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Lankum are a four-piece traditional folk group from Dublin, Ireland, who combine distinctive four-part vocal harmonies with arrangements of uilleann pipes, concertina, Russian accordion, fiddle and guitar. Their repertoire spans humorous Dublin music-hall ditties and street-songs, classic ballads from the Traveller tradition, traditional Irish and American dance tunes, and their own original material.
Having spent the last number of years performing as ‘Lynched’, the band decided that they would no longer continue with the name due to the unavoidable implications that it has in regards to acts of racist violence. Their new name comes from the ballad ‘False Lankum’, as sung by the Irish Traveller John Reilly Jr.

The band was originally formed as an experimental-psychedelic-folk-punk-duo by brothers Ian and Daragh Lynch in the early 2,000’s, and has since progressed through a number of incarnations.

As their interest in traditional music and song grew, the brothers began to attend sessions around Dublin, where they formed friendships with Cormac Mac Diarmada and Radie Peat, amongst a whole host of impressive young musicians. When Ian began work in the Irish Traditional Music Archive, after completing a folklore masters, he had the rare opportunity to record in the ITMA studio with friend, colleague and in-house technician Danny Diamond, whenever a spare evening presented itself, so he and Daragh asked Cormac and Radie to provide some backing vocals and instrumentation on “one or two songs”.

After some preliminary practice sessions it became obvious to all involved that something much more interesting was happening, and the group quickly became a dedicated four-piece, gaining experience and confidence as they played together at the Grand Folk Club gigs, which they hosted monthly. They also applied around this time for the Arts Council’s 2013 Deis Recording Award, for which they were fortuitously approved.

‘Cold Old Fire’ was recorded by Danny in ITMA in August of 2013, and although fundamentally an album of traditional Irish song, heavily influenced by Irish legends such as Frank Harte, Planxty and The Dubliners, subtle traces of the group’s collective influences can be detected, from American old-timey music, ambient techno and psychedelic folk, to black metal, punk and rock n’ roll.

The album was released in May of 2014 and has since seen them appear on Later with Jools Holland and playing some of the world’s most renowned music festivals, including Cambridge, Sidmouth, Edmonton and Electric Picnic as well as being nominated for three awards at the 2016 BBC Radio 2 Folk Awards and featured on covers of notable music magazines such as fRoots and The Thin Air.

They have a number of gigs and festivals already booked around Ireland, the UK, Europe and North Africa for the coming year, as they continue working under the name Lankum.

PRAISE
‘They do mark a turning point in folk… that authentic voice of the streets is back in a big way.’ Mark Radcliffe
‘Anarchic, yet connected, rootsy and gutsy… I love their music, it is just so damn good!’
Mike Harding
‘The most convincing folk band to come out of Ireland in years.’ ★★★★★
The Guardian
‘The most exciting album of traditional Irish song in decades.’
TradConnect
‘A sure contender for any Irish album of the year lists.’
Songlines
‘A passionate, utterly engrossing album.’
fRoots

To suggest that Steve Poltz isn’t normal is about as safe a statement as one could make. You would basically require the powers of the Hubble space telescope to locate Steve Poltz from any region of normalcy.
For music fans on both sides of the equator, this is a very good thing.

Born among the hearty seafaring folk of Canada’s Halifax, Nova Scotia, Poltz has lived most of his life in Southern California, where the sun treated his rocky Canadian DNA like clothes in a dryer. Naturally a spectrum of cultural and emotional tensions arose and he eventually sought refuge in the art of songwriting, where he tapped into an unforgettable and often horrifying depth of unhinged genius.

Among the music cognoscenti, Steve Poltz is regarded as one of the most talented and prolific songwriters of our time. His songs have been among the longest running ever on the Billboard Top 100 and they regularly appear in movie soundtracks, television shows, and even the odd commercial. His touring schedule is ferocious, ping ponging between continents with enough frequency to earn him manic followings in scores of different accents and languages.

