Gary Louris @ Whelan’s, Dublin - 16th July 2024

It has been twelve years since The Jayhawks played The Button Factory in Dublin, supported by Richmond Fontaine duo Willy Vlautin and Dan Eccles, and sixteen years since Gary Louris played Whelan's alongside former Jayhawks member Mark Olson. Tonight, Louris completes a hat trick of appearances with a solo set that had the audience and obvious Jayhawks lovers enthralled for over eighty minutes.

Formed in 1985 in Minneapolis, Minnesota, The Jayhawks, alongside American Music Club, were arguably the pioneering bands in the alt-county genre, followed a few years later by Uncle Tupelo and, later, Whiskeytown. Unlike the vast majority of the bands in the genre, whose influences were strictly American country and rock, The Jayhawks, particularly under Louris' watch, also took on board the melodies of classic 60s Brit-pop to forge their distinctive sound.

Currently living in Quebec, tonight's show is Louris' first date on a tour of Ireland and the U.K. It follows a few days spent in Ireland with his Canadian wife and visiting relatives. ('I'm half Irish, my mother was a Dunne'). Featuring new material from a solo album due for release early next year, some Golden Smog material, a number of co-writes and some classic Jayhawks songs, the show is a reminder, if needed, of Louris' outstanding back catalogue over his thirty-year career.

Not surprisingly, his selection of songs from his Jayhawks' war chest is a highlight, but his other inclusions and the backstories about their conception are also hugely entertaining. Introducing What Would I Dreamer Do?, he recalls contributing the song to the 2018 tribute album THE MUSIC—FOREVER WORDS, where he and others put music to Johnny Cash's lyrics. Louris adds that the opportunity to play on stage with Cash and June Carter Cash was a never-to-be-forgotten experience.  

Co-writes with Jeff Tweedy (Listen Joe) and The Dixie Chicks (Everybody Knows) are also performed. Heavily influenced by The Kinks, Louris and his fellow Jayhawks were the studio band on Ray Davies's 2017 record AMERICANA. In celebration, Louris invites West Cork's guitar supremo Bill Shanley, who has been performing with Davies regularly for over fifteen years, onto the stage to join him for two songs. They play The Kinks' Strangers, which, ironically, Shanley had never previously played, and a standout version of Waiting For The Sun. The other Jayhawks songs included in the set and lapped up by all in the crowded room are I'm Gonna Make You Love Me, All The Right Reasons, Angelyne, Tailspin, Blue and two encores, Quiet Corners and Empty Spaces, and Save It For A Rainy Day.

It was a relaxed and memorable evening in the company of roots musical royalty. I'm keeping my fingers crossed that Louris will soon bring his fellow bandmates, Marc Pelman, Karen Grotberg, and Tim O'Reagan, back to our shores for a whole Jayhawks show. Here's hoping.

Thumbs up to Dubliner Stefan Murphy, who opened the evening's entertainment with a selection of songs from his album HOSPITAL VERSES.

Review and image by Declan Culliton

Static Roots Festival @ Oberhausen, Germany - 12th & 13th July 2024

What are the components of the perfect festival? Naturally, the acts take pride of place, but other factors such as venue or venues, on-site facilities, cost, and the likely punters at the event are also factors. In a box-ticking exercise, Static Roots Festival staged at Oberhausen in Germany and correctly christened a 'boutique' festival, would rank highly in each category.

More than simply a music festival, Static Roots is now an annual meeting place for a growing number of music lovers and friends, many of who travel from Ireland, the UK, mainland Europe, Canada and the United States each year for the community, hooley and, of course, the music on offer. This year's travel plans from Ireland were thrown into chaos for many by the Aer Lingus pilot's strike, which resulted in cancelled flights and the prospect of lengthy airport delays. Alternative travel plans and extended stays in Oberhausen by many were a testament to the resolve and determination of the majority of punters who travelled from Ireland.

