Next Gig: December 30th, Toales, Dundalk
Tag Archives: louth
Shock Sorrow New Single & Video: “Survive”
Keith Caffrey: vocals, acoustic guitar, keyboards, songwriter, lyricist, co-producer
Steff Caffrey: vocals, electric guitar, keyboards, drum programming, bass guitar, producer, mix engineer, recording engineer
Siegfried Meier: mastering engineer
Andrew McGuinness: video producer, director and editor
Marcin Wilczynski: thumbnail photo
Kelvin Doran (Serpent Tusk Studio): artwork and branding
All merch and links go to Linktree: https://linktr.ee/shocksorrow
Shock Sorrow New Single Release: Odin
Delighted to announce Shock Sorrow’s fourth release from The Heart Bleeds: Odin.
For Odin, we felt a lyric video would be a great way to immerse you in the song. Enter Martin Wrigsjö Staflin from Sweden (yup, what’s the chances?!). We adore his video work. Check it out here:
Producing Odin was a lot of fun. Like the entire EP, we recorded, produced, and mixed it right here in my production suite. It was a tonne of fun to programme the drums that come in toward the end: we really wanted that section to rock out. The kick and snare came from Beach Road Studios in Canada, courtesy of producer legend Siegfried Meier.
Another inspiration for that section was Jorn, particularly the singer Jørn Lande from Norway. We really adore his range and power and of course, his ability to make a rock vocal performance melodic. We wanted to nod our heads to Jørn here: have a really big, anthemic rock section with a soaring vocal.
And of course, it needed big feckin bells too. Enter the good old Yamaha DX7 for the classic Enya tubular bells. We are Viking rockstars sailing the sea on a big boat, right?!
Finally, the sea sounds you hear in the introduction and link passage were recorded by myself at Dunany Beach, Co. Louth. I probably recorded that maybe 10 years ago and it’s been sitting in my archive since!
Anyway, hope you enjoy it.
Listen on Spotify:
New Shock Sorrow release: “Forever” 14/02/22
On Valentine’s Day, Shock Sorrow released our 3rd single “Forever” on digital platforms.
We are delighted to have worked with fellow DkIT graduate Andrew McGuinness once again for the music video which we shot on location in the Louth region.
“Forever” was written by Keith Caffrey and myself and we recorded it in my home studio over the lockdown. It is a love song to the loving memory of Keith’s soul mate Aoife, to who the entire The Heart Bleeds EP is attributed. I produced and mixed the track and it was mastered by Siegfried Meier in Beach Road Studios, Canada.
Listen on Spotify:
Shock Sorrow: We Have Arrived
Keith Caffrey and I are delighted to announce that we have teamed up with the excellent Marcin W Photography for our EP photoshoot. Marcin Wilczynski has been taking photos in the rock & metal scene for over 20 years, working with the likes of Sacred Reich, Exhoder and Insomnium. As a fellow Drogheda man (originally Wrocław, Poland) we look forward to many more photos and beers in the future! Make sure to check out Marcin’s excellent work!
Shock Sorrow Return
Shock Sorrow would like to make a very special announcement: on Saturday the 21st of August 2021, we played our very first gig in almost 10 years to a private gathering of close friends and family. The occasion was an emotional and musical memorial to Aoife Kearney, the beloved fiancée of Keith Caffrey who passed away one year ago. In honour of a lady with such passion, love, and talent for music, we played three covers and one new original song. Our words, melodies, harmonies, and our very reunion itself, by design, remember and honour a soul that touched the lives of so many. We are proud to announce we are reunited once again in music. We invite you to walk alongside us during this chapter of our musical lives.
Photo by Marcin Wilczynski
Performing Oriel’s Heritage – The Oriel March
I am thrilled to introduce The Oriel March performed by the Oriel Traditional Orchestra, a production I recently edited and mixed.
The full Oriel March set to photos / videos of Heritage sites of the Oriel Region. We invite you to even throw this on a bigger screen and get a bigger sound – this is extra special. Enjoy!
The opening sequences take in panoramic views of Sliabh Gullion, Narrow Water, Ravensdale and the Cooley Peninsula and the historic Hill of Faughart. From here, in all directions, we can see places that are central to the mythology and heritage of the region: the Magh Muirthemhne to the Moyry Pass; the Boyne to Brigid’s well. Where Cian, father of Lugh Lámhfhada, met the three sons of Tuireann; where Conchobar Mac Nessa sent Cúchulainn to catch wild horses; where Meabh sought the Brown Bull of Cooley; where Fionn mac Cumhaill swam in the enchanted lake. Christian and pre-Christian monuments, graves and sites are interspersed throughout the landscape.
