts back in 2004 and has built an impressive following over many years of playing shows and believing in their ability to create music of real substance. For the current tour long-time members include Ry Cavanaugh (guitars, vocals), Dinty Child (accordion, mandocello, field organ, vocals), Jon Bistline (bass, keys, vocals), Billy Beard (drums, percussion, vocals), and Jim Fitting (harmonica, vocals).  They are joined by the very talented Eleanor Buckland on fiddle, acoustic guitar and vocals. Her pedigree has been proven with her time in the band Lula Wiles and onwards to a solo career that has seen her talents blossom. She speaks of her pleasure being in the company of such consummate musicians and being looked after by “five uncles.”

The gig tonight comprises eighteen songs with a mid-way break for the audience to purchase some merchandise from the “manager of fulfilment,” Jim Fitting. It’s an opportunity for the audience to also say hello to the other band members and adds to the sense of being part of an extended family who are all gathered in celebration of a shared experience. The music is of a very high standard as the six musicians swap instruments and vocal duties on a regular basis during the very generous set.

The songs played cover eight of the many albums released by the band and Eleanor is featured on four separate songs from her own expanding discography. The interplay is a real pleasure to experience and the easy manner in which the musicians interact is a large part of what makes the evening so enjoyable. There is an easy flow across the melodies and the rhythm that these songs invoke and a genuine sense of happiness is evident as the musicians dove-tail together in the performance and their stories from the road.

Throughout the show there is an echo through time and a thread that links the songs of Session Americana to the legendary music of The Band. The understated, subtle drumming and percussive touches from Billy Beard sets the tempo and the impressive bass playing of Jon Bistline locks into a harmonious rhythm section. Ry Cavanaugh is a superb guitarist with his inventive playing adding great colour to the arrangements and Jim Fitting dips regularly into his impressive collection of harmonicas to deliver plenty of great moments. Dinty Child is touring an old field organ and its warm sound is the perfect accompaniment to his sweetly toned accordion and mandocello playing. Adding the fiddle and guitar skills of Eleanor Buckland, the overall sound is bright and expansive despite the vocal parts getting lost in the mix occasionally.

Currently touring a greatest hits album, titled THE RATTLE AND THE CLATTER, the band are celebrating twenty years together and the set list covers many favourites, including cover versions of the Tom Rush classic, Merrimack County and the Grateful Dead song Brown Eyed Woman. The eclectic mix of instruments brings a timeless quality to the set and the songs include  a nod to americana, blues, country, and folk genres as the band deliver an impressive display of all that is good in roots music today. The pace never falters and highlights include the wonderful blues vocal of Jim Fitting on songs like Making Hay and Mississippi Mud, together with the superb Beer Town sung by Dinty Child with great vocal dexterity, and its catchy chorus is a big favourite with the audience. Other highlights are songs It’s Not Texas, Raking Through the Ashes, Driving, Love Changes Everything and When the Dust Has Settled (yet to be recorded). Eleanor also impresses with insightful songs from her solo album, I’m Not Saying and Don’t Look Down showcasing her quality.

This is a very welcome return visit from a band that has developed strong links to Ireland and judging by the full venue tonight the musicians are guaranteed a warm reception any time that they wish to return.

Review and photographs by Paul McGee

Tyler Childers @ The Olympia, Dublin 15th February 2024

It's a pointer towards Tyler Childers' flourishing career that this evening's show takes place at a venue with a capacity three times greater than the Kentuckian's first date in Ireland in 2020. The tickets being snapped up within hours of going on sale also suggests that Childers could have comfortably sold out a number of nights in Dublin. 

The support act this evening is West Virginian, John R Miller, returning to Ireland following his dates last year on the double-header with J.P. Harris. His well-received forty-minute set includes Shenandoah Shakedown and Looking Over My Shoulder from his 2021 album, DEPRECIATED. 

It's the opening night of Tyler Childers' eleven-date tour of Europe, but there is no sign of anything approaching 'teething problems' in his one-hour, forty-five-minute, and twenty-four-song set. His powerful vocals stand out, and his band are razor sharp, both aided by a near-perfect sound in the venue.

He opens with the only cover song in the set, a blistering country-gospel take on Hank Williams' Old Country Church, before introducing his band. Five of these players, Craig Burletic (bass guitar), Rodney Elkins (drums), James Barker (pedal steel and electric guitar), "The Professor" Jesse Wells (guitars, fiddle and banjo) and CJ Cain (guitar), are long time members of his band, the latest addition being keyboard maestro, Matt Roland. A well-oiled machine, their collective playing is dazzling, and they appear to be savouring the experience of being back ‘doing what they do.’

