- Live Reviews
Mental note for the future: Remember that folk fans arrive early.
It was the opportunity to see Seth Lakeman tour 'Ballads of the Broken Few' that had me in Norwich, a city I had not visited before. I spent the day taking in the sights and thought I was still in good time, arriving at Norwich Open half an hour before doors open. To my surprise there was already an enormous queue, stretching around a corner and way down the road alongside the venue. Seth Lakeman is a popular performer. Perhaps it was also to do with the free seating. Going solo to gigs has its advantages though and I still found a free seat in the third row.
Seth Lakeman's most recent album is a collaboration with Wildwood Kin, a folk trio from Exeter. That album is a great artistic success in my view. This tour continues the collaboration, with Wildwood Kin also playing a support set.
Wildwood Kin are a trio, however one of the girls was out sick, so sisters, Beth and Emillie Key performed as a duo. It was nice, but I reckon the absence of Meghann Loney was felt. The vocals sounded thin at times, and the sisters were a bit shy and giggly, admitting that Meghann normally does the talking. On the plus side, their songs are strong and I particularly liked the parts where Emillie took up the electric guitar. They finished with a new song, which was especially good and no doubt will sound even better with the band complete.
I have seen Seth Lakeman perform in different set ups over the years (thought he was great solo actually), and his current band is his best yet. The band are Full English collaborator Ben Nicholls on standing bass and concertina, multi instrumentalist Jack Rutter, and super enthusiastic Irish drummer/bodhrán player Cormac Byrne, who played the cajón a lot and hit cymbals with his bare hands! The Wildwood Kin girls joined for the songs off the last album and also provided backing vocals on some of the older work.
It was a very balanced set, encompassing all parts of Seth's solo career. He went right back to 'Freedom fields' for 'Take no Rogues' and included one of his Full English contributions, 'Stand by your Guns'. The Norwich Open is in a former bank building and Seth commented that it felt strange playing 'Poor Man's Heaven' there. 'Portrait of my wife', played acoustically, was a standout moment.
For the 'Ballads of the broken few' songs the band left the stage, and these were performed by Seth and the girls, mostly standing around one microphone. For these songs in particular the theatre setting with the respectfully quiet audience worked well. In my review of the album a while back I already wrote that Seth is to be applauded for continuing to find new ways to present his folk songs. It is a genre in which some musicians could be accused of releasing more of the same with each new album. Seth's hook-up with Wildwood Kin was a very good move.
While the whole show was worthwhile, it was really the last quarter of it that brought things to a higher level. Bruce Springsteen has talked about the "home stretch", when everyone is up on their feet, the biggest hits come out and you clap until your hands are sore. Whilst I would not compare Seth to Bruce, the last six or so songs of his set had that vibe. I suddenly wished I was wearing Wellingtons and standing in a muddy field. 'Lady of the Sea' and 'Kitty Jay' are two extraordinary songs that never fail to make an impact. For 'Lady...' a kind of green glitterball was switched on, creating a rather magical atmosphere. 'Kitty Jay' is a monster of a song. You have to experience it live to know what I am talking about. I get goosebumps every time.
Seth used the word hoedown to describe one of the songs he played on the home stretch. It was also in these songs that Seth the fiddler really got a chance to shine. The audience got up on their feet, which was a relief after being confined to upper-body-chair-dancing. When the show finished my neighbour said, "Beats staying at home watching the telly, innit?" Absolutely.
All in all a fabulous show. Am equally looking forward however to the opportunity to experience this in a field in the summer. Festival bookers, take note!
Helen.
- Live Reviews
Tonight is the final night of a pre-album release tour for Eliza Carthy and The Wayward Band. Now, as much as I hate to use the word 'supergroup' a quick check on the musical bios of the twelve (yes 12) piece band tells you there's some pretty hefty musical talent on stage. Squeezing such a large band on the Glee Club's stage was always going to be a tight fit and means that support duo Marry Waterson and David A Jaycock have to tiptoe between the various instruments and cables to arrive at their designated positions on stage .