The second sequence features some of the standing stones and ancient sites of the region. Kilnasaggart Pillar Stone, Jonesborough; Cú Chulainn’s Stone, Clochafarmore; Proleek Dolmen, Ballymacscanlon; Long Woman’s Grave, Corrakit; Clontygora Court Cairn, Cloughoge; Ballymacdermott Court Tomb, Bernish.
The third sequence features some of the architectural heritage of modern Ireland including Craigmore Viaduct, Newry; Carrickmacross Workhouse and Tassagh Viaduct, Keady. St Laurence’s Gate, Drogheda signifies the urbanisation of Ireland.
There is a legend that Conchobar Mac Nessa, who ruled from Navan Fort, died on the same day as the crucifixion of Christ. Christian heritage is very visible throughout the region and the fourth sequence features the Monasterboice High Cross and Round Tower; the High Cross at Termonfeckin; Dromiskin Round Tower; The Jumping Church, Millockstown; Round Tower, Inniskeen; and Old Mellifont Abbey, Tullyallen. It is reputed that the body of Brian Ború was carried from the Battle of Clontarf through the region, stopping at Louth Village (Mochta’s Abbey) and Inniskeen on its way to burial in Armagh.
The region has associations with two of Ireland’s patron saints and the video features St Brigid’s Shrine, Faughart and St Mochta’s Abbey, Louth near Ardpatrick. Later places of worship include Seatown Friary, Dundalk; Carlingford Priory; and St Peter’s ‘Tin Church’, Laragh.
The Oriel region sat at the edge of the Pale and castles are an impressive site throughout the region, each representing different periods of history. Those featured include Roodstown Castle, Stabannan; St Ledger’s Castle, Ardee; Termonfeckin Castle; Moyry Castle; Castleroche Castle, Ballinfuil; King John’s Castle, Carlingford; and Castletown Motte – Cúchulainn’s Castle, Dundalk. Famous battles include at Clontibret in County Monaghan (May 1595), during the Nine Years’ War when English troops were ambushed by a Gaelic Irish army led by Hugh O’Neill, Earl of Tyrone. Notable graves include that of Edward Bruce on the Hill of Faughart. Bruce declared himself King of Ireland in Dundalk
The video concludes with a quick recap of many of the sites featured, highlighting the wonderful diversity of built heritage in the region.
Performing Oriel’s Heritage was a project by the Heritage Office of Louth County Council in collaboration with the Oriel Traditional Orchestra.
Funded by The Creative Ireland Programme (Louth)
The OTO acknowledge the support of the DFC (NI) and OPW (ROI) for their co-operation and contribution towards the production of the video.
Music: The Oriel March composed by Daithí Kearney performed by the Oriel Traditional Orchestra
Video Editing: Paul Hughes Video
Audio Editing: Stephanie Caffrey
Comhghairdeas le gach duine! I am delighted to have been a part of this fantastic project!
Oriel Traditional Orchestra: Three Ships for Oriel
I am delighted to present one of my most recent music production projects: Three Ships For Oriel by the wonderful Oriel Traditional Orchestra.
The Oriel Traditional Orchestra is a new community initiative that brings together musicians from Armagh, Louth, Meath and Monaghan to create a new orchestra. I enjoyed their set last year in The Lisdoo (Dundalk) at the LSPCA event, which was the last concert I attended before Covid-19 (not counting the three I worked as sound engineer at the beginning of 2020). So as you can imagine, I am very honoured to work with this group of talented and committed musicians from my locality.
The OTO has created a number of video projects this year for themselves and to share with the wider community. For Christmas, they want to share their new arrangement of the old carol I Saw Three Ships as Three Ships For Oriel, which also features The Oriel Jig composed by Daithí Kearney. My role was to edit the audio tracks recorded by the orchestra members and to mix and master them. It was an absolute pleasure and put me right into the Christmas spirit! Much needed as I have only just completed my MA a few weeks ago! (yay!)
Enjoy the music on Facebook or YouTube!