Childers' engagement is courteous, self-deprecating and humorous. He tells of his relief at keeping jet lag at bay, despite different time zones on his recent travels to Hawaii, Nashville, Kentucky and Los Angeles for the Grammys (described by him as a 'celebrity safari'). He also genuinely repeats on numerous occasions his appreciation for the audiences and their engagement.

Half of the setlist is taken from his most commercially successful albums, COUNTRY SQUIRE (2019) and PURGATORY (2017). Highlights, of which there are many, include electrifying renditions of Bus Route (with extended piano and acoustic guitar outros), All Your'n, which merges into Purgatory, and the haunting instrumental Two Coats. Another standout is Born Again, described by Childers as a 'Hillbilly Reincarnation.' An acoustic solo four-song set also features, opening with Nose On The Grindstone, after which the crowd breaks into an extended chorus of Olé! Olé! Olé Olé! Childers' reaction switches from initial shock and surprise to ear-to-ear grinning at this impromptu response. Lady May, Bottles and Bibles, and Follow You To Virgie are also performed in the solo acoustic set.

Ditching the often-overdrawn drama of an encore, he announces that 'we're going to play a few more songs and then a few more.' With the band in full throttle, they finish with the beat-heavy Universal Sound and a rousing Heart You've Been Tendin.’

Looking around the room, I'm heartened by the age profile in attendance. A father stands beside me with his three teenage daughters; a married 'middle-aged' couple is next to me, and the demographic is a number of generations younger than the turnout for visiting roots acts for many years. It's been a long time coming - with little help from the music industry – but real 'modern country' music is finally making its mark. Tyler Childers, alongside others like Charley Crockett, Colter Wall, Sturgill Simpson and Ashley McBryde, deserve massive credit for sticking to their guns despite the lack of industry support and creating markets for themselves. That is very much on display this evening, and without a doubt, Childers will be headlining large festivals shortly. In the meantime, it's a memory worth cherishing, witnessing him and his comrades strutting their stuff so impressively in a smaller venue.

Review and Photography by Declan Culliton

Tim Easton @ Whelan’s Dublin 23rd January 2024

Born in New York State and raised in Akron, Ohio, singer-songwriter, poet and consummate storyteller Tim Easton is no stranger to Ireland. It may be ten years since his last show in Dublin (attended by Shane McGowan), but Tim spent many weeks busking in Dublin in his early career. Those busking and nomadic years were also extended to London, Paris, Spain and Italy. Tonight’s show includes often hilarious tales of those times and a selection of songs from his extensive back catalogue. Armed with his well-worn Gibson guitar (christened Paco), a harmonica and his distinctive raspy vocals, he opens with the raw and bluesy Elmore James and bookends the set eighty minutes later with the reflective Peace Of Mind from his 2021 album, YOU DON’T REALLY KNOW ME. 

A Nashville resident for over a decade (‘There are so many songwriters in Nashville. My mailman is a songwriter, my plumber is a songwriter, and practically every taxi driver in Nashville is a songwriter,’ he jokes, tongue in cheek), he launches into the jaunty Don’t Lie, a song inspired by a wrangle he overheard (‘songwriters are professional eavesdroppers’) between a couple on Nashville’s four-lane highway, Gallatin Pike. On a more serious note, he introduces Voice On The Radio as a song he wrote the night his hero, John Prine, died. He follows that poignant song with a self-deprecating tale from a visit to the Galway Arts Festival in his early busking days, where career advice given to him by whom he assumed to be John Prine was, in fact, an impersonator. 

 Speed Limit, also from YOU DON’T REALLY KNOW ME, is given a more toned-down delivery than the recorded version and the mellow ballad Black Dog, he explains, was written about a dog he owned while living in Joshua Tree, California, and not, as people assumed gleaned from either depression or politics. Performed live for the first time, he also road tested a new song, Labour Of Love, which very much got the seal of approval. 

Tim Easton covers all bases as a singer, songwriter, guitarist and performer. He is every bit as chilled this evening, belting out a blues rocker like Broken Hearted Man or a striking love song, Next To You. After a highly entertaining show this evening, Tim continues his whistlestop tour of Ireland with shows in Kilkenny and Kinsale in the coming days. Check out his website for details.  

Review and photograph by Declan Culliton 

Jeffrey Martin @ The Workman’s Club, Dublin - 20th January 2024

In Europe for a brief tour and promoting his critically acclaimed release from last year THANK GOD WE LEFT THE GARDEN Jeffrey Martin returns to Dublin to great acclaim. He last played here in early 2023 with his partner in life and in music Anna Tivel as part of a co-headline tour but tonight Jeffrey takes centre stage with his acoustic guitar and a suitcase full of superbly crafted songs.