Marry is part of the Waterson-Carthy folk clan (a cousin of Eliza) and is accompanied by David A Jaycock on acoustic guitar. Their set tonight is a mix of the traditional such as 'Some Old Salty' and songs they wrote over the internet ,having previously not met, for their album 'Two Wolves'. The title track calls for an audience “howl along” during the chorus. Marry has a strong, Northern folk voice which is beautifully and sensitively accompanied by David's' acoustic guitar playing, the use of a megaphone and a variety of guitar effect pedals adds flavour and separates them from other folk duos.
A quick head count of The Wayward Band reveals 4 string players, 2 brass (special mention must go to the trombone player who appears to be playing with a broken right hand), 2 percussionists, melodeon , accordion + keyboards, guitar and bass, five of the band also contribute vocals so it shouldn't be a surprise that it's loud but the wall of noise that hits when the full band start the opening track 'Devil in the Woman' still makes you jump.
There are many tracks from Eliza's back catalogue such as 'Great Grey Back', 'Gallant Hussar', 'Stingo' from 1998 'Red Rice' album and ' Good Morning, Mr Walker' from her days with The Kings of Calicutt, all of which are given a tremendous reinvention by infectious, joyful energy of the big band she has assembled here.
'You Know Me' has been written to highlight the positive points about immigration in response to the stance taken by the majority of the mainstream media and features a rap section by MC Dizraeli , who clearly didn't get the dress code memo on white tops as he's wearing a rather fetching blue Hawaiian number. The single 'Fade &Fall (Love Not)' is an epic James Bond theme thing with big, brassy blasts punching holes in it.
Encore 'Willow Tree' is given a New Orleans jazz style makeover and the final track 'Cobbler's Hornpipe' turns into a huge wall of sound with various band members leaping up and down on stage and audience members dancing wherever they can find a space on the floor.
There's something joyous about watching a large band having a blast playing live on stage, and it's the big full band instrumentals which gets the whole place bouncing, musicians on stage jumping and the audience dancing. The joy from the stage is being reflected back from the audience who are all having a great time.
The album 'Big Machine' is due for release at Celtic Connections in February 2017 (there are various options and packages available on Pledge Music now), and a tour post album release was hinted by Eliza at the end of tonight's show.
If you want a fun evening out with a tremendous band I would urge you to add one of these promised shows to your gigs to see in 2017 list.
Alisdair Whyte (from his hospital bed!)
- Live Reviews
A week may be a long time in politics, but a year seems like a lifetime as a music fan, especially during the bonkers year that 2016 has been. This time last year, us 40 somethings were excitedly anticipating the promised new music and live dates that the recently “reformed” Lush were promising, and here we are now facing into Lush’s last ever gig.
After tragedy split the band first time around, this time it appears that the leaving of original bass player Phil King has something to do with the decision, although he is not named in the bland statement on the band’s website, instead citing the need to return to their families. I suppose we all move on, and with just the 2 girls remaining from the original 4 piece, it was no longer Lush up there on stage.
The biggest disappointment ironically, is the fact that they still sound fantastic ; like 25 years have never happened. Miki’s voice is as haunting as ever, Emma is as stoic as she ever was, and the swirling etherial sound they make feels as relevant today as it did in the 90s.
I’m guessing there wasn’t anyone present tonight who didn’t already know and love the band, and despite the disappointing turn out, the crowd were determined to have a good time and dozens of camera phones were at the ready to record a slice of history.
Undertow and De-Luxe kicked us off and we were already in familiar territory. Never a particularly demonstrative band, the between song chat was sparse yet warm and on occasion funny - Miki informs her daughter was at Brixton Academy watching Savages....”that’s f...... loyalty for you”
The gorgeous Out of Control from this year’s Blind Spot EP was surrounded with familiar favourites Thoughtforms, Etheriel, Undertow, Scarlet, and still one of my favourites songs of all time Sweetness & Light which closed the main set. Slightly moist eyed at the end of that one.
Unusually nowadays, 2 encore slots closed the night, with the sublime Monochrome completing the night. And that was that. The band exited stage left without much ceremony, seemingly emotionless and possibly relieved ?
I guess as time passes, we’ll all feel a greater sense of the occasion, but at the moment the overall emotion is disappointment. With the band for lasting only a year back together, with only giving us 4 news songs in that time, and for raising our expectations during a shitty year for music fans. Ultimately however, we must be grateful for one last chance to see this fantastic band and for turning the clock back 30 years, if only for 1 last night.