Further information about the OTO:
Wishing all my readers a safe and happy Christmas, and a blessed New Year 2021 ❤
A Night to Remember: Jim Corr and Liam Monagher in the Lisdoo, Dundalk
Just before Christmas, Dundalk was treated to a very special night of music in The Lisdoo in aid of the Louth Society of Prevention of Cruelty to Animals. The night was so lovely and enjoyable that it deserves further acknowledgement than just a handful of Instagram posts.
The bigger picture of the night was of course, raising awareness for mistreated animals and for raising funds for a worthy charity who work tirelessly to care for, treat, house, feed and rescue animals who need positive human intervention. A topic close to my own heart and indeed many hearts, as the venue was close to full. Such a positive and affirming act in itself!
Musically, the event was centred on Dundalk musicians, in particular those who are aligned with Irish traditional music- Jim Corr, Liam Monagher, Zoë Conway, John McIntyre and The Oriel Traditional Orchestra. If you were in any way interested in the music of our ancestry performed by professional, highly regarded and empathetic artists, you didn’t need a second invite to attend- for this was a once in a lifetime show.
Following a brief introduction from local broadcaster Harry Lee, The Oriel Traditional Orchestra opened the event. The orchestra performed pieces from the Oriel region which encompasses Louth, Meath, Monaghan and Armagh, arranged for orchestra. Their sound was as big as their number. They performed the sweetest melody on solo tin whistles to a hushed audience and they filled the room with the joyous sound of approximately sixty musicians in harmony. You couldn’t not be in awe of their collective passion and talent. At this point I will add that Zoë Conway and John McIntyre who played after Jim Corr and Liam Monagher, were fantastic. They’re a wonderful duo who compliment each other in a fantastic way, vocally and instrumentally. This blog is about Jim and Liam so I will not delay.
Succeeding the flurry of sixty-odd chairs getting packed away and guests’ tables getting pushed closer to the small-rise stage to fill the gap (no problem, I’m not shy! I very much would like to be closer to the artists I’m there to hear!), Jim Corr and violinist Liam Monagher sat on the edge of the stage very casually and chatted with Harry Lee. The friendship between Jim and Harry was obvious as Jim chatted about his sister Andrea’s newly published memoir and spoke about how much he enjoys the fact his son Brandon reads it to him in the evenings. Undoubtedly emotional and nostalgic for Jim, as his sister recounted stories and memories from her childhood right up until the time of publishing, many of which concerned their family while growing up. Harry turned to Liam and asked him to speak about his professional career as a violinist. Liam humbly revealed he has performed in prestigious venues including the Royal Albert Hall, London and Carneige Hall, New York. The pair have played together before, but this night was to be their debut public performance, one which Harry inquired, might be the beginning of a future project?
While Jim Corr needs little or no introduction due to the global success of The Corrs with his three sisters, he has always been a steady musician onstage, keeping an eye on each of his sisters in brotherly support and contributing to the formidable sound without drawing heaps of attention onto himself. I watched their performance in the O2 Dublin in 2016, each sister sibling cast adoring looks at their brother as they nervously returned to the Irish stage and I watched Jim acknowledge them and give a small and reassuring smile. Jim Corr is a pillar in terms of a live, performing musician and is a force of creative energy in the recording studio with an incredible wealth of knowledge concerning music production.
Liam Monagher also from Dundalk, began playing violin at the age of six and trained with the renowned violinist Ms. Patricia Treacy and also with Mr. Michael d’ Arcy at the Royal Irish Academy of Music, Dublin. As a solo violin performer, Liam has won many awards at Feis Ceol’s at Newry, Warrenpoint, Belfast and Sligo and also competed with success at Feis Ceol Dublin. As an orchestral musician, he has performed with numerous orchestra’s including the Orchestral Musicians of Northern Ireland, the National Youth Orchestra of Ireland (NYOI), the NYOI Camerata and the Cross Border Orchestra of Ireland (CBOI). Throughout the years, he has performed in many of the world’s most prestigious music venue’s including Boston Symphony Hall, Carnegie Hall, New York and Chicago Symphony Hall. Most notably, he was leader of the CBOI in performances at the World Expo Shanghai, China, the Lincoln Centre, New York and the Royal Albert Hall, London. In addition, he has played in all the major venues in Ireland including the Helix, the National Concert Hall, the RDS, Dublin, the SSE Arena and the Waterfront Hall, Belfast. Although principally a classical violinist, Liam who has been described as an “accomplished and stylish player” has won awards at Fleadh Ceol Na hÉireann at county, provincial and national level, including two gold medals, under the tutelage of respected Dundalk musician, Brendan Gaughran. Throughout his career to date, he has had the opportunity to perform for many dignitaries including President of Ireland Mary Mc Allesse, Her Majesty Queen Elizabeth II and HRH the Duke of Edinburgh, Prince Philip to name but a few. In recent times, Liam’s musical career has taken a diverse twist, seeing him record and perform with some of Ireland’s most outstanding musicians including Lisa Hannigan, Jim Corr, Miss Paula Flynn and Brian Kennedy.