He resembles something like a woodsman in his appearance with a formidable build and a generous beard impressing those who are present on word of mouth recommendations. Of course, in reality we are in the company of a gentle, sensitive soul that stands before a packed room and talks from the heart about his “‘sad ass songs” and his views on the state of the planet as we continue as a species to confuse and dumbfound in our actions and daily agitations.

Jeffrey Martin gave up a career in teaching in order to follow his dream of being a musician and it is clear from his tales of the road and beyond that money could never have been a motivating factor at any point along his journey. He tells of phone conversations with his Dad who enquires after the number of people that are turning up for the shows and whether he is making “enough money” to make it work. One hilarious story as a lead in to Paper Crown recounts Jeffrey’s encounter with some mind altering mushrooms and a muddy patch in his local park that ended in him returning home to sell his newly purchased portfolio of shares which had amounted to the princely sum of $90. He is a natural storyteller and this of course endears him all the more to an Irish audience.

Focusing mainly on the new album, Jeffrey plays beautifully restrained fingerstyle guitar and wraps his superbly nuanced vocals around the words that reach out to everyman in their questions of the big issues. Over a set of thirteen songs he features Garden, Lost Dog, Red Station Wagon, Paper Crown, Quiet Man, There Is A Treasure, Sculptor and Walking from Thank God We Left the Garden and the immediacy and the intimacy of the performance has everyone in deep reverence with every part of the music. There is a hypnotic quality to the synergy of guitar and voice that both soothes and silently seeks to consider our place in the world in which we take our daily roles.

Early songs from his debut BUILD A HOME EP, THIEF AND A LIAR (2012) and GROWER OF TREES (2014), DOGS IN THE DAYLIGHT kick off the show with a reminder that the pearls of wisdom that drop from the mind and the pen of Jeffrey Martin are in no way a current discovery. He also features some songs that remain unrecorded (yet), and a new one, which he says is “For America” in his introduction. It is an indictment of the abuse of power and privilege in high places. The abiding message in the politically themed song is that of enduring community with the refrain “I love you my brother” and I was also interested in the line “The devil was made so we wouldn’t blame God.”

Jeffrey Martin doesn’t profess himself to be a religious man and yet there is a strong morality running through his songs that calls us to witness the basic message of all religions, in that we should love each other and care for the weak among us. So many of his songs feature those on the margins of society and those with no voice or control over the shape of their lives. He also speaks of how we are really all the same with hidden layers within each of us. His song Just Like You, Just Like Me contains the words “Shiny on the outside but broken on the inside” when it comes to the games that people like to play in order to make themselves feel self-important.

The song Checkers is one that Jeffrey has only played live and he speaks of his friendship with Mick Flannery and their cross-fertilisation of song ideas. The story relates to Mick writing a song that referenced great chess matches and masters while the response from Jeffrey was one of a song that cleverly pokes fun at the checker playing mentality of certain sections of our shared communities.

As a champion of the unheard voices in society, Jeffrey Martin stands tall and his talent stretches far beyond the venues in which he spins his tales of mindfulness and self-awareness. The final song Walking sums it all up in the lines “ We’ll be gone with nothing, The same way that we came, So I go out walking.” The perfect antidote? I would never bet against the insight of this talented musician who continues to win the hearts of minds of all who hear him perform. A truly great night of music.

Coda: The support act was a local Irish band called Dug. They have only been an ensemble for a matter of months but this 4-piece seem destined for greater things if tonight is anything to go by. Their music is authentic and based in the great roots tradition. Percussion, bass, banjo and resonator guitar combine to create a very enjoyable set of songs in the true spirit of spontaneity. They went down a storm and are definitely an act to watch out for in the months ahead.

Review by Paul McGee

Kevin Montgomery and Jude Johnstone @ Whelan’s, Dublin - 14th January 2024

This was the perfect antidote to the January blues. An early evening gig in the intimate surroundings of Little Whelan’s to banish the cold weather in Dublin city. Both of the headline performers are very familiar with Ireland and have visited our shores on many prior occasions. Of course Covid drove a coach and horses through a lot of tour plans for musicians the world over and neither Kevin nor Jude were able to dodge the lockdowns and loss of income over recent years. However, free to travel again and open to sharing their plentiful gifts with those fortunate enough to catch this current European tour, tonight sees the end of a ten-day continuous run of shows before a few well-earned days off and then forward to Scotland, England and the Netherlands.

Jude Johnstone may be a new name to many in the audience but those folks who already know her music relish the chance to see her perform up close and personal. It was certainly a performance not to be missed. As a songwriter Jude is considered among the very best within the higher echelons of performing artists and whereas she will profess to not being really a live performer, she exudes an easy charm and a winning personality when telling her tales behind her career and the songs that have been covered by top line acts such as Johnny Cash, Bonnie Raitt, Emmylou Harris, Stevie Nicks, Bette Midler, Trisha Yearwood, Don Henley and many others.