Unlike most festivals that are 'for-profit' ventures, Static Roots is also a fundraiser. To date, it has donated over €20,000 to Doctors Without Borders, which annually provides medical assistance for thousands of patients. The international flavour of the festival was also represented in this year's lineup, which included artists and bands from Germany, Canada, Austria, the United States, the UK, Norway, and the annual representation from Ireland.

How did Static Roots 2024 compare to other years? The general consensus was that it surpassed any other year, and that's a big statement given what has been on offer since festival director Dietmar Leibecke, his wife Marion and their dedicated background staff first opened the doors at the Zentrum, Altenberg venue in 2016.

It's not all about music, either. Staged over two days, Friday kicked off with the now annual tour of the local Static Ruhr region.  This year's event was a guided tour of the 19th-century mansion and stately home, Villa Hugel in Essen, followed by lunch at the picturesque Wirtshaus zur Heimlichen Liebe restaurant. An added bonus during the meal was an unexpected appearance and some delightful songs by Suzie Ungerleider accompanied by BJ Baartmans on guitar.

Five acts graced the Zentrum stage on Friday evening. Previously known to us as Courtney Marie Andrews' Norwegian bass player, Ole Kirkeng set the scene as the opening act. There must be something in the water in Norway with the quality of musicians and vocalists from that country. Several of Kirkeng's fellow country people appeared in bands over the weekend, and he guested as a bass guitar player for another Norwegian artist, Louien, whose angelic vocals and delightful chamber pop set were electrifying. Resident in Germany for over two decades, Chris Cacavas' curriculum vitae can boast membership in groundbreaking bands like Green on Red and The Dream Syndicate alongside his solo career. Catchy riffs and emotion-drenched rock and roll followed as he dipped into his extensive treasure chest of songs.  

The headline act on opening night, The Sadies, have been performing as a three-piece since Dallas Good's untimely death in 2022. The heavy lifting may now rest on his brother Travis Good's shoulders, but with longtime members Sean Dean on upright bass and Mike Belitsky on drums, their collective dynamic still rings through. The dramatic stage curtain backdrop featuring Dallas cemented that regardless of the numbers on stage, he continues to be a part of their performances.

Saturday's entertainment commenced in fine style at lunchtime in the Zentrum Altenberg cinema with an interview by Nick West, editor at Bucketful of Brains, with novelist, songwriter with The Delines and former bandleader with Richmond Fontaine, Willy Vlautin. The main thrust of the discussion centred around Willy's latest novel, The Horse, but drifted into anecdotal tales of a difficult upbringing, his devotion to The Sadies and a hilarious story of his encounter with Shane McGowan. Willy also read two passages from the book, and his bandmate in the now retired Richmond Fontaine and current bass player with The Delines, Freddy Trujillo, opened the event with several well-received songs.

The afternoon and evening's musical offerings followed, and Louis Brennan and his band performed the first set. Brennan's cracking band, assured stage presence, and caustic and often hilarious lyrics were as dazzling as his multi-coloured shirt. The calming presence of Suzie Ungerleider followed, dipping into her extensive back catalogue and charming the room with a beautifully delivered set. If Suzie was soothing, the Crazy Horse-styled face-melters courtesy of David Newbould were an instant full-on rock and roll injection. The highest praise I can heap on Newbould is that his twin guitar-driven songs instantly connected as if you'd heard everyone beforehand and were locked in your memory bank, awaiting someone to turn the key and re-release them. The only act to appear solo, David Keenan, was dealt the challenging hand to follow next. Unnerved and aided by followers who often acted as backing vocalists, his one-man show cemented his lofty reputation as a singer, poet, songwriter and actor. His flowery shirt nearly matched the kaleidoscopic pattern of his fellow countryman Louis Brennan, prompting a fellow punter to enquire if they employed the same Dublin tailor.