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Both musicians, with their incredible respective achievements, talent and musical training show no hint of pomposity, in fact they showed albeit only briefly, slight nervousness as they were playing to a home audience on home turf. They opened with the serene Irish traditional air Lough Erin Shore, more famously known as Paddy’s Green Shamrock Shore (Paul Brady and Dolores Keane). Corrs fans know the air very well as two versions of the tune bookend the album Forgiven, Not Forgotten (1995), and was still part of their White Light Tour set in 2016. Of course, this wasn’t exactly a typical Corrs audience, it was an audience of friends and family which is a different level of support, and enthusiasm is expressed in more reserved ways (That means I didn’t bring my hotel pillowcase with “Jim, you’re looking well!!!!” colourfully drawn with twenty Sharpies- who let the fangirl in?!). By reserved, I mean you could have heard a pin drop in the room as Jim took to the keys and effortlessly danced over them, his right hand providing beautiful ornaments to the melody while his left hand supported with his signature rich bass notes and chords. All eyes and all ears were on the duo. Jim played one round of the tune before giving Liam the very same assuring smile he gave his sisters in Dublin as he lifted his violin bow to join him. Liam’s 1802 Perry violin sounded rich, full and warm, perhaps one might argue that’s not an overly traditional tone for an Irish performance but we’re not here to discuss authenticity, innovation or tradition. We’re here to listen to two fine musicians play the music of their heritage. And I for one quite appreciate a rounded and smooth violin tone, it’s kinder to my ears. Liam’s vibrato is graceful, measured and in my view, appropriate, as he draws a gentle sweetness out of his instrument. His execution of the pitch slide in the second part of the melody evokes the spirit of the first recording on Forgiven, Not Forgotten and he imparts his own signature by adding extra ornaments throughout. The pair arrive at the tune’s crescendo and Jim nods to Liam, taking over the melody in the upper octave, his delicate performance bringing to mind stars twinkling in the night sky with the fairies or siogs dancing beneath. One more round of the tune with Liam and with mutual smiles, signalling an silent agreement that this was to be the final phrase. Broad smiles to rapturous applause and cheers from the audience, their rendition was very much enjoyed.
Liam took the centre stage for the next tune, Brian Boru’s March. Liam led the way with Jim watching intently and adding beautifully accompaniment with occasionally jazzy chords and mirroring the melody as if the two players were one. Jim looked visibly at ease during this performance, perhaps any nerves of playing the first number dissipated and the two seemed to be feeding off each other musically. Indeed the two were so well rehearsed that they could relax, catching the briefest of staccato notes in perfect synchronisation, to snap you awake just in case you were floating off with the dancing siogs! And indeed to pre-empt what was coming next. The two started a new tune immediately, in classic Corrs style (think the unabridged version of The Carraroe Jig that was on the Love to Love You maxi-CD which pops a jaunty Trout in the Bath in unison violin and right hand piano). Certainly a joy of life of its own, the surge of energy from both musicians was lifting and playfully, Jim played the very last phrase in unison with both his left hand and his right hand for dramatic effect! Class!
At this point in their set, I’m delighting in the opportunity to listen to the keyboard musicianship of Jim Corr in such close proximately and liveliness. Yes, we get a sense of his incredible talent particularly on the Forgiven, Not Forgotten and Home albums, we know he’s a brilliant player but we don’t really get to appreciate it fully as there is so much more excellent music going on around him. United, The Corrs are genius, there’s no doubt about it, they have a synergy unique to them and they’re all fantastic (and I would argue, underrated) musicians. But here in the Lisdoo, it’s just Jim and Liam. No drums, guitars and more going on, this is very stripped back and very live. Jim is not a show off, he’s too gentle and grounded to be, but he definitely deserves celebration. The fluidity of his playing, his choice of chord arrangement, his choice of volume velocity and the perfect execution of his performance would leave you open-mouthed. He’s a totally different player, but he’s got that same midas touch Thomas Bartlett of The Gloaming has. My only wish at this point is that I could physically see his hands but I’m too shy to get up and move my chair, even for one song.