Jude does not name drop on stage but rather, at the promptings of Kevin Montgomery, she regales the rapt audience with her stories and the one that features Johnny Cash is both hilarious and humbling in that he ended up naming his Unchained album after Jude’s featured song (The album received a Grammy for Best Country Album in 1996). Her set is limited to just nine songs and Kevin sits in on a few of the numbers to add counterpoint male vocal. Her body of work is so extensive that it’s impossible to please everybody of course, and we all have our own favourites. Tonight she chooses five songs from her debut album COMING OF AGE which dates back to 2002. Her performances of Cry Wolf, Hearts In Armour, Unchained, The Nightingale and Wounded Heart are all superbly delivered, with her voice a perfect mix of hard-earned wisdom and a knowing sorrow. Deep Water and On A Good Day are performed from her second album (2005) and On That Train from QUIET GIRL (2011) and New York Morning from BLUE LIGHT (2007) are also included. Such nuance in the vocal delivery, such empathy and grace, you know she means every word she sings. It was such a privilege to be able to hear her perform again. Class is permanent, lest we ever forget.

As Jude steps aside and makes her way to the front bar in order to meet her new admirers who queue to purchase actual CDs (remember them), Kevin Mongomery steps into the spotlight to take us all down an easy ride through his back catalogue which is both extensive and filled with wonderful songs. His gift lies in capturing insights into our fragile lives, our broken relationships and he also pays tribute to those who have gone before. His vocal tone is something that has always separated Kevin out from the pack and his honeyed delivery has not diminished in any way since the last time I listened to him perform in a live setting.

Tonight he is joined by the fine talents of both Johnny MacKinnon on keyboards/vocals, together with Michael Scott Boudreaux on Fender guitar/vocals. Johnny is from Carradale, a small fishing village in Kintyre, and his subtle playing and easy touch is a real addition to the songs. Michael is from a small town in Louisiana and has been writing with Kevin for a few years now. There is a new album in the works and the virtuoso playing of Michael tonight only whets the appetite for what lies in store. His light touch on the guitar and his fluid playing style is most impressive, in a less-is-more dynamic. He leaves no doubt that all traces of ego have already been left aside in favour of serving the songs, something that some players never really learn in their whole careers.

Kevin also generously gives the stage to Michael to perform three of his songs from a debut EP that includes Good Thing (co-written with Kevin), Acadiana Woman and, a favourite with the audience on the night, Beer and Gasoline.

Across a catalogue of releases that date back to 1993, Kevin has consistently proven his gift with a melody and a tune over a number of critically acclaimed studio recordings and live albums. He has played with some of the elite musicians on the American Country/Roots circuit and beyond. His ability to capture a feeling is a very special part of the great songwriting book and something that gains him automatic entry. Tonight we are treated royally as Kevin visits his iconic ANOTHER LONG STORY album (2001) and Let’s All Go To California, I Wish I Were Blind (Springsteen cover), Your Kind Of Love, and Another Long Story are given everything in the performance. Both Tennessee Girl and Cherokee City are included from the 2003 release 2.30am and a cover version of the Jimmy Webb song Adios fits perfectly into the sense of the evening as Kevin professes himself as a big fan of the singer-songwriter.

In 2007 Kevin released an album titled TRUE and it included a song to his beautiful daughter. It was called Nothing and the heart-breaking reality of infant death is captured in such raw, poignant and honest expression to take your breath away. He performs the song in honour of his daughter’s memory and every word is beautifully constructed. To perform this song take courage and fortitude and in sharing it ,Kevin approaches a sense of peace.

A Spanish couple had flown in especially to catch Kevin play live in Dublin and their request for Fireworks from the SOME COMFORT album (2012) is duly respected as he finds his way into the song that is performed with a real passion by both supporting musicians, given that they never played it live before. Bien necho..! Kevin had opened the set tonight with a song from the same album and the performance of The Greatest Love That Never Was really kicked everything off in fine style, while introducing the subtle guitar of Michael Scott Boudreaux.

A new song, I Hate Flowers, is given a debut and already sounds like a crowd favourite (watch this space) and Kevin also pays a heart-felt tribute to his famous father, Bob Montgomery, and the special talent that he passed on from father to son. Bob played in a duo with Buddy Holly (called Buddy and Bob), and he subsequently went on to write Heartbeat, Love’s Made a Fool of You, and Wishing, for Holly and the Crickets. Another song from that time, Flower Of My Heart was performed in a Flatt/Scruggs bluegrass style that was really infectious.

