Snakes in Galway

THE SNAKES!

The Snakes formed in early 2006; four outstanding musicians and writers who capture the true essence of country rock 'n' roll with raw grit and rare authenticity, inspired by pioneers such as Gram Parsons, the Flying Buritto Brothers, Steve Earle, and the Byrds, as well as the many nights spent propping up the bars in honky-tonks from Austin, Texas, to London. The Snakes dig deep into the heart of the music. Their live performances are brimming with passion, authority, and hard-hitting grooves that pull the listeners onto the dancefloor, leaving them in no doubt that they are experiencing the real thing!

THE MEMBERS

PETE LAMB Guitar/ vocals
Pete Lamb moved to Ireland in May 2004 to pursue his goal and concentrate on making music. His mystical musical journey thus far has zig-zagged through several disparate genres and fields; making pop and rock with various garage bands, making and DJing leftfield dance music, and playing acoustic bluegrass guitar before arriving finally at country rock 'n' roll with the Snakes! Since arriving in Galway he has built a solid performing reputation as a singer and songwriter with various projects.

DARREN ROBERTS Bass/vocals
Darren Roberts was also based in London and spent six years touring and recording as bass player with psychedelic rock group One Thousand Violins, gaining independent chart success, and playing to large audiences across Europe as well as recording Radio 1 sessions for John Peel and Janice Long. After leaving One Thousand Violins he moved to London, where he became a session bass player working in recording studios as well as for radio and TV. He subsequently got into country and folk music, which led him to work in places such as Nashville, Tennessee, and Austin, Texas, and eventually to a recording session in Ireland, which became his home.

ROB STEIN Pedal steel and lead guitar
Born in Northern California, raised on Long Island, New York, Rob Stein spent many years playing guitear and pedal steel on the thriving Austin, Texas, music scene before moving to New York, where he worked with everyone from Broadway show orchestras to the Bob Dylan band, as well as being the mainstay in the legendary Tommy-Joe White Band. Since moving to Ireland in 1999 he has worked with many top traditional musicians, as well as the Maimin Cajun Band, Brendan Hearty, and the Snakes.

CORMAC DUNNE Drums
Cormac Dunne was the drummer with successful Irish band the Stunning. The band had two No. 1 albums in Ireland. He has played on albums by Ruth Dillon and Australian singer/songwriter Ronnie Taheny amongst others, most recently on Roesy's album Colour me colourful, with whom he also currently tours.

In the magazines

[27 July 2007]

The current issue (#16) of Acoustic, the UK's only acoustic guitar magazine, includes a two-page illustrated feature by leading UK banjoist Leon Hunt on the Nechville Phantom banjo. Tom Nechville, inventor of the Helimount system and many other banjo design developments, will be attending several major European bluegrass events in September 2007.

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[6 July 2007]

The current issue of Country Music People has a major article, well illustrated, on the foundation of the Country Gentlemen fifty years ago. The article is by Tom Travis, former chairman of the BBMA, who has been deploying his encyclopedic knowledge of bluegrass history in a series of articles for British Bluegrass News in recent years.

Tom's article goes nicely with another major feature on the history of the Gents by a leading British bluegrasser - Richard Thompson, whose article appeared on the original Bluegrass Blog on 4 July. Read it at this link.

[7 June 2007]

The current issue of Country Music People has a cover feature on Alison Krauss, and an interview with Abigail Washburn of Uncle Earl.

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Tony Rice appears on the cover of at least two magazines this June: Acoustic Guitar, with analyses of his style by Scott Nygaard, and Bluegrass Unlimited, in which he talks to Caroline Wright about his spring tour with Alison Krauss & Union Station.

The June Bluegrass Unlimited also carries an article by Richard Thompson on Tom Travis, former chairman of the BBMA and one of the most experienced bluegrass performers in these islands; and an article by David Royko on Chris Thile, with some solid material about the thinking that went into his How to grow a woman from the ground album.

Thanks to FOAOTMAD for the news that the latest issue of Maverick country music magazine carries a two-page article with photos by Helen Keen on Travis Stuart of North Carolina, who taught old-time banjo at Sore Fingers Week this year and has played in Ireland in the past. The same issue carries a substantial feature on Alison Krauss.