Static Roots provides its performing guests with a large stage, an impressive lighting system, a crystal-clear sound system and a pin-drop attentive audience. It's noticeable how the artists embrace every one of these aspects, and no one more so than Hannah White. Alongside a cracking band that included her hubby Keiron Marshall on guitar, she was walking on air and equally at home with upbeat rockers, a classic country song and a mid-tempo brutally confessional ballad. Being regular European visitors, The Delines needed little introduction to the German and visiting punters. What is unique to this band is their capacity to hold your attention regardless of the number of times you've previously enjoyed their shows.  The magic of Amy Boone's soulful vocals articulating Willy Vlatin's heart-rendering tales is spellbinding, and tonight is no exception. The curtain closer Prinz Grizzley's career has progressed from busking to fronting indie bands to invitations to perform at SXSW, Austin and AmericanaFest in Nashville, and his well-earned headline slot is a testament to his talent and dedication. With his band The Beargaroos, he was the ideal act to close the formalities by dipping into his back catalogue of Austrian country-flavoured rock and roll.  

That concluded the indoor entertainment, but as has been the case in previous years, the music and merriment continued outside until the early hours of Sunday morning. Small Change (Tony Cleere and Conan Doyle) kept the campfire burning in grand style with the annual sing-song.

The closing statement in a review of Static Roots invariably includes the 'even better than last year reference.' I'm afraid I will sign off with that again, but on this occasion, without a shadow of a doubt. The best 'little' festival in Europe came up trumps once more. See you all again in 2025.

Review and photography by Declan Culliton

The New Leaves @ Chandler’s House, Rathfriland, Co. Down – 22nd June 2024

Spring represents the season of growth and regeneration, a time when new leaves appear and everyone looks forward to embracing change. This is also an appropriate way in which to describe the contemporary Folk band who perform as The New Leaves. Founded in 2022 and based in Warrenpoint, Co, Down these four school friends bring a large sprinkling of Spring in their music and much appreciation of all that nature offers.

Their debut album appeared earlier this year and the concert tonight at the impressive Chandler’s House in Rathfriland is essentially a full run through of the fourteen tracks on the record. The band is comprised of Declan McKay (Vocals, Guitar), Cian O’ Hare (Vocals, Guitar), Patrice Mc Kevitt (Vocals, Bass), and Paddy Goodfellow (Drums & Percussion). Their sound is very melodic with inviting song arrangements and three-way harmony vocals that are bright and airy.

The audience is very welcoming of the opportunity to see new local talent and they are enthusiastic in their response to the up-tempo tunes. There are some interesting moments over the set and the onstage banter from Declan McKay is always seeking a response and a smile from the crowd. Songs like A Giant Murphy Lament and Bluebell Woods are early highlights and the interplay between the musicians is controlled and precise. On the album there is use of cello which elevates the overall listening experience, adding new colours to the music. I found myself wishing for the inclusion of other instruments to add some nuance during the live song deliveries, and the addition of violin or cello would certainly lift the performance dynamic.

At times the harmonies seem a little bit off and the playing just too safe, where a more exploratory approach would benefit the essence of the songs. This is offered as constructive criticism as there is no doubting the talents of Declan McKay who writes all the lyrics and is a strong guitar player. The drumming of Paddy Goodfellow is also very consistent and adds quality to the song structures on a subtle level. The bass of Patrice McKevitt is somewhat constrained and it would be nice to see her stretch out more while the guitar lines of  Cian O’Hare while gently supporting the playing of Declan McKay were perhaps a little lost in the mix on the night. These are all areas to work upon as the band make their way into new territories and add to their growing experience.

The production on the album is really excellent and points to a very polished sound and perhaps that is somewhat missing tonight in favour of the spontaneity of live performance. Other songs like Away With the Fairies, East Coast Daydream and In the Shadow Of the Mournes are all delivered with quiet confidence and an assurance that bodes well for the future. A word also for opening act Chris Coltrane who played a selection of his own songs with great energy and his guitar playing brought  much appreciation from the audience. Overall, a very enjoyable evening, showcasing local talent and delivering plenty to admire in the energy on display.