We are also treated to Fear Nothing as the final song of the evening, the title track of his 1993 debut and an iconic song that always elicits the most cathartic singing from an audience on any given night with the refrain ‘ Yeah, yes you are something, Fear nothing.’ Kevin remarks that if he were writing the song today he would council “Fear Everything” but his comment is somewhat tongue-in-cheek given that the hope and optimism in the words is all about grabbing at life and not letting go of the moment. Overall, it was a truly inspiring evening, spent in the company of true artists that are dedicated to their craft. It was a privilege and it sets the bar very high for the rest of the music year and the calendar of events in Dublin city.

Review and photographs by Paul McGee

Great Lake Swimmers @ The Workman’s Club, Dublin - 14th Dec 2023

Ontario band Great Lake Swimmers are a collective of talented musicians that have been playing around Europe recently in promotion of their latest album, Uncertain Country. It is their sixth official release since forming back in 2003 when Tony Dekker released his fledgling songs to the public on the debut album. It’s now 20 years later and the band make a very welcome return to Ireland after a long absence. Dekker is a very open, self-effacing Canadian and speaks of his joy at being out on the road again after Covid lockdown and in a place where he can enjoy the privilege of playing live.

During the course of this excellent show the band visit all six of their previous releases across a 16-song set. Emphasis is naturally focused on the new release and seven songs are featured including Uncertain Country, Am I Floating In the Air, Riverine, Swimming Like Flying, Flight Paths, Moonlight Stay Above and When the Storm Has Passed. Their sound is filled with lovely melodies that form a rich tapestry as the musicians intertwine with each other in the performance. The players have a very intuitive understanding collectively and the individual contributions are always in the service of the songs with very few solos included in the arrangements. The layered tones are lovely and compliment the sensitive vocal delivery of Dekker as he sings of our place in the great scheme of things and the joys of nature that surround us every day. Having grown up in rural Canada, Dekker is very sensitive to the beauty in nature that so many ignore in our busy daily lives. He celebrates the wonder and the sense of being a small part of a greater mystery.

The band comprises Tony Dekker (acoustic guitar, harmonica, vocals), Erik Arnesen (upright, electric bass), Kelsey McNulty (keyboards, vocals), Bret Higgins (electric guitars) and Ryan Granville-Martin (drums, percussion, vocals). Apart from sincere chat from Dekker regarding the songs and the band, the only other member who speaks is drummer Granville-Martin who confirms that upon arrival in Dublin he drank four pints of Guinness and then slept on the dressing room couch to recover his faculties. Whether this is tongue-in-cheek parody or not is of no real consequence but it does draw a collective laugh from the packed audience who are in attendance to soak up the superbly crafted music.

Other song highlights on the night included Your Rocky Spine, Everything Is Moving So Fast, Moving Pictures, Silent Films (solo performance from Dekker) and Put There By the Land. The crowd loved it all and the rhythm section of Arneson and Granville-Martin were sublimely understated throughout, providing the pulse of the performance and always staying right in the pocket of the playing. Guitarist Bret Higgins is very effective at providing sound dynamics from his pedal board of effects and he delivers some lyrical playing while the keyboard layers and sonic sounds created by the impressive Kelsey McNulty bring added colour and texture to the music. No doubting the quality of talent on display and the compelling performance is one that will stay long in the memories of those who were present to witness it all.  The Great Lake Swimmers are guaranteed a warm welcome in Dublin anytime they choose to return.

Review by Paul McGee. Photographs by Declan Culliton

Ken Haddock @ Chandler’s House, Rathfriland - 2nd Dec 2023

This fine venue is located in the centre square of Rathfriland and has a long history in serving the local community. It was originally the site of a soap and candle-making factory in the late 18th century before it was home to both a post office and a bank over later years. The regeneration of the building has seen the region benefit from the work done by a dedicated committee in achieving grant support from the Architectural Fund in Northern Ireland.  It is now home to various community-based activities, including film and book clubs and an intimate music venue.

Tonight we have the very talented Ken Haddock appearing in a room filled with expectant music fans and it is heartening to see such an enthusiastic turn-out on a bitterly cold night. Ken is a respected local musician who is continuously active across Northern Ireland from his home base of Belfast. He has collaborated with local musicians over the years, including Foy Vance, Brian Houston, Gareth Dunlop and Jules Maxwell. He has also shared the stage with Anthony Toner and Ronnie Greer, in addition to working with the poet Olive Broderick.

Ken performs a generous set of twenty songs and delivers a performance that is filled with kinship, warmth and a gift for communicating easily with the assembled audience. Such is his expertise that Ken accepts random requests for songs that span many musical genres, and he mixes these with his own songs taken from previous albums that he has released. His debut ALMOST arrived in 2008, an album of thirteen songs and he followed this up in 2013 with THE SWEETEST HOUR. A live album arrived in 2018 performed with The Arco String Quartet at Willowfield Church in Belfast and was titled ONE NIGHT IN WILLOWFIELD, which also included a full band to colour the song arrangements.