Keith
@kjsmith4082
- Live Reviews
William Tyler and band opened tonight’s show. an ex-member of The Silver Jews and Lambchop, William’s solo career is now three album’s old and tonight’s set showcases this year’s ‘Modern Country’ LP. Instrumental tunes that really warmed the crowd up in fine style.
Wilco hit the stage just before 9pm for their two hour set to wind up their latest Euro tour.
‘Normal American Kids’ seemed an apt show opener and the first of six songs from new album ‘Schmilco’ ‘If I Ever was a Child’ and ‘Cry All Day’ totalled a three new songs opener which, with the very effective forest like stage set that turned 3D with the lighting, had the audience’s full attention from the off.
This was a career spanning show, six songs also from ‘Yankee Hotel Foxtrot’ as well as visits to numerous other album’s including ‘Box Full of Letters’ from ‘AM’. Hard to nominate standout songs because the set was just superb start to finish but, classics like,' Via Chicago' , 'Bull Black Nova', 'Impossible Germany' and 'Misunderstood' were really special.
Surely still one of the best bands in the world out there for live shows, you are never short changed. Long may they roll!
Pete
Set List
Normal American Kids
If I Ever Was a Child
Cry All Day
I Am Trying to Break Your Heart
Art of Almost
Pickled Ginger
Misunderstood
Someone to Lose
Pot Kettle Black
Via Chicago
Bull Black Nova
Reservations
Impossible Germany
We Aren't the World (Safety Girl)
Box Full of Letters
Heavy Metal Drummer
I'm the Man Who Loves You
Hummingbird
The Late Greats
Encore:
Random Name Generator
Jesus, Etc.
Locator
Spiders (Kidsmoke)
Encore 2:
California Stars
A Shot in the Arm
- Live Reviews
Many fans had travelled for the show and we had a very nice pre-gig meet up in the Foggy Dew. As a result we did not quite get front row, but we made it into the Olympia's mini pit. This was the first show of a considerable UK & Ireland tour, and I was a little disappointed that there was no new stage backdrop and that it all looked the same as the last tour. Minor quibble. The new merch is very nice however so, a hoodie :)
I liked support act Esme Patterson. She reminded me a bit of Anna Calvi. I had hoped that her presence on the tour might mean that 'Silent key' would get played (as she does the female vocal on the studio version), but not as of yet.
When you see a band repeatedly there are songs that you never get tired of, songs that you feel could be given a rest and songs that hit you anew for some reason. And for every fan they will be different songs. For me, 'Long live the queen', 'If ever I stray' and 'The way I tend to be' are songs I always love hearing. I could do without 'Wessex boy' and 'The road' (but on the plus side he has finally dropped 'Peggy...' and 'Glory hallelujah'). Standouts for me were the punchy full band version of 'Love forty down', 'The opening act of spring' (still my favourite off the last album) and 'Hits & Mrs', with a kazoo playing couple from the audience guesting. Frank introduced it as a song he rarely plays, yet somehow I think I have caught it four times so far. Lovely song.
Frank's solo section halfway through the show is generally where the surprises come. He played the aforementioned 'Hits & Mrs' and 'Redemption' as requests. I resigned myself to the fact that I was not going to get my request. Oh well.
The main section ended with 'Photosynthesis' and then Frank returned on his own for the encore. One introductory strum of the guitar and I realized he was about to play 'Balthazar impresario'. I got my moment in the sun and the people in front of me let me stand on the barrier for this one. I have had requests granted before ('Pancho and Lefty', 'Cowboy chords') but this one was definitely special. I hope I can get a recording of it.
We went for something to eat after the show and as we were heading back towards the Foggy Dew we saw a small group of people in the lane way beside the Olympia. Frank was still out there meeting and greeting so we got the chance to say hello.
All in all a great evening and as this was only night one of the tour there is plenty more to look forward to.
Helen.