Review by Paul Mcgee. Photograph by John Melrose

Westport Folk & Bluegrass Festival - June 7-9, 2024

The sun has set on yet another successful festival, in the welcoming small town of Westport in County Mayo. This event really has no equivalent in Ireland, with a world class line up of bluegrass, old time and folk music, most of which is free to enjoy. 

Friday night saw the first of the paid concerts, held in the 225-seater Town Hall Theatre which, as usual, was sold out. Dirk Powell and his daughter Amelia treated the audience to a master class in both Appalachian folk music and Cajun tunes, brought to us from their home in Lafayette, Louisiana. Dirk switched effortlessly between fiddle, banjo and guitar as they powered through Cajun numbers such as Les Blues de Tactac, The Balfa Waltz (from the repertoire of the famous Balfa family, of whom Amelia is a member) and Mon Bon Vieux Mari, complete with humourous explanations of the French lyrics. They were then joined by a surprise (and most welcome) guest, their great friend Rhiannon Giddens. Her appearance was a particular treat for those of us who were unable to make the previous night’s long sold out gig, where she and Dirk performed a rare duo concert. A sublime version of Merle Haggard’s Somewhere Between Me & You was followed by a fiddle tune from W Virginia called Richmond, allowing Rhiannon to break into some Appalachian flat footing. We all sang Happy Birthday to Dirk, before they closed with some more Cajun tunes. The second act for the night was Martha Spencer & The Wonderland Country Band, who were on their first visit to Ireland. The insanely talented Virginian, from the Blue Ridge Mountains of Virginia, is becoming very well known in the US, as a singer-songwriter, multi-instrumentalist, band leader, dancer and syndicated radio show host. Their seventeen song set ranged from Virginian old time fiddle tunes, like Rabbit on the Dancefloor, to country songs, like Hank Williams’ Ramblin’ Man, and some of Martha’s originals. Lots of Southern lore and even some impressive flat footing kept the audience enthralled. 

Saturday was the day of the workshops - this time Oregon veteran banjo maker Tom Nechville gave a master class in the 5-string and North Carolina’s Natalya Zoe Weinstein (of Zoe & Cloyd, who also were performing throughout the weekend) did the same for fiddlers. One of the highlights of the weekend was the unique Universities Symposium, a coming together of students and educators and historians from East Tennessee State University, The Irish World Academy of Music and Dance (at University of Limerick) and the Old Time and Roots Music Faculty of Middle Tennessee State University. This important gathering, facilitated for the second year in a row by the festival, focussed this year on ‘the Jam/Session as a site of Music, Community and Research’ and comprised of round table talks, discussions and performances. Westport Festival sees this as an important part of their work, to explore the connections between the Irish traditions and bluegrass and old time string band music. Rhiannon Giddens was on the panel and was an active participant.

Saturday night’s Town Hall concert had performances from three top acts:- Remedy Tree (Florida) brought their pleasant progressive bluegrass music to Ireland for the first time, with a selection of originals and a particularly enjoyable version of Tim O’Brien’s I’ve Endured  and Dylan’s Señor. Next, Chris Luquette & Rick Faris almost blew the lights out with their high energy set of eleven songs/tunes, some original and some well known bluegrass numbers. Both are equally phenomenal players on both mandolin and guitar, Faris being well know to Irish audiences from his several visits with Special Consensus. Bill Monroe’s Wheel Hoss, the traditional Bury Me Beneath the Willow Tree, Johnny Cash’s Big River and Don’t This Road Look Rough and Rocky were covered as well as Luquette’s Home To You and several Faris originals, including What I’ve Learned and See You On The Other Side. The Wayfarers came from Ohio to treat us to their dynamic, driving, old time mountain music, which always proves popular with Westport audiences. Their energetic performance went down a bomb, covering classics like Shortnin’ Bread, The Hills That I Call Home, Marching Through Georgia and John Brown’s Dream.