Any musician who has traveled as extensively as Poltz will have their share of colorful road stories, but Poltz’ adventures read like a bucket list. Starting out auspiciously, Poltz recalls meeting Elvis Presley at a small airport and beaming proudly as The King hugged his sister for an inordinately long time. Growing up in Palm Springs, California, he trick-or-treated at Liberace’s house and was Bob Hope’s favorite altar boy. In an alcohol-soaked haze, he infamously accosted David Cassidy, who had summoned him to Las Vegas to write a hit song for the aging Tiger Beat cover boy.

His rich and colorful legacy is the stuff of legend, but it is his distinctive style of songwriting that has caused the world to offer up its stages, clubs, and alleys. Poltz’ sound is entirely unique- from his inhuman fingerstyle techniques to the inimitable melodies that roll from his guitar like cool waterfalls, you know a Poltz song as soon as you hear it. To see Steve to perform live is one of the most entertaining shows a human could ever see. Frenzied, aggressive, hilarious, and heartbreakingly sincere, his live performances have become bona fide events, with sub-cultures popping up all over the globe to entice him to come and tour. As relentless as he is in concert, he is also the guy who famously co-wrote the timeless ballad “You Were Meant For Me” with platinum-selling songwriter Jewel. Of course, because we’re talking about Steve Poltz, it should surprise no one to learn that the song was written on a lazy Mexican beach, where Poltz and Jewel were soon snapped up and sequestered by Mexican Federales and required to witness and eventually assist in a large marijuana bust on the beach. Don’t believe it? See for yourself in the pictures on his web site.

Poltz, an ex high school wrestler (98 pound class), is also an obsessive baseball fan, a die-hard yoga practitioner, a hopeless romantic, a smart-ass philosopher and a child-like adventurer with an absurdist’s view of the planet and all of its curious life forms.

Music fans have adored him since he first fronted the hallowed punk-folk legends, The Rugburns, whose live shows earned the band a following that is best described somewhere between the terms “cult” and “crazed substance-abusing fanatics.” Once touring over 300 days a year, the Rugburns occasionally reunite for wildly popular sold-out shows.
Poltz’ solo body of work is an impressive collection of ballads, rockers and uniquely melodic acoustic numbers that reflect his incomparable style of alternate tunings and savage finger picking techniques. Guitar geeks fall prostrate at his feet trying vainly to learn how to play his stunningly gorgeous and deceptively complex songs. To see him play guitar is a visual feast so frenetic that close proximity to his playing exposes one to risk of seizure.

His live shows have captivated audiences far and wide with a mix of singing, storytelling, shredding, and the occasional spoken word rants which have been known to incite riots. He can take an audience from laughter to tears and back again in the space of the same song. Steve Poltz transcends the word “talented.” He is unforgettable in all the right ways.

“We want our records to be punchy, lean and blazing. Straight in, no kissing” – Otherkin

Otherkin are a new band from Dublin.

Luke Reilly – vocals, guitar

Conor Wynne – lead guitar

David Anthony – bass guitar

Rob Summons – drums

Otherkin enjoyed a manic 2016 summer of festivals in the UK, Ireland and across Europe, in support of their second EP release, entitled ‘The New Vice’.

Luke, Conor and David first had the idea for the band in 2013, but Otherkin did not coalesce until they found drummer Rob later that year, drawn together by a shared love of bands like The Clash, QOTSA, Ramones and Blur.

Early gigs in college dorms and house parties gave way to regular shows on Dublin’s vibrant live venue circuit, which in turn blossomed into a step up to the Irish festival carousel – Longitude, Electric Picnic, Hard Working Class Heroes and Other Voices – in 2014.

After a couple of hand-made, self-released tracks, Otherkin hit their stride with the rambunctious grunge-pop single “Ay Ay”, which came to the attention of leading Irish indie label Rubyworks in early 2015.