- Live Reviews
If you go down to the woods today...you may find some unlikely wild life. It all started like this ..I saw the Membranes at the wonderful Seachange festival at Totnes, and afterwards chatted with their striking, erudite and approachable front man, John Robb. John is well known as a music journalist, writer and BBC pundit, so we talked about music, until I made chance mention of one of my other interests – I am an ecologist and for 25 years have been leading wildlife tours, mainly for educational charity the ACE Foundation; I was just about to head off to Albania. John said’ Why didn’t you mention this earlier?
All the band are really interested in nature and science!’ Indeed the highly acclaimed Membranes comeback album is called Dark Matter/Dark Energy, and features interviews with CERN scientists along with tracks called The Universe Explodes into a Billion Photons of Pure White Light and catchy rock single Do the Supernova. More to these guys than meets the eye ..which is saying something, as they have a strikingly powerful stage show and look amazing. So, one thing led to another, and we agreed that when they next played near me, I would take them on some kind of nature excursion.
Turns out they were playing Norwich Sound and Vision festival in October, and I was around then. We made a plan to meet at a café in Thetford Forest, on the way to Norwich, and on the appointed day I set off early to figure out an interesting route. I had once years ago seen evidence of red deer rutting near here .. and October is the peak time. So I checked the site, with no real expectations of success...but on approaching I heard the eerie cow-like wail of a male red deer in full testosterone flow, the largest native British land mammal. I watched several stags and lots of hinds for some hours, including two subordinate males who attempted to mate with each other. Then it was time to get the band!
Everyone was as excited as I was, and asked lots of probing questions. The leather jackets, quiffs, DMs and brothel creepers looked slightly out of place, but only just; all dark colours, so good camouflage. There was a lovely mood, all laughing and joking at the weirdness of the occasion until hushed into silence as we approached the rutting grounds.
First we heard them, and had a whispered discussion about using the roaring on the next album. Then we saw the first distant hinds...then a proud male posing with head up. We watched and took photos through my telescope, slowly inching forward. To my surprise two stags actually came towards us! Craning their necks to make us out, as we must have looked like a strange multi-headed leather creature hunched together over the scope.
Everyone could have stayed there all day, but sadly soundchecks beckoned. I mentioned never having found a shed antler...and on return we found one, which the lads insisted I kept. Instant karma! Later at the Owl Sanctuary (great venue, though no sign of owls) the Membranes headlined a great gig, and I got even more rewards.
John asked the crowd if they had any questions for Viv Albertine, whom he was interviewing next day. A less than serious reply ‘What is the Latin name of the heron?’ Rob the drummer shouted ‘ Can we phone a friend? Where’s Kevin?’ and with some difficulty I dragged ‘Ardea cinerea’ out of my memory and shouted it back. A discussion on Latin names of birds ensued ..as I said, not your average band.
At the end of the night I got a signed poster, with cartoon stags and guitarist Pete adding ‘Thanks Kevin, you’re a deer!’. It was agreed that all future band riders should include wildlife experiences. My next challenge is to find badgers for them and the Nightingales (how appropriate!) at their Brighton gig in Feb 2017.
Kevin Hand
Nov 2016
And what we saw through the ‘scope...
- Live Reviews
A cold damp Tuesday night in Nottingham is about to become warm, cozy and enthralling in the company of two very accomplished outfits.
Rock City is pretty much full (not sure why they did not open the balcony) tonight and the first band on are Submotion Orchestra, a Seven piece formed in Leeds in 2009.
With an expansive, ambient and dreamy sound, the venue is quickly enveloped in the band’s warm glow. New Album ‘Colour Theory’ provides the base for the 50 minute set which if there are new listeners present, they must be checking out the band further as we write.
The Cinematic Orchestra do not tour that much and recent live dates have been in London and major cities, so a regional tour is most welcome.
The Cinematic Orchestra formed in1999 by Jason Swinscoe are a band that to me that evoke memories of Jazz legends, Weather Report but, with added vocals from singers, Tawiah and Hedi Vogel that just melt your heart this takes their songs to a new level. New song ‘To Believe’ is a prime example. This is actually the first new material for a while and with the tour and the evident tightness of the band, this all bodes well for more activity soon.
A string intro started the show, as the band eased into ‘Burn Out’ and really warmed up with ‘Child Song’ and ‘J Bird’.
‘The Reveal’ is a stunning song, but by this time the people with 2 pint glasses are becoming decidedly chatty which, takes the edge off the mid section of the set until nature calls and they don’t return!