There is no doubting the great talent on display among the various song interpretations from Ken but his own songs deserve equal footing among the performances. In my opinion, he doesn’t include enough of these. There are great versions of Who Am I To Blame, Diamond Girl and Come On Over To My Place from the SWEETEST HOUR album. Ken also performs Almost and Word By Word from the debut album together with a song yet to be recorded, It’s Not Over Yet , and this proves to be one of the highlights in a night of great style and enjoyment. Ken has a powerful voice and there is great nuance in the delivery, softly gentle when reflecting the quiet tenderness of a lyric and deeply resonant when displaying the heartfelt emotion in moments of great intensity.

He is a fine interpreter of the music of the late, great John Martyn and we are treated to superb renditions of Solid Air and May You Never. James Taylor is given an airing on both Fire and Rain and Carolina In My Mind, with Van Morrison given great resonance on Tupelo Honey and Into the Mystic. Tom Waits (House Where Nobody Lives), Radiohead (No Surprises) and Bruce Cockburn (Pacing the Cage) show the wide span of Ken’s ability on acoustic guitar, with his sonorous vocal turning each song into his very own unique take on the original. There is also a moving tribute to Shane MacGowan in the version of Fairytale Of New York which has the audience joining in on the famous chorus.

Ken Haddock should be held as a real treasure with his ability to write sincere songs and also as an impressive and sensitive performer in highlighting the songs of other artists. Tonight, Rathfriland got to experience a night of deep connection and credit to local promoter Andy Peters for always looking to bring such high quality artists and their music to his home town.

Review and photo by Paul McGee

Willi Carlisle @ Voodoo, Belfast - 16 Nov 2023

Willi Carlisle blew into Belfast on a miserable, wet, winter’s night and left the audience wondering what had just happened.  Comprising only a moderate forty punters, Willie noted that this was actually ten times the audience for his first and only previous Belfast visit. Tonight was the last date of a long European tour and although he had laryngitis, it wasn’t obvious to the appreciative audience.

Introducing himself simply as ‘a folk singer from America’, he blasted off with the poignantly hilarious, long, talking blues Peculiar, Missouri, performed quicker than the version on the album of the same name. Swapping his acoustic guitar for a set of bones and a harmonica, he remarked that Irish audiences don’t bat an eyelid at the bones (although they’re usually made of sheep ribs in Ireland, as opposed to Willi’s deer rib version), while Americans are not familiar with this ancient musical instrument. There follows a version of What The Rocks Don’t Know from his first album TO TELL YOU THE TRUTH.

Next up it’s his open backed frailing banjo for The Chicken Roost Blues, a fun story song which he found in the Ozark Folksong Collection, followed by the audience participation Free Little Bird, which the Belfast audience took part in enthusiastically, as they usually do. More PECULIAR, MISSISSIPPI songs were featured, including Tulsa’s Last Magician and the semi-autobiographical Vanlife. Cheap Cocaine, an earlier song, prompts the admission from Willi that although this came from his past life, he still has the tendency to party too much when he’s on the road. It was the natural pre-cursor to a preview of a new song, When The Pills Wear Off, from his upcoming new album CRITTERLAND. Always open about his past escapades, you get the impression that he is not capable of being anything other than honest, and leaving himself very vulnerable in the process. He approaches the subject of drug taking and addiction here in a non-judgemental way.

Another new song The Arrangement, is set in the aftermath of a funeral and was prompted by the recent near-death experience of his father, who luckily has survived to tell the tale! A new instrument is produced, another one very familiar to Irish folk/trad audiences, Willi explains that he discovered the concertina on his first trip here and he uses it on the road, presumably because its dinky size lends itself to travelling. He accompanies himself on it for a Shaker hymn from his childhood, followed by a sublime cover of Richard Thompson’s Beeswing, admitting that he has only recently discovered Thompson’s work. What a time is ahead of him, exploring the rich trove of the English folkie’s body of work.

After a sneak preview of Critterland, inspired by an intentional community in the US, we are treated to a spine-tingling a capella cover of Steve Goodman’s The Ballad of Penny Evans and he bids goodbye with the singalong Your Heart’s A Big Tent. And so Willi Carlisle went off into the night, on a lonely bus ride to Dublin airport for an early morning flight home, leaving a bit of humanity and love in his wake. Safe travels, Willi.

