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“They remind me of my first days at ‘Les Cousins’ in Soho in 1965… Ye Vagabonds are a modern expression of a tradition that is truly robust and important to these islands.”– Roy Harper

“Going backwards to go forwards, [Ye Vagabonds] look not to modern day influence to inspire their sound but prefer to absorb and reflect the most genuine leanings of deep tradition, playing folk music that resonates as pure and honest as it has since time immemorial. In an age where styles have a limited shelf life, and musicians so often live by definition of their sell-by date, Ye Vagabonds make music that honours timeless sincerity with acoustic fireside storytelling that will sound as current a hundred years from now as it has a hundred generations past.”– Myles O Reilly (Arbutus Yarns)

Brothers Brían and Diarmuid Mac Gloinn grew up playing music together around their hometown of Carlow, a small town in the southeast of Ireland. After moving to Dublin in 2012, they quickly became a staple of the live music and session scene in Ireland, playing their own original songs as well as folk songs from Ireland, Scotland, England and America.

In 2014 they came to the attention of Arbutus Yarns’ music filmmaker Myles O Reilly, whose videos gained international attention for the brothers for the first time.

After a chance meeting at Electric Picnic in September 2015, the brothers performed onstage with Glen Hansard, who immediately invited them to open for him on his European tour the following October.

Their debut EP Rose & Briar was released on October 7th 2015.

Since then, they have been busy touring Ireland, the UK and Europe, opening for acts such as Villagers, Roy Harper and Lisa Hannigan (whose band they played in for her Irish tour, June 2016). They have also played sold out headline shows in Ireland, Paris, Geneva and Solothurn, Switzerland.

They have made numerous television and live radio appearances in Ireland, and were featured in Ep. II of Myles O’Reilly and Donal Dineen’s music programme This Ain’t No Disco in March 2017. They were also part of ‘Imagining Home’, a live broadcast concert in the National Concert Hall of Ireland, 2016, curated by Glen Hansard, Philip King and Gary Sheehan.

Ye Vagabonds are currently finishing their highly anticipated debut album, due to be released in Autumn 2017.

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Lisa O’Neill has a remarkable voice; a Cavan twang, a growl, a song-call. It can be many things. She needed to make an album about that voice. ‘Pothole in the Sky’ is a recording of “the voice”. The voice is everything for the folk singer – a conduit for the words, the emotion, the thought process. This is no ordinary record.

O’Neill’s voice goes to all sorts of places throughout the course of this album, and the music provided by Emma Smith, Seamus Fogarty, Joseph Doyle, and Mossy Nolan follows her like a dark swirling storm, often bringing to mind the loose impressionism of the Dirty Three. On ‘Planets’ O’Neill delivers her most extraordinary vocal and lyrical performance to date. It is remarkable and on this form she could go toe to toe with Nick Cave at his most fire and brimstone. Except O’Neill’s prose is elemental and mysterious, not angry.

As any truly great singer knows, it’s not all about those big reaching numbers. There is some truly brave singing on this record. For instance, the odd high-pitched flourishes on ‘Nasty’, or the shrill parlour style singing on ‘Black Sheep’. The latter features some of the best accompaniment too, a mellifluous psychedelic montage that literally sets sail one-minute-thirty in as Lisa goes off on one of her patented hypnotic stream-of-conscious word-play trips. The album closes out on a succession of brilliant songs. ‘The Banjo Spell’ is a tender ode to the aural folk tradition without being throwback. In fact it has a big lush modern feel to it.  And ‘The Hunt’, featuring guest fiddle and banjo from Colm Mac Con Iomaire and Glen Hansard respectively, is just another meandering epic Lisa O’Neill number, twisting and turning and changing its phrasing and tempo to suit the story and accommodate the words. She makes it sound easy. But it’s not.

At a time when sameness threatens to drain the world of charm and surprise, Lisa O’Neill stands tall for difference, as an outlier with a mission to frame the world as she sees it and to perform it accordingly. Joe Breen, Irish Times  

In the end of the day and the heel of the hunt, you’re left with the songs. Everything else comes and goes – the shows and the tours and the applause and the acclaim which goes with them, the prattle and the palaver which accompany an album release. Everything else fades out of view. Everything else doesn’t matter in the long run.

But the songs remain. The songs you write on your own stick around. They’re going to be here for many years to come so they deserve to be treated with due care and utmost respect in the creation process.