The 201 EP – featuring “Ay Ay” and “Feel It” – was a quartet of quivering, shivering thumpers released to coincide with their UK festival debut at Leeds / Reading and their first full-length UK tour. Radio exposure came courtesy of support from Annie Mac on BBC Radio 1 and John Kennedy on Radio X, while MTV Rocks added videos for both songs into their new music playlists.

‘The New Vice’ EP, which was recorded in Dublin, and mixed in the UK by Jolyon Thomas (Slaves) features “I Was Born” and “Yeah I Know”; the former quickly raced to 100,000 listens on Soundcloud, and enjoyed daytime support from Clara Amfo at BBC Radio 1.

The band are currently in the studio recording their debut album, which will be released on Rubyworks in 2017.

In Praise of Otherkin…

Irish rockers Otherkin were another highlight. The band had only arrived off the ferry from Dublin the same morning, but provided a ferocious show with shirtless singer Luke Reilly constantly singing their infectious Catfish And The Bottlemen-style anthems from among the crowd.- NME live review

Blistering Dublin garage punks Otherkin play the tent as if it is Madison Square Garden – The Guardian UK live review

Otherkin are a riotous four piece, all leather jackets, torn jeans and garage rock riffs. Blazing energy, morse code guitars and caveman drums. – Clash Magazine UK

Basically they’re just a big mass of energy – four guys who write hugely infectious tracks with rough, snarling vocals and grunge riffs. – The Independent UK

Perfectly executed singles ‘I Was Born’ and ‘Yeah, I Know’ will leave you quivering in their wake. – There Goes The Fear

Bursting with roaring, captivating, loud as hell tunes – Pancakes & Whiskey

It’s an alluring whirlwind with pulsating drums, killer vocals and an unmistakably urgent yet pleasing vibe – Glam Glare

“a masterpiece” John Renbourn
“beyond beautiful… it’s PERFECT!” Tommy Emmanuel

To find a unique voice on so ubiquitous an instrument as the acoustic guitar is quite an achievement: to do so within a centuries old idiom where the instrument has no real history is truly remarkable.

Tony McManus has come to be recognised throughout the world as the leading guitarist in Celtic Music. From early childhood his twin obsessions of traditional music and acoustic guitar have worked together to produce a startlingly original approach to this ancient art. In Tony’s hands the complex ornamentation normally associated with fiddles and pipes are accurately transferred to guitar in a way that preserves the integrity and emotional impact of the music.

Self taught from childhood, initially through listening to the family record collection, McManus abandoned academia in his twenties to pursue music full time. The session scene in Glasgow and Edinburgh provided the springboard for gigs around Scotland and a studio set for BBC Radio, frequently rebroadcast, began to spread the word.

Tony’s first self titled recording in 1996, followed by Pourquoi Quebec in 1999 led to worldwide recognition. However, it was with the release of Ceol More in 2002 that Tony’s stature as a first class musician reached a new level. Critics hailed the focussed, spell-binding nature of the music, from the plaintive Jewish hymn “Shalom Aleichem” to the ingenious arrangement of the Charles Mingus classic “Goodbye Pork Pie Hat”. Having been nominated as Musician of the Year by both the BBC Folk Awards and The Scottish Traditonal Music awards, in 2002 “Ceol More” hit the Critic’s Album of the year list in Acoustic Guitar magazine and named “Live Ireland Awards” Album of the Year.

Tony’s work has come to represent Celtic music in the guitar world, making regular appearances at guitar specific events where just a few years ago jigs and reels would be unheard of. He is invited annually to the Chet Atkins Festival in Nashville, has appeared at Guitar Festivals in Soave and Pescantina, Sarzana and Francacorta Italy; Frankston, Australia; Issoudun and Bordeaux France; Kirkmichael, Scotland; Bath and Kent, England; Bochum and Osnabruck, Germany. In 2004 he appeared at the famous Ryman Auditorium in Nashville in the “All Star Guitar Night” featuring Steve Morse, Bryan Sutton, Muriel Anderson, Béla Fleck and Victor Wooten and headlined by the legendary Les Paul.

