Club Sult: Trad

Traditional Music

Traditional singing and music

Irish traditional singing and music are more popular these days throughout the world than ever before. Some of the contemporary groups, such as Altan, Danú and Lúnasa, play abroad continually and sell thousands of CDs.

Things have changed considerably in the past forty years or so. By the sixties of the last century, both traditional music and traditional singing (in English and Irish) were in decline and had a very lowly status in Ireland itself. Many singers and musicians were forced to emigrate to England and to the USA (and elsewhere) due to the economic situation at home and they were often given the opportunity to record their music, something that would not have happened had they remained in Ireland. Certain individuals, such as Captain Francis O'Neill in Chicago, worked hard as collectors and their efforts ensured that a record remained of music and song that might otherwise have been lost. This sterling work that was being carried out in America gradually began to influence the style of music being played in Ireland itself and also people's perception of it.

At the beginning of the sixties, the Clancy Brothers and Tommy Makem became famous in the United States and managed to interest many people in the songs of Ireland, not only in the States but in their own native country as well. The Dubliners emerged at the same time and in the years that followed groups such as Sweeney's Men, The Johnstons (a group in which Paul Brady played) and Emmet Spiceland (which included Donal Lunny). These groups' records were extremely popular and their new approach to arranging the music and songs greatly influenced many other musicians and singers.

The Dublin musician Johnny Moynihan introduced the Greek instrument, the bouzouki, to Ireland at the end of the sixties, and he, along with others such as Donal Lunny started using this and other instruments to play traditional Irish music. This gave extra impetus to the revival movement and attracted many people to the music and song who would not have shown much interest in it previously.

In the seventies, other groups began to leave their own distinctive mark on the music, in particular Skara Brae, Planxty, The Bothy Band and Clannad. By the beginning of the eighties, however, many of the singers and musicians began to realise that they could not survive playing music on a full-time basis and the revival lost the energy it had in the seventies. The Chieftains continued to play, in America for the most part, but other musicians (Donal Lunny, Christy Moore and Paul Brady, for example) began to play music that was more in the rock than in the traditional idiom.

Things have improved again in recent years, however. Some of the contemporary traditional groups are quite successful; they perform in front of thousands each year and they are signing contracts with major record companies that are more lucrative than would have been the case in the past (Altan's contract with Virgin is one example). Certain singers and musicians like to blend the traditional with the contemporary and leave their own mark on the music, while others play and sing in a more 'pure' traditional style. There is a widespread belief now, however, that there should be room for both, which is an extremely healthy development.

Sean-nós, or unaccompanied singing, continues to thrive and a talented new generation of singers has emerged (Ciarán Ó Con Cheanainn from an Spidéal in Galway, for example, and Máire Ní Choilm from Gaoth Dobhair in Donegal). The annual Oireachtas sean-nós competitions are often criticised, but they have undoubtedly helped to improve standards and foster an interest in the singing.

Those interested in traditional music and song are greatly indebted to the pioneers who have sung and played over the past forty years and to their predecessors who kept the tradition alive. If it were not for Clannad, for example, would traditional singing in Donegal be as vibrant as it is now? Probably not.

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Music we recommend

There are scores of excellent CDs of traditional music and song available these days. Here are some suggestions aimed at those who are taking an interest in the music for the first time.

Altan
Island Angel (Green Linnet, 1993)
Another Sky (Virgin, 2000)

Clannad
Dúlamán (Gael Linn, 1976)
Fuaim (1982; re-released by Atlantic/WEA in 1993)

The Bothy Band
After Hours (Mulligan, 1979; Green Linnet, 1984)
The Best of the Bothy Band (Green Linnet, 1988)

Planxty
Planxty (1972; re-released on Shanachie)
After the Break (Tara, 1979)
The Woman I Loved So Well (Tara, 1980)
Planxty – Live 2004 (2004)

Skara Brae
Skara Brae (Gael Linn 1972/1998)

Nioclás Tóibín
Rinn na nGael (Cló (Iar-Chonnachta)

Lasairfhíona Ní Chonaola
An Raicín Álainn (Her own label, 2002)

Lúnasa
The Merry Sisters of Fate (Green Linnet, 2001)
The Kinnity Sessions (Compass, 2004)

Eoin Dillon
The Third Twin (Kíla Records, 2006)

Cormac Breatnach and Martin Dunlea
Music for Whistle & Guitar (Dioscai Mandala/Pressure, 2000)

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