Mick Flannery realised this a long time ago. He also realised that songwriting was the best part of this strange job of being a jobbing-gigging-talking-singing musician.

“It’s never a chore”, Flannery says about the craft. “The creation is the nicest part, it’s something you always have and you can use it to work through stuff that’s in your head. You have to take it seriously if it’s going to be any good. It’s always my favourite thing, like putting Lego blocks together. You can make a lot of things with Lego.”

You can make an album like “By the Rule”, for instance. It’s Flannery’s fourth album but it’s a world on from anything he has put his name to before now.

“Evening Train” (2007), “White Lies” (2008) and especially 2012’s best-selling and critically acclaimed number one album “Red to Blue” had their advocates and champions. They were significant staging posts along the road for the songwriter from Blarney, signs that he was finding an unique voice and vision, signs that he was finding his feet as he was finding an audience.

We can now consider the apprenticeship to be over. “By the Rule” is the work of a confident, assured songwriter, someone who knows how to turn a list of nouns, adjectives, verbs and adverbs into graceful, minor-key pen-pictures and poetry which will resonate with the listener.

Beneath and beyond the beautifully understated, uncomplicated and uncluttered production on “By the Rule”, Flannery’s songs usher us into a world which is by times emotional, romantic, dark, insightful and hopeful.

It’s a world he brought into being in Berlin. He took a notion to go to Germany and, after a bitter cold winter initially beat him home again, he settled and spent seven months there in 2013. In a flat with big, open rooms and lovely acoustics, Flannery set up base and went to work.

He was largely by himself in the city. He did a college course to learn the language, but there was no social circle or gigs to distract him. He’d wander around that great city, taking in the history and grandeur and pace of the place.

Occasionally, he’d throw on a pair of runners, stick Eminem on the headphones and go for a run. “There’s things he does with words that no-one else does”, Flannery says of the Detroit rapper. “He rhymes two words with one word, the two syllables of one word with match two separate words, internal rhyming, skip rhymes.”

Back at his little room in Kreuzberg, Flannery’s new songs began to slowly take shape. His songs are usually based on stories and experiences he has heard from people or overheard in the clatter of a café or bar.

“I’d be a bit of a detective about people, the way they are, how they behave. You have to care about them. If you only want to write about your own experiences, your own break-ups and trials, you can do that without leaving the house.”

The compelling strengths of “Pride”, “Get What You Give” and “Live In Hope” benefited from Flannery’s methodical approach to getting the lyrical dimensions just right. “It takes me a while to pare them down and get the lyrics correct and make everything as concise as possible. You have to think about the songs again and again and again. You have to have a foothold in the song.”

Back in Ireland, the next job was to record the songs. Flannery called on O Emperor’s Phil Christie (piano) and Alan Comerford (guitar) to give him a hand and liked what they were doing in rehearsals. “They were finding things in the songs and I thought the things they were finding were nice.”

The pair of them joined Flannery, Christian Best (drums), Shane Fitzsimons (bass) and Karen O’Doherty (violin) for a fortnight in Beechpark Studios in Rathcoole in December 2013 with Ryan Freeland (Aimee Mann, Ray LaMontagne, Joe Henry, Ramblin’ Jack Elliot, Carolina Chocolate Drops etc) producing alongside Best.

Flannery knew the sound he wanted and that meant less rather than more playing. “The most effective thing to me is a dynamic when something just swells and gets louder and tenser and effects the listener. There’s no need to play a lot of notes to get that. It’s simple stuff, really.”

A few months on from recording, Flannery is still digging what he and the band produced over that winter fortnight. Unlike his other albums, he an imagine himself listening to this one for many years to come. He likes the way it was recorded and the way it sounds.

He likes the way he sounds too. “I sound like myself here. I’ve been trying to get away from singing with that old American twang which is left over from listening to too much Tom Waits. The more I get away from it, the more comfortable I feel.”

This satisfaction with “By the Rule” could also be about the growing up process. Flannery turned thirty last year and finds he’s less bothered than he used to be by the small stuff. When you get to this age, you’re happy to let the small stuff go.

“When you get to the end of your twenties, you become less self-obsessed. You start worrying less about your feelings. You become calmer. It gradually becomes easier to be yourself.”

“By the Rule”, then: the sound of Mick Flannery getting comfortable in his skin. The sound of a man at ease with his work. The sound of a master songwriter creating his best work to date.