His ability to reach audiences unfamiliar with traditional music is remarkable- he is quite comfortable at predominantly classical events such as the Dundee and Derry Guitar Festivals (appearing six times between the two) the Uppsala Guitar Festival and even The Bogotá International Guitar Festival where he followed virtuoso Eduardo Fernandez.

Today his live work ranges from intimate solo performance through his trio with brothers Gary and Greg Grainger to the quartet Men of Steel (with fellow guitarists Dan Crary, Beppe Gambetta and Don Ross). He is an enthusiastic collaborator both as a leader and as a sideman having worked with, among many others Dougie McLean, Phil Cunningham, Mairi MacInnes, Liam O’Flynn, Martin Simpson, Kevin Burke, Alison Brown, Martyn Bennett, Natalie MacMaster, Patrick and Jacky Molard, Mairead ní Mhoanaigh and Dermot Byrne, The Nashville Chamber Orchestra, John Jorgenson, Jean Michel Veillon, Catriona Macdonald, Seikou Keita, Xosé Manuel Budiño, Ewen Vernal and Andy Irvine.
He is also in great demand as a studio musician having contributed to over 60 albums. In addition to his solo output Tony has worked with both singers and instrumentalists providing his distinctive sound on many successful projects.

His 2009 release “The Makers’s Mark” saw him showcase 15 of the finest luthier built guitars available. Recording a solo piece on each instrument, the project caught the attention of the mainstream rock guitar press in a way that acoustic work rarely does.

The following year, a chance hearing on Irish radio led to an invite to contribute music to the soundtrack of Oscar winning director Neil Jordan’s film “Ondine” starring Colin Farrell.

Never one to be typecast, Tony’s new album “Mysterious Boundaries” is his most ambitious to date. An encouraging challenge from mandolin virtuoso Mike Marshall to learn the Bach E Major Prelude on guitar led to an exploration of classical and baroque music – seemingly very different to the jigs and reels that he grew up with. By examining the boundaries between genres and sticking to his steel string guitar (rather than the conventional classical guitar) McManus has produced a work of great originality and beauty, hailed by his peers as
“a masterpiece” (Renbourn), “beyond beautiful… it’s PERFECT!” (Tommy Emmanuel) and which contains a truly remarkable rendition of Bach’s colossal Chaconne in D Minor – one of the greatest compositions of any age.

Whatever work McManus brings within his scope the listener is assured a journey into the depths of the music in the company of a great talent.

My Fellow Sponges come from Galway on the salty west-coast of Ireland. The band is the creative union of two singer-songwriters. Donal McConnon with his lyrically-led folk ditties and Anna Mullarkey with her lush and elegant synth-pop sound. The two started a band together after performing together as actors on a number of theatre shows in university. They were later joined by David Shaughnessy (drums) and Sam Wright (bass). 2013 saw the release of their debut album Bonne Nuit. Mostly focused on a more rural sound, the single from it which received the most attention was This Dream Song, mainly for the highly-ambitious, surrealist backwards video which accompanied its release. The follow up Something Like Light (2014), displays a much more reflective, piano-driven sound from a band ever-willing to explore new possibilities with sound. Last year’s single, The Cold Hand, has been the band’s most successful release to date, gaining nationwide radio-play and convincing music lovers to flock to their shows during the festival season.

My Fellow Sponges have collaborated with story-tellers, comedians, dancers and brass-ensembles. They have played entire shows improvised, under the moniker, Community. Their live concerts are lively, unpredictable and intimate. They comfortably switch from eerie-electronica to hip-shaking-bossa-nova all with a dramatic flair that stay with Donal and Anna from their theatre days.

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:

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.