‘Flite’, ‘Breathe’ and ‘Man with a Movie Camera’ end the main set superbly and there is still a 3 song encore to come.
We can cope with whatever winter throws at us with warm musical nights like this.
Pete
Set:
Burn Out
Child Song
J Bird
The Reveal
To Believe
Eye for an I
Lessons
Flite
Breathe
Man with the Movie Camera
Encore:
To Build a Home
Ode to the Big Sea
All That You Give
- Live Reviews
We've all been in a part-filled music venue which claimed to be “SOLD OUT” for the sake of good PR for the band, haven't we. Tonight as I walk up the stairs to the Main Hall at Rock City there are people standing in the doorway to the entrance it's rammed, there are 2,500 here tonight to see local heroes/ anti-heroes/ superheroes Sleaford Mods. Andrew Fearn (laptop, blue 'Still Hate Thatcher' shirt, and bottled beer), and Jason Williamson (machine-gun style vitriolic vocals, plain black shirt and bottled water) walk on stage to a heroes welcome.
Tonight's show is a mix of old faves and new stuff from the 'TCR' E.P. 'I Can Tell' and the title track (the cleaned up version of which has been getting air play on 6Music) get played early in the set. 'Face to Faces', 'Fizzy' and 'Giddy On The Ciggies' get the largely male and young moshpit going down the front.
Mid song something gets thrown towards Jason, at the end of the song he addresses the transgressor “I am not Tony Stark, I am made of flesh. If you throw things at me and I go down you have wasted ten pounds. Hit the b*****d” In spite of that incident the mood is celebratory, the band seem genuinely overjoyed with the audience's reaction “Just remember you didn't come to see us tonight, we came here to see you. We love you Nottingham” as they finish the main set.
The three track encore begins with the rattling intro to 'Jobseeker' over which Jason ad-libs a couple of lines from Bad Manners' 'Lip Up Fatty'.'Tied Up in Nottz' ignites the Catherine Wheel circle pit and rockets of beer fountains and keeps the bouncers busy attempting to repel the stage invaders one of whom gets through and takes an impressive dive back into the crowd at the climax of the song.
The lack of a traditional song structure, the minimal deep bass beats from Andrew's laptop and Jason's impressive machine-gun style vocal rattle sit uneasily with some, but as a band willing to shine a light at the absurdity and general dissatisfaction many feel in life they are a vital British band.
Alisdair Whyte
- Live Reviews
Its a testament to the progress the Picturedrome has made over these last few years that they now have the privilege of hosting the opening night of Anathema’s November mini tour, rather than the latest Oasis or Stone Roses tribute band. The tour itself takes in several smaller UK venues, a brief trip to the prog friendly venues of The Netherlands and France, before the prestigious support slot to Opeth at Wembley Arena in late November.
The band have been holed up in a studio for the last few months, working on studio album number 11, and by their own admission have been feeling lonely and yearning to play for audiences again.
The event was billed as an evening with Anathema, promising a 2 hour set, including previews of the new music worked out so far.
The lights dimmed, the heavy doom laden backing track was silenced, and the band took the stage where they launched into the first new track of the evening. No clues were given to the title of this track, but the word “tonight” was prominently used. The track seemed to follow on from 2014’s cooly received Distant Satellites, with a glitchy, electronic backing track over which the rest of the band played. After the majesty of albums We’re Here Before We Are Here and Weather Systems, here’s hoping they don’t go do a Radiohead - after all, this is a band used to making bold changes of musical direction.
Lead singer, and one of the 3 brothers in the band, Vinnie Cavanagh hoped, at the songs conclusion, that we weren’t too freaked out by opening the set with a new track. The mainly silent audience, stayed silent.
Thankfully, we were quickly on familiar territory, with the magnificent, 11 minute or so Untouchable Parts 1 & 2 before leading straight into Thin Air. These tracks also saw the first appearance of female vocalist Lee Douglas to the stage, and all was well with the world. Similar to Mimi Parker in Low, Douglas add a beautiful, sweet softening to the main vocals and harmonies and I’m sure I’m not alone in wishing she was used more.