The music of FIXITY is composed by Dan Walsh and explored in collective improvisation with others, driven by a helpless allegiance to time and the beautiful impossibility of stillness or repetition within it. Releases manifest as self-produced (FIXITY, 2, 3…) and ensemble-based explorations, including The Things In The Room which was recorded in Tambourine Studios, Malmö, and features Walsh on drums with Tenor Saxophonist Emil Nerstrand (Brigaden/Heavy Water/The Nod), Guitarist Nils Andersson (Ljom/Ava) and bassist Fredrik Persson (Sista Bossen/The Good Morning Spider/Leo Kall/Cassus) and released on Penske Recordings on double LP and CD in late 2016.

Following an Irish tour in June 2017 included Walsh, Nerstrand, Carolyn Goodwin (Clang Sayne), Philip Christie (The Bonk/O Emperor), Kevin Terry (Sky, Horse & Death/Altered Hours) and Neil O’Loclainn (Ensemble Eiru/Cuar) the near future will see further releases and more shows.

…about FIXITY
“The Things In The Room is a deep experience. The atmosphere is similar to the black caverns in Japanese legend Keiji Haino’s earliest Fushitsusha albums—or even the funereal ambient jazz of German outfit Bohren & der Club of Gore”— Tristan Bath (The Quietus / The Wire Magazine/ Spools Out)
“We often think of the encounter of the mythical rhythm of Can or closer to us of Aluk Todolo with an inspired Archie Shepp. Their mix of Jazz and Kraut Rock is a total success. The musicians never pour into exuberance, tempering their interventions at the service of incandescent passages”— Kfuel.org
“…defined by its disregard for parameters” — Brian coney (The Thin Air)

CIGF17 & FAI PRESENT: A DOUBLE BILL WITH LAURA CORTESE

“MOXIE is the music of a new era, where fluidity, cross-pollination, and innovation are the future and salvation of Irish music.” – Irish Examiner 2016

’Irresistible, revolutionary energy’ – The Irish Times *****

“Every track is a triumph” – Irish Music Magazine

“Harmonious, energetic and tenacious, there’s no idea where Moxie will take

you.” – Lynette Fay, BBC

“A high energy cocktail that defies easy categorization…accordion trad meets

banjo bluegrass with a contemporary rhythm section that takes many a

jubilant left turn. This is highly charged 21st Century Irish music.”

• Carl Corcoran, RTE    

All hailing from Ireland’s untamed West Coast MOXIE are: Cillian Doheny (tenor banjo/guitar), Jos Kelly (button accordion/keyboard), Darren Roche (button accordion), Ted Kelly (tenor banjo) and Paddy Hazelton (percussion).

Their music has a solid traditional backbone, inspired and shaped by the surrounding of the west of Ireland, but with progressive, world and jazz influences creeping into their music it makes for a truly heady and distinctive sound, putting them at the forefront of new acoustic music from Ireland.

In August 2014 they released their debut album ‘Planted’ to critical acclaim. With their unmistakable approach, MOXIE are becoming a festival favourite in Europe, America, Australia and beyond garnering a reputation for their highly charged live performances.

In 2016 MOXIE provided the musical landscape for the dance show: ‘Prodijig, The Revolution.’ After 3 weeks of performance in Ireland’s famous Cork Opera House, extra dates were added due to demand. The show has received rave reviews and will no doubt be back for a run in 2017.

Reviewers called it –

’Irresistible, revolutionary energy’ – The Irish Times *****

‘Streetwise, fast moving, clever…full of superb moments’ – Irish Examiner ****

https://youtu.be/mLkg8XeKwV4

https://youtu.be/ExtqHYHevrg

Acclaimed singer and guitarist John Smith announces an Irish tour following the release of his fifth album, Headlong and it’s lead single Living In Disgrace. Produced by Sam Lakeman and featuring Cara Dillon on BVs, Headlong comes dedicated to the memory of John Renbourn and is the follow up to Great Lakes, John’s Joe Henry produced release of 2013 which featured Salty & Sweet, a duet with Lisa Hannigan that became somewhat of a radio hit in Ireland. Headlong has already been an RTE Radio 1 album of the week in Ireland.