But the ticketed concerts are only half of the story. All around town, across eight pub and hotel venues, there are free gigs from 2pm most days. These involve the acts already mentioned above, but in addition there are bands from Ireland, England, Europe and the US, many of whom were on their first visit to Ireland. Add to this The Red Room Mystery Gig, The Gospel Hour in the Holy Trinity Church on Sunday morning and The Square Dance that afternoon, and sure, where would you get it?! For those who stayed on for another night, the festival closed with Irish folk singer, Pauline Scanlon.

Uri, Tim, Freda and Sarah have earned full kudos for their year long work to bring us this extravaganza every year, and long may they run. Put the dates in your diary now for next year - June 6-8, 2025. We can’t wait.

Report and photos by Eilís Boland

Over the Rhine @ Fitzroy Presbyterian Church, Belfast, Northern Ireland-21st June 2024

What a pleasant surprise to learn of a one-off show in Ireland by Over the Rhine, husband and wife duo Linford Detweiler and Karin Bergquist. Together they have been making music for over 30 years now and their creative output has been at a consistently high and impressive level throughout. The decades have also been very kind in terms of performance dynamic and tonight the Belfast concert provides ample proof of just how polished and powerful they continue to be in a live setting.

The set list of twenty songs spans much of their superb discography and tracks are included all the way back to 1991 from the TILL WE HAVE FACES album, and through to the most recent release LOVE AND REVELATION in 2019 last. There are currently two new albums in the distribution process with HYMN TIME IN THE LAND OF ABANDON (a collection of old hymns and gospel songs), and TEN SONGS WITHOUT WORDS (solo piano from Linford) available to order on their website.  Tonight there is no merchandise for sale as their recent dates in Holland cleaned out everything they brought over for the short run of European dates.

Reverend Steve Stockwell promoted the show tonight and his work at the Church is to be much admired in reaching out to the local community and especially in highlighting the synergy that exists between art and faith. To quote Linford from the Over the Rhine website “ From the very first time I sat down at a piano, I discovered that melodies were available. A river of music was already flowing up above me. When I closed my eyes and pressed a few black and white keys, something beyond words would begin to make itself known. It made it difficult not to believe that music was a miracle of some kind or other.” Aptly put and exactly what is delivered tonight with the beautiful, soaring vocal tone of Karin delivering a magical element and the subtly melodic playing of Linford on piano interpreting the song progressions. Both also play acoustic guitar to great effect together and Linford speaks of his locally sourced Lowden model with great affection.   

Karin has a sweetly soulful delivery that contains a resonance that captures a moment in ethereal exultation. Her ability to bend and hold notes is quite a gift and the harmony vocals of Linford perfectly compliment the bright colours that emanate from their performance. The creative interplay is so perfectly judged that time seems almost suspended in the quiet reverence of this beautiful Church setting. There can be a risk in playing at such unique venues and a sense of respectful silence could permeate proceedings, but Karin and Linford are well practiced in such circumstances and their easy communication and conversation with each other and the audience sets the tone for a very rewarding and special evening.

The songs tonight are taken from eight of their back catalogue releases, with a few new songs also being road tested for a future recording project. Both After All and Nothing fit seamlessly into the standards we have come to expect from the duo and another song Bella Luna is played, one that has yet to appear on album, although it has been performed live over recent years. Included in the haunting and inspiring performance are favourites such as The World Can Wait, Born, Drunkard’s Prayer, When I Go, Latter Days and Like A Radio. There were no songs from the Ohio album (2003), a personal favourite, but one can’t complain as the quality of everything included is so high.

When Karin wants to change the dynamic and the pace of the show, we are treated to great renditions of Trouble and Entertaining Thoughts, along with a superbly captivating All My Favourite People as part of the encore. Yes, it was one of those nights when it felt like the stars aligned and everything was at peace in the World.  Take a bow Karin Bergquist and Linford Detweiler, it was sublime.

Review by Paul McGee

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