Review and photos by Eilís Boland

Gregory Alan Isakov @ National Stadium, Dublin - 22nd Nov 2023

The queue at the merchandise table gives sufficient proof of the popularity of Gregory Isakov in Ireland. Having played in Dublin on two previous occasions this return visit is greeted with great enthusiasm by the sizeable crowd that turns out at the National Stadium venue. Given his shy nature and low media profile, it is heartening to discover so many advocates for his music and there is a genuine electricity in the air as Isakov appears with his 5-piece band. The dimly lit stage is reflective of the artist’s tendency to shun the spotlight in favour of the ensemble of fellow musicians, all of whom are very accomplished players. His self-effacing wit and wry sense of humour are captured in the tale he relates of phoning his Mum earlier to tell her that “I’m playing in a stadium.”

Isakov appears genuinely surprised with the turnout and thanks the audience on a few occasions over the next two hours of performance. He remarks on the silence between songs and reflects that he finds comfort in it rather than awkwardness. It doesn’t last too long however as a number of die-hard fans begin to shout out song requests and inane comments, coupled with annoying whoops and yee-haws in some bizarre form of quasi-support. The usual array of raised arms with mobile phones is also an unwelcome distraction and all too prevalent at gigs these days. However, these gripes apart the beauty of the music provides an intimate glimpse through the keyhole and an appreciation of the reflective writing that defines Isakov.

His base in Colorado provides ample scope for his farming activities among the local community-based agricultural collective. Given his closeness to the land it’s no surprise that nature feeds into his music and gives credence to the soothing songs that he creates. Relationships dominate his writing, whether formed with other people or in the many ways that we commune with nature. Tonight he delivers a set that spans a number of his releases with a focus on the most recent albums EVENING MACHINES (2018) and APPALOOSA BONES (2023), both of which are featured with five songs each. The Weatherman (2013) provides four songs and there are a further three songs included from THIS EMPTY NORTHERN HEMISPHERE (2009).

In total, there are twenty songs performed, including three encores, that leave the enthusiastic audience chanting for “one more song.” Old favourites such as San Luis, Amsterdam, Big Black Car and Master and A Hound are played alongside new songs like Miles To Go, Watchman, The Fall and Before the Sun. All songs are received with a warm reception and the seamless interplay among the musicians heightens the song dynamics in impressive fashion as Isakov subtly teases increasing levels of nuance and skill from his band of brothers; Steve Varney (banjo, guitar, harmonium, piano), Danny Black (guitar, keyboards, lap steel), Jeb Bows (violin), John Paul Grigsby (bass) and Max Barcelow (drums).

As the final encore concludes, Isakov goes to each of the players in turn and tips his hat in recognition of their contributions. His music has a timeless quality, restrained and reminiscent of quiet calm in its resonance. If you have yet to be introduced to the music of Gregory Alan Isakov then many treats await you. A refreshing reminder of the superb music that is circling above us on the airwaves and in the ether. Promoters MCD deserve great credit for bringing such talent to our shores.

Review and photo by Paul McGee

Campbell/Jensen @ The Courthouse, Bangor, Co Down - November 15 2023

Having recorded their debut duo album, TURTLE COTTAGE, just along the coast from here at Strangford Lough, Ashley Campbell (daughter of Glen) and her partner, Thor Jensen, appropriately decided to start their Irish tour in the impressive new Bangor venue. They had spent a few weeks in Turtle Cottage on tiny Mahee Island in January (2023) and recorded the album there in front of a wood stove, while trying to keep warm.

Even though I was completely unfamiliar with the material on the just released recording and I really didn’t know what to expect from the pair, I was captivated by the performance from start to finish. Ashley’s background is in Americana, having played banjo in her late father’s band and then based herself in Nashville more recently. A New Yorker, Thor Jensen’s background is as a guitar player in early jazz and rock, and the pair met a couple of years ago in Nashville when Ashley took lessons from him in Django Reinhardt style guitar. A Song by Vampires, for Vampires turns out to be not at all scary but a beautiful love song, ‘We’re gonna live til the end of time/I’m so glad you’re mine’ and introduces us to Ashley’s adept claw hammer banjo playing and Thor’s virtuoso acoustic guitar playing. He is possessed of an impressive deep baritone voice, and blends it perfectly with Ashley’s exquisitely sweet vocals. They take turns on lead vocals during the evening, but often they sing the songs in harmony throughout. Another love song from the album If I’m Gonna Live a Long Time has Thor singing lead and has a real ragtime feel, this time with Ashley playing her resonator banjo. Thor explained that the song was influenced by Leon Redbone, and encourages the audience to check him out. Run With You, the latest single from the album and another love song, follows with the duo singing in perfect harmony.