The rest of the first half of the set continued with mainly old stuff, much to the pleasure of the ever warming crowd. The exception was another new track (Springfield ?), sounding lovely and reassuring, before closing with the traditional Closer.
It was clear that the band were a little rusty, with Danny Cavanagh even forgetting to plug his guitar in at some point, and several issues with the sound mixing, but this eased as the evening progressed.
The second half opened with Distant Satellites, before 2 new tracks in a row. The first was introduced as “your new favourite Anathema song”. Again, both sounded familiar, yet a progression on recent albums and something to look forward to in the new year.
Fragile Dreams closed the evening, by which time the euphoria caused by the band meant we didn’t want it to end, and disappointingly there wasn’t a encore.
Always great to see this magnificent, if underrated band, even if it seemed a little like a warm up to a bigger event, which of course it was, but as a taster to album number 11, next year can’t come quickly enough.
Keith
@kjsmith4082
- Live Reviews
Upstairs @ Whelans was the setting for Josienne Clarke and Ben Walker's first ever gig in Dublin. When explaining to my other half who I was going to see I just said, “I saw them at Cambridge”. That is enough to justify that I am going to see something that was so good, it just has to be experienced again.
Support came from Bostonian Dietrich Strause, who has been on this entire tour with the couple. Ben guested on guitar on one of his songs and Josienne on vocals on another one. Dietrich had his brand new CD 'How Cruel That Hunger Binds' for sale at the show.
Josienne and Ben almost seem to come from a different time. Their music at times sounds medieval, classical, and at other times reminiscent of 70s folk – Sandy Denny and Richard Thompson in particular.
The previous time I had seen Josienne and Ben they had had a band with them, that included Red Clay Halo musicians Anna Jenkins and Jo Silverstone. This time they were on their own – just Ben's excellent guitar-playing and Josienne's beautiful singing. I loved the pared down sound.
Although she comes across as shy and sings either with eyes staring in the distance or cast down, Josienne Clarke has a wicked sense of humour and her in-between song talk perfectly balances the bleakness and melancholia of the songs. She is the songwriter in the duo and this is no mean feat. The majority of the songs performed at Whelans were written by Josienne and they were magnificent.
'Something Familiar' from their just released album 'Overnight' is probably the best song she has ever written. If there is any justice it should get nominated at next year's Folk Awards. If interested, check YouTube for the haunting video for this song, starring actress Olwen Fouéré. I am not a fan of story videos as I prefer to have my own images with songs, but this is a fantastic video that plays on in your mind long after watching it. And as for the song, it has the same qualities as Richard Thompson's 'Beeswing', Tom Waits' 'Martha', Martin Simpson's 'Never Any Good'... in other words: It makes you cry.
The set included a few covers. Josienne joked that Gillian Welch must know her, as 'Dark Turn Of Mind' seems written about her! I did not know the song but am now going to seek out the original. They also covered Fairport Convention's 'Fotheringay' (nice) and 'For All We Know' by Nina Simone. The latter has never been my cup of tea, but that's nitpicking.
The gig was reasonably attended but it was by no means full. There is not a huge audience for English folk in Ireland, though the Unthanks and Kate Rusby draw big audiences these days. In a way it is a privilege though to see such amazing artists in the intimate setting of the upstairs room at Whelans. You got the impression that everyone present was in awe of the gig. There was zero walking and talking during the set.
It was quite a contrast then to transit from the beautiful music made by this talented, well-spoken duo into the crassness that is Camden Street on Saturday night at Halloween weekend... I wanted to just run home, close the door and put on the CD to prolong the atmosphere of the concert.
Helen
- Live Reviews
Daoirí Farrell has been on my radar for some time. I first came across him when he supported Solas in Whelans, quite some time ago. When he spelled out his name at the end of that gig I paid close attention, as this was an exceptional singer I was going to keep an ear out for. Last year I caught him with the group Four Winds at a tradfest. Both times I thought he was superb, but the gigs were too short, so when his album launch show at Whelans was announced I jumped at the chance to see a full concert.
There was a great buzz in Whelans. The queue to enter stretched around the corner, the upstairs was open and it took forever to get a drink. There was no support and Daoirí played with a full band, with some songs performed solo. He seemed nervous at the start but relaxed soon enough. This was a home show (he hails from Bluebell, Dublin 12) and many friends and family were present.