Speaking of The Joy of Life, Liam introduces the next tune as it. Jim starts the tune slightly slower than he normally would with The Corrs (it’s better to be too slow than too fast) and Liam picks up on this and pushes ahead, encouraging Jim to pick up the pace. The best tunes sound easy to play but are actually quite the handful (I’ve tried this particular favourite myself but alas, it’s definitely best left to the professionals). The Trout in the Bath rushes in, and some super-enthusiastic soul in the back of the room screams his lungs out in appreciation. Jim stomps on an endearing piece of wood with a boundary microphone attached to it, placed on the ground underneath his keyboard, emulating a kick drum or perhaps, emulating the stomping of the ground at a session in full swing (at this point in my own sessions, I’m rolling off as much low-end as possible on the mixer and have already requested the players to kindly remove their shoes!). But you can’t beat Jim’s energy, the audience are clapping in time with his stomping. We get a momentary rest with Jim’s jazzy sustained chords underneath Liam’s energetic playing and then in classic Corrs style, Jim yells “one two three four!” with support from the audience. They’re elated. Another few rounds of the tune before a flashy finish of violin tremolo’s and a sweep of all the keys, finalised by a synchronised final home note.
Jim takes the microphone to introduce the next piece of music, the theme song from the 1988 film Cinema Paradiso. I had forgotten all about that film, we watched it in school during our Leaving Cert year. According to Andrea Corr in her memoir, Jim has perfect pitch and I well believe her, but Jim admitted difficulty in learning this particular piece of music solely by ear and said he only recently obtained the sheet music for it. Talented and humble. He had no sheet music in front of him that night and he grinned “I hope I play it ok now, I’m under pressure!”. The piece is distinctly classical, a far cry from his fusion/Irish sound he is known for. But let’s remember that Jim Corr has been playing piano since he could reach the keys. His father Gerry, taught him (and all the girls) and Jim studied at the Royal Irish Academy too. He could have pursued a career in classical music if he chose so. And evidently from this performance, Jim didn’t let the piano fade in the dust after his commercial zenith with The Corrs, nor did he stop playing classical altogether. His performance was flawless. Liam joined him with an equally flawless rendition of the melody, sliding effortlessly between left hand positions- one of the many hallmarks of an accomplished classically-trained player. The hairs on the back of my neck stood on end at the beauty of their sound. Truly it was a sound to behold. And I’m not into classical music at all, bizarre I know (call myself a music lover?).
Return to Fingall was performed next. Another one from The Corrs’ repertoire, Return to Fingall featured as a bonus track on the Japanese release of their fifth album, Home (2005). Why it wasn’t included on the Irish/UK releases baffles me as it’s a stunning tune. Originally a piping tune made famous by the great Séamus Ennis, it translates onto violin, tin whistle and piano beautifully. Delicate ornaments from Liam decorated the tune, putting his own stamp on it, he also emulated well through his choice of expression, how the tune might be played on the uilleann pipes. “Is that it?!” Jim yelled as Liam raised an eyebrow and shook his head mid-bow, “Oh yeah!” Jim grinned and seemed to remember by muscle memory the delicate piano solo that’s next. It was different to what we hear on Home, in fact there was a touch of Enya in Jim’s choice of harmony, perhaps a tip of the hat to the Donegal musical family that inspired his own. He ended the tune with another sweep of the keyboard but this time in key and with his foot on his sustain pedal. The audience were too polite to clap over the extended decay which made a beautiful and poignant chord, until it fully diminished.
The last tune to be performed was of course, Toss the Feathers. The Corrs’ staple. A big “aw” from the audience and an apology from Jim for “only” giving the crowd six songs (six perfect songs!). “Not too fast” said Jim as he launched in a mock high speed tempo, which made Liam laugh out loud and tease Jim. After a moment of inner contemplation, Jim decided on a tempo and Liam launched the reel with bells and whistles. Not wanting to slow down, Liam carried on and impressively executed the melody perfectly at that pace. Jim started stomping on the stomp box again and “yeeeeeow”s interspersed the audience clapping along. We’re used to hearing a massive production on this tune (drums, bass, tin whistle, guitars, the whole sheh-bang) but the momentum was carried by the two musicians. Jim varied up the accompaniment with his jazzy syncopated chords (I say “jazzy” but I don’t really mean stylistic jazz, I mean chords you might typically find in jazz), he showed groove is possible in Irish fusion with just two instruments. He smiled broadly as he executed his offbeats along with his constant floor stomping, music and groove just flows through him. And Liam kept up the whole way, never relenting or missing a note. The duo finished with a flamboyant ending, complete with a leg thrown up on the keyboard (!) and more rapid violin tremolos. Pure class. Sure I only lost my mind there and then.