Headlong is the fifth album in a hard-working, under-the-radar career that has earned the Devon-born Smith a dedicated following and secured the respect and admiration of his peers. The late Renbourn called him “the future of folk music”, and Smith has opened shows for artists as diverse as Iron and Wine, John Martyn, Tinariwen and Gil Scott-Heron. He has also played on sessions for Joan Baez, Cara Dillon and Joe Henry among others, with Lianne La Havas and Lisa Hannigan both recruiting him to play lead guitar in their bands.

And so not by chance is it that John’s new record comes bearing a title implying impulsive, breakneck motion- written as it was, across various touring stints playing guitar for the likes of La Havas and Hannigan (who fittingly lends a co-write to Headlong, on ‘Coming Home’), across the U.S. Having wound up his own successful 2 year stint touring Great Lakes round the UK & across Europe (taking in sold out shows at Union Chapel, London and Unitarian Church, Dublin. In early 2016 John was finally afforded a chance to come off the road, settle in one place for a while. An opportunity which, for better or worse, Smith elected to decline. Says John; “When I finished touring Great Lakes I felt like I had time on my hands, and I thought rather than go home and try to write where it just didn’t feel natural, I wanted to keep on touring. It felt right”.

And so in stark contrast to the agonising 24 month period of writer’s block which frustrated the arrival of Great Lakes – the songs that would eventually become Headlong came together at nimble pace, during woodshedding in the isolated lulls afforded to touring musicians.

Many of the songs here are inspired by John’s wife and newborn baby- together they form a magnetic north of sorts for Headlong. His wife is the source of the redemptive, unconditional love to which ‘Save My Life’ is indebted – she’s also the ‘Joanna’ of the track that bears the same title, spurring Smith through the humdrum niggles which invariably pepper lengthy stints on the road, from clearance issues on the Oregon country border to inter-band squabbles. Yet for all that Headlong is informed in part by separation, it is also an album full of hope and trembling promise for the future. “Open the door into my time,” John sings on the joyously surging “Threshold”, inspired by the rite of passage of becoming a father for the first time

Headlong also bears the indelible loss of John’s close friend Renbourn. The death of the Pentangle legend took a particularly strong toll; “His death really hit me hard” says Smith; “He was so much more to me than someone I’d played with, and who had encouraged me. He was a friend as well, so I wanted to reference him on this album- that’s why I’ve dedicated it to his memory”.

Renbourn’s presence is particularly palpable in Smith’s equally sparing and striking electric guitar work, which weaves through Headlong, marking a break of sorts from the lush string orchestration that characterised Great Lakes. “I learnt a lot about guitars on those big U.S. tours” says John, “Finding the best tone, getting a big guitar sound for a big room. Bringing that back to my studio, and playing that kind of electric guitar on my songs, felt really good.” And so the remit for John and producer Sam Lakeman (brother of Seth & Sean) – when they eventually repaired to Lakeman’s Somerset studios – became aligning the glistening Petty and Clapton guitar lines of which Smith was so in awe, with the paired-back world inhabited by Headlong.

The success of this distillation is borne out in spades- particularly on the freewheeling outro to ‘Joanna’, galvanised by sparing blasts of Smith’s telecaster & the silken backing vocals of Cara Dillon (who also lends vocals to John’s homage to belt-tightening, ‘Living In Disgrace’). John and Lakeman’s labours were smoothed by the easy creative shorthand the two friends enjoy; “We’re really direct with each other, but it actually makes for a friendly working relationship. If we disagree, we can have a raging argument about it, but 5 minutes later we’ll be recording again and everything’s fine. For Headlong I really wanted someone who could challenge me, dare me to chop out that part of a song, or add in an extra chorus.”

Whilst John Smith has stood still just long enough to commit this new album to record, there’s yet little danger of moss gathering. Currently gearing up for a 3 month autumn tour of the UK & Europe, Smith has also been tapped to play guitar on the forthcoming album from Joan Baez (with an appearance on the forthcoming Martin Simpson album also in the works), alongside his Great Lakes’ collaborator, Joe Henry.

PRESS: 

It’s rare these days to find an audience so wrapped up in a performance as this one **** The Independent

John Smith has captured something special Acoustic
Far from the connotations his name brings, John Smith is one of a kind Wonderland
This is the sound of a hugely underrated songwriter revealing more of himself, and it’s resulted in a wonderful record 9/10 Guitarist
Should see him reach the bigger audience his talents most definitely deserve **** Total Guitar
The searing thrum of ‘Undone’ is testament to how powerful his music can be Uncut