His most popular song, 'Creggan White Hare' (over 130,000 views on YouTube) was played early on in the set. On that song and on some others Daoirí's singing and mandola playing are reminiscent of Andy Irvine. Although I am a longtime trad aficionado, I know relatively little about ballad singing. I have heard of Frank Harte and of course Christy Moore, but that is about it. I always find it interesting when singers explain how they came across certain songs and who they learned them from.
Daoirí's band included Tony Byrne on guitar, Robbie Walsh on bodhran and Paddy Kiernan on banjo. The bodhran playing stood out for me. The band was padded out with fiddle, two pipes and cello on some songs. It is a personal preference of mine that trad ensembles should not be too large and I would have been happy to have just the main three accompanists, though there is no denying that some of the pipe-playing was very beautiful. Michael McGoldrick plays on Daoirí's new album and as I am a huge fan I had secretly hoped that he might be there, but one cannot have it all.
Daoirí's debut album, 'The First Turn' is from 2009 and it took him seven years to come up with this successor. In the intervening years he has been singing and gigging, and obtained an MA in music performance from the University of Limerick. The launch of 'True Born Irishman' felt like quite a special occasion and Daoirí said several times how much the great turnout meant to him.
After Lynched and Ye Vagabonds here is yet another great new Dublin-based act. Dónal Lunny has said that “Daoirí is one of the most important traditional singers to emerge in the last decade”. Jools Holland may well come calling soon and if Cambridge Folk Festival do not book Daoirí for next year I will eat my hat.
Helen
- Live Reviews
Last Sunday I attended a living room concert featuring Bronagh Gallagher. I went without doing any research. All I knew about Bronagh was that she was one of the three girls in the Commitments, and I trusted that since my friend Áine had booked her, she must be okay. What a lovely surprise this was. Bronagh is a soul singer, I knew that much, but also a fantastic songwriter. I don't know why I expected that part of the show might be covers. Instead it was all original songs; excellent songs and great stories to go with them.
Bronagh explained that the songs are best performed with a big band including a brass section. For this gig however it was just herself and guitarist Conor Brady. I have since had a sneak listen on iTunes and realise what Bronagh means with the big band treatment, however these songs worked wonderfully well in the intimate living room setting, with just vocals, handclaps, guitar and some great audience participation. Standout songs for me were 'Johnny Eagle', 'Shortcut', 'Radio' and 'Fool'.
The in-between-song chat was as entertaining as the music. Bronagh is an actress as well as a singer, and a great character to boot. I do not want to ruin the stories for anyone who may go and see her in the future, but they featured amongst others a Czech metal bar, a Notting Hill apartment with Christopher Lee knocking at the window, Woody Harrelson in a Malibu kitchen, the Beauty School in San Diego, Kenny Everett impersonating Rod Stewart, the fact that the Irish have heard of Dr Dre, and legendary Dublin tattoo artist Johnny Eagle. It was evident that Bronagh is an avid music fan herself. She name-checked Amy Winehouse, Dolly Parton and Lisa O'Neill.
The taxi driver who had driven Bronagh to the gig had commented that this was like a busman's holiday for her, to which she had replied, “Ooh aye”. During the gig she confessed not knowing what that meant. Much hilarity and speculation from the audience. I have looked this up and a busman's holiday is 'a vacation during which a person engages in activity that is the same as or similar to his or her usual employment'. I don't think the show could have been classified as vacation at all, as Bronagh and Conor put on a long and varied concert, drinking only tea.
I never though of myself as a soul fan, but maybe I should reconsider. Bronagh's songs bring to mind the two Maria's of whom I am a big fan - Maria McKee and Maria Doyle Kennedy. Listening to Bronagh's three albums on iTunes I also noticed similarities to Patti Scialfa's underrated albums and during the gig my mind drifted to Laura Nyro, who's biography 'Soul Picnic' I am currently reading. I can well imagine these songs being sung on fire escapes in the Bronx, or in New York subway stations, where Laura used to busk. No mean feat for a girl from Derry.
I am definitely going to follow up on this. Bronagh plays Armagh in November, Belfast and Dublin in December and Switzerland in January.
Helen.