Myself and my mother highly enjoyed this wonderful night in the Lisdoo. We had such great craic, heard some truly stunning music and got to contribute to a wonderful local cause. If Jim and Liam were to perform again, we would be there in a heartbeat and we’d probably bring an army of fans with us too. The world could definitely do with a little more of Jim and Liam. Hup the lads! Love to love you both!
Gig Review: Kern at Richmond Fort, Drogheda
Last Friday saw a belter of a night of music in Richmond Fort in Millmount Cultural Quarter, Drogheda. Louth traditional musicians Kern, with support from Drogheda singer-songwriter Gene Carolan, showcased local, contemporary talent in the new music venue which holds much promise for future, intimate gigs in the town.
A performance space which was neither too big nor too small for both, Richmond Fort is a delightful room to enjoy music in. The small upstairs room was cosy, bright and comfortable while boasting a high ceiling which carried the sound adequately. A professional sound set up surrounded by thoughtful and considered lighting made for a delightful setting in which to enjoy the music.
Gene Carolan opened the night, delivering a showcase of original songs which reflected his life experiences to date while looking brightly to the future of Drogheda, the town hosting this years Fleadh. Usually flanked by his brothers on stage, Gene carried a big show solo with his intricate fingerpicking guitar skills which seamlessly blended into his songs. His charming personality warmed the audience and his honesty and authenticity leaves no doubt that Gene has a long, sparkling musical career ahead of him.
Kern, a trio of musicians from south, mid and north Louth respectively, SJ McArdle (lead vocal, guitars, harmonica), Brendan McCreanor (uilleann pipes, whistles and backing vocal) and Barry Kieran (fiddle and floor stomper/fire-out-putter!) are the counties’ gem in contemporary folk and traditional music. Opening with the first two tracks from their debut album False Deceiver produced by Trevor Hutchinson, one can see instantly why their record was so well received. Executed so well on the stage, one would be hard-pressed to tell the difference between the CD and the live performance! A testament to their first class musical talents and the production of the album which in both settings sound full, warm and beautifully thought-out. Ale saw fiddle player Barry take the solo with the beautifully charming The Ale is Dear Scottish reel later accompanied by Brendan on the low whistle and SJ on acoustic guitar. The nuances of Barry’s fiddle playing so clearly audible in the perfect room, I couldn’t help by gaze in awe at his tasteful dexterity. The sudden break into the faster Teampall An Ghleanntain hits you right in the solar plexus followed by Crooked Road to Dublin, a delight to hear so early in the set as it sets the tone for the entire show.
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SJ’s years of being a singer-songwriter in his own right, took him around Europe with multiple recordings under his belt. A natural front-man, his ad-libbed jokes and natural dry wit between songs left the room laughing hysterically. With the sudden realisation that most of the songs in their current repertoire are marine-themed, SJ made light-hearted banter about the coincidence while pointing out the true issues at hand, such as the sorrows of Irish emigration, love and loss. The town of Drogheda has a rich history of Irish maritime, my own great-grandfather worked on the port so it was a delight to hear a local group pay tribute to such an important part of our hertitage.
The group’s set has expanded since the last time I caught them, in Dublin’s infamous Cobblestone pub and venue. New jig sets, reel sets, new songs and sounds hint at what the band’s sophomore album will sound like. With each musician offering so much variety and creativity to the collective sound, backing vocals, harmonica, various whistles and last but not least, a growing number of guitars (acoustic and electric) and a plethora of pedals to boot/Converse (SJ even worked in live looping with absolute precision and perfection), it’s obvious that the possibilities for the future of Kern are endless! It’s refreshing to catch such an innovative band with traditional values at it’s heart and it’s wonderful that the musical heritage of Louth is being honoured in such a beautiful way.
Hup lads! Can’t wait for the next one! Here’s hoping there’ll be more of the like in Richmond Fort!
Buy False Deceiver on iTunes: https://itunes.apple.com/ie/album/false-deceiver/1077962411
Stephanie Caffrey 