The between song banter is mainly left to Thor, but Ashley eventually explains that that’s because she has to keep tuning her banjos, which are very ‘persnickety’ in our damp climate! The early blues classic Trouble in Mind follows and it allows Thor to let loose on a mesmerising guitar solo. Next up is an instrumental Exit Zero, one of the two on the album and its complexity, based on cascading banjo notes, leaves the audience in no doubt as to the virtuosity of the playing of both musicians. Switching to guitar, Ashley shows that she’s not just a great banjo player. They cover Willie Nelson’s Bloody Mary Mornings and Tom Waits’ Long Way Home. A particularly nice touch was the anecdote about their next song, a cover of Jimmy Webb’s Careless Weed. Webb was, of course, a great friend of Glen Campbell but Glen never actually recorded the song. However, there’s a YouTube video of Glen playing it for Jimmy in a hotel one night and Ashley & Thor used that version to write their own dual guitar arrangement.

The overall feel of the music in the sixteen song set leaned heavily towards jazz & folk. My favourite piece was their beautiful rendition of Eleanor Rigby accompanied by their twin guitars. They sold out the two nights in the intimate 100 seater room and the mainly local audience were enthralled throughout. There’s still time to catch them on their remaining Irish dates, followed by a UK tour. And the good news is that they have just moved to London, so we’ll hopefully get to see them quite often in this part of the world.

Review and photo by Eilís Boland

Natalie Merchant @ Olympia Theatre, Dublin - 9th November 2023

The last time that I had the privilege of seeing Natalie Merchant in concert stretches back to June 2010 when she performed at the Helix Theatre in Dublin as part of her Leave Your Sleep album tour. That album was a collection of music adapted from 19th and 20th century British and American poetry about childhood, and highlighted her Folk leanings. She returned to play at the Olympia Theatre in March 2016 as part of her tour to promote a collection of new recordings of the songs from her debut solo album, TIGERLILLY (1995). That was an album that saw her build upon the alternative rock success of 10,000 Maniacs, her breakthrough band, and Tigerlilly saw Natalie deliver a superbly crafted slice of Americana. In the intervening years she has released separate projects, from further original material on her 2014 eponymous album, to the defining box set representing her entire solo output in 2017. The one dominant factor throughout a hugely successful career has been her refusal to ever compromise her artistic vision or to be pigeonholed by the media into a tidy box. Natalie continues to defy music genre constraints and to rise above the need to justify her creative muse.

Tonight, in the beautiful surroundings of the Olympia Theatre, she unveils material from her most recent album, KEEP YOUR COURAGE, which has been released to universal acclaim. The album was recorded during the Covid lockdown and channels themes of courage, hope for the future and the enduring strength of the heart to withstand external pressures. In recent years she has undergone spinal surgery which resulted in the loss of her voice for nine months, together with suffering nerve damage to her right hand which stopped her playing piano. Now fully in remission and beyond the fear of career-ending threats, it’s remarkable to welcome Natalie back onstage and to see her utter joy in being at the centre of her universe again. Always a hypnotic performer, Natalie exudes a level of energy that would be impressive in someone half her age and her voice has never sounded better, such resonance and power interlaced with gentle nuance and sensitive, soulful inflection.

Playing to a packed audience of admirers, Natalie channels a magnetism that spreads a message of loving awareness and steadfast spirit, mirrored in an expression of living for the moment. The set list visits a number of her solo albums in an incredibly generous three hours of performance (with a short interval between two sets). Natalie oversees everything from stage centre as she paces the beautifully lit stage, encouraging heightened performances from her impressive touring band. A string quartet is joined by a subtle rhythm section with expertly judged drum and bass promptings throughout. The guitar and piano add layers of subtlety in the performance dynamic and accordion is also a key instrument in the song interpretations. The orchestral arrangements are richly scored and bring great colour to the melodies of so many superb songs that have been reworked for the current tour.

Natalie dances throughout in that distinctive movement and rhythm that is uniquely hers, building into a hypnotic performance where it is hard to take your eyes away from her spontaneity. She uses her pleated dresses like a matador’s cloak, spinning and swirling as she finds inspiration from the uplifting music. Twenty-three songs are performed, with six selected from both the new album and OPHELIA (1998).  Highlights include superb renditions of Ladybird, Wonder, Giving Up Everything and The Feast Of St Valentine. There are so many songs in her catalogue that it’s impossible to suit all requests but Natalie gives everything to the performance of the set list chosen. The concert peaks with stirring versions of Life Is Sweet, Kind And Generous and Carnival. Her cover of a Lankum song, Hunting the Wren is haunting in the delivery and final song The End is in condemnation of the current wars that are tearing our world apart. She raises a peace flag during the song to illustrate her desire for the current craziness to cease and for humanism to serve a higher purpose. A sublime concert in all aspects and one that places Natalie Merchant at the summit of her powers, joyous, moving and thought-provoking. Long may she continue to deliver such succour to our battered hearts and senses.

Review by Paul McGee Photography by Naoise McGee.