The Burning Hell

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CULTURE NIGHT PERFORMANCE
The Burning Hell is the alter-ego of Canadian songwriter Mathias Kom, and the band has been on the road in one form or another since 2007, playing everywhere from the chaos of Glastonbury to the loneliness of the Arctic Circle, popping up in bars, festival tents, living rooms, abandoned bunkers, and a mental asylum in rural France along the way. Musically, the lineup and sound of the Burning Hell has been ever-changing, running the gamut from introspective folk to hyperactive rock and roll. This means both that no two Burning Hell records sound alike, and that the band can adapt to its surroundings like a karma of anthropomorphic chameleons, taking the audience on a supermarket-cart ride through hooky, upbeat pop songs, dark ballads about pet euthanasia, and anthems for barbarians, economic conferences, and love.
In 2017, The Burning Hell is set to record and release their eighth full-length album, embarking on a tour that will take them from the Rocky Mountains to the Mountains of Mourne, across the Tyrrhenian and the Norwegian Seas, and many other places in between. Always restless, The Burning Hell looks forward to a year of new sounds, new songs, and new people to share them with.
















The Redneck Manifesto

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Limited Tickets // Doors 9:45pm // Show Start 10pm

The Redneck Manifesto:
Mervyn Craig, Matthew Bolger, Richie Egan, Niall Byrne, Neil O’Connor

only show this year.
new music.
Clonakilty International Guitar Festival.
GuitarTown.













Spook of the Thirteenth Lock & The 16 Electric Guitars Orchestra

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Spook of the Thirteenth Lock:

Named after a poem about a haunted canal lock, The Spook of the Thirteenth Lock combine elements of the Irish folk tradition with modern experimental rock sounds. They have released two albums to date, 2008’s eponymous debut and 2012’s “The Brutal Here and Now” on Transduction Records.

Spook Guitar Orchestra:

“Lockout” and “Bullet in the Brick” are two new large-scale works by The Spook of the Thirteenth Lock about the 1913 Lockout and the 1916 rising respectively. For these projects the band are joined by an electric guitar orchestra, bringing this unique sound into the world of contemporary Irish traditional music. “Lockout” is a grand departure for the band, bringing an epic volume and scale to their unique blend of contemporary and traditional sounds, and adding a sharper, more political voice which addresses the recent anniversary of the Lockout, and its relevance today.

This september the Clonakilty International Guitar Festival acknowledge the Centenary of 1916 with a performance of a piece written by the critically acclaimed genre defying Trad/prog metal band Spook of the Thirteenth Lock for 16 guitars.

The Spook Guitar Orchestra will perform ‘The Bullet in the Brick’, material based on the story of the 1916 rising comprising 3 parts
1/ A Destroyer on the Liffey – The story of the rising told with a focus on the Helga, the gun boat that bombed Dublin city centre.
2/ The Bullet in the Brick –  describing Francis Sheehy Skeffington’s murder by British troops
3/ A Proclamation – elements of the proclamation set to music
In addition to this the Spook Orchestra will perform ‘Lockout’ a 50 minute piece on the 1913 lockout which gives context to the 1916 rising –  The rise of socialism in Dublin led by Connolly and Larkin, arising from life in the worst slums of Europe at the time leading to the formation of the Irish Citizen Army, key fighters in the rising and the source of the radical aspirational nature of the proclamation, the parts that ring truest today.




 





BILL SHANLEY

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Our own guitar master Bill Shanley is back for this year’s festival. As well as anchoring the legendary Shanleys session on Sunday 19th, he will also feature in Guitartown programme 3 – a selection of performances recorded in Shanleys.

Raised in the West Cork haven of Clonakilty in the renowned Shanley’s Music Bar, Bill was surrounded by pro musicians from a very young age. Bill’s father, Moss Shanley, a great piano player and entertainer immersed in the music of the 40’s and 50’s, encouraged Bill to sit in on gigs from an early age and was a great mentor to him in his formative years.

Noel Redding, of the Jimi Hendrix Experience, gave Bill his first guitar lessons and was a big part of Bill’s musical education, introducing him to early Rock and Roll and more. From his first guitar lessons with Noel at the age of nine they played hundreds of gigs together in Shanley’s Bar, joined on regular occasions by Mitch Mitchell, Tom Mc Guinness and Eric Bell.





Noel and Bill’s playing partnership culminated in a concert, together with Randy California, in the famous Olympic Theatre in Paris in 1990 to mark the 20th anniversary of Hendrix’s death, the same venue that the JME did their first ever gig in 1966.

In 1990, straight out of school, Bill moved to Dublin and established himself as a highly sought after guitarist both in the studio and live. Accompanying Eleanor McEvoy during the heady days of recording “A Woman’s Heart”, on the strength of which Eleanor and her band signed to Geffen Records in 1993, and becoming a key member of Mary Black’s band in 1995,  remaining so today as musical director, and recording the Full Tide, Stories from the Steeples, Speaking with the Angels, Shine and more recently Mary Black sings Jimmy Mac albums.

Midnight Mission is Shanley’s most recent album and comprises original recordings inspired by the excitement and melodies of early electric guitar music, drawing on Bill’s world class guitar playing and ability to write great, timeless melodies. It features special guests Ray Davies and Paul Brady.

Session & Touring Guitarist, Producer…
Dublin based, Bill is one of Ireland’s top session and touring guitar players and producers. Bill has established himself internationally too, through touring and contributing to albums with Ray Davies, Paul Brady, Mary Black, Roy Harper, Gilbert O Sullivan, Alexandra Burke, Sinead O’Connor, Judy Collins to name a few.

Being an accompanist has always been of key interest to Bill, enjoying the great scope and limitless backdrop you can create as a player for the artist you’re working with. This skill was commented on in the Financial Times review of a Ray Davies show a the Royal Albert Hall –“Is there a finer sideman around? It’s unlikely…”