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[20 April 2007]

The May 2007 issue of Acoustic Guitar magazine (now on sale) includes a photo feature on the making of a Martin D-28 guitar, and an interview with Laurie Lewis - primarily on her songwriting, but with the standard sidebar detailing her instruments.

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The current issue of Country Music People carries a major interview with Sam Bush by Walt Trott.

The spring 2007 issue of the Fretboard Journal leads with an article by Art Dudley, '58957: Tony Rice and his Holy Grail Martin D-28', with ample detail of the instrument's career and (as always) beautiful photos. The previous issue carried features on the late John Hartford and on Radim Zenkl, and in every respect this magazine continues to be a treasure for anyone who values fretted instruments, their music, and their players.

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In the March and April issues of Strings magazine, Robert L. Doerschuk contributes articles on Jason Carter of the Del McCoury Band and Michael Cleveland; both are multiple winners of the IBMA Fiddler of the Year award, and both have played at festivals in Ireland.

The new issue of the folk and world music magazine Dirty Linen has a well illustrated article on Riley Baugus by Philip Van Vleck.

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The March 2007 issue of Acoustic Guitar magazine includes a tribute to Josh Graves, who died last year, by Jerry Douglas; a lesson in playing bluegrass rhythm guitar in the style of Lester Flatt, by Chris Sharp; and a major interview with singer/ songwriter Shawn Colvin (and one on John Renbourn). As a bonus, the contents pages have a nice photo of Pete 'Bashful Brother Oswald' Kirby, which someone put there thinking it was Josh Graves. Plus you can enter a draw for a Blueridge BR-260 dreadnaught with a Travelite TL-50 case.


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[15 February]

The February 2007 issue of Country Music People magazine includes an interview with Jim Lauderdale* by Janet Apsley, and a further big instalment in their major serial interview with Mac Wiseman, whose career spans the whole history of bluegrass music.

*Thanks to the original Bluegrass Blog for the news that a long interview with Jim Lauderdale can also be found on CMT.com.

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The current issue (#14, Feb./Mar. 2007) of the UK's Acoustic magazine, now in the shops, features a major interview with Chris Thile, plus features on Bourgeois dreadnaught guitars and the Quartz and Black Gold models of Breedlove mandolins.

The January 2007 issue of Maverick magazine (with Willie Nelson on the cover) includes a major interview with Del McCoury by Maurice Hope, together with features on Uncle Earl, Crooked Still, Bela Fleck, and other artists who have recently appeared in Ireland or will be doing so soon.

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[7 December]

The December issue of Country Music People magazine has Vince Gill on the cover, with a feature on him by Douglas MacPherson inside; an article on the Delmore Brothers based on family sources; and an article by John Atkins on the iconic Tommy Jarrell (1901-85), the North Carolina Superman of old-time music.

[5 December]

The December issue of Bluegrass Now magazine carries a major article by Donald Teplyske on Dale Ann Bradley, who topped the bill at the Omagh festival a few years ago, with the amazing Michael Cleveland playing fiddle for her; another on Jim Lauderdale, who recently toured in Ireland; and a 'Band to watch' feature on the Two High String Band, who played the Dunmore East and Omagh festivals some years back. You can also see an account of the tour by Lost Highway in Oman earlier this year, by Mike Tatar jr, their current fiddler.

The December Bluegrass Unlimited gives a Highlight review to Long steel rail (Sugar Hill SUG-CD-4019) by Riley Baugus, who has played here several times with Ira Bernstein.

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[20 November]

#39 of British Bluegrass News, the journal of the British Bluegrass Music Association, includes a fine article on this year's Appalachian and Bluegrass Music Festival at Omagh by Rick Townend, who was there playing fiddle with Grassroots (UK). Among plenty of other good things, Rick writes (with forty years' bluegrass experience behind him): '... this is probably the best organised bluegrass festival I've ever been to... For any serious fan of bluegrass, old-time or country music this is a place I really do recommend you go and see at least once in a lifetime.'

This issue of BBN also includes a notice on the UK part of the Special Consensus tour coming in January, with a nice informal photo of the current band (Dave Thomas on bass). The Special C.'s new recording, featuring a Niall Toner composition, 'Josie's Reel', should be available during the tour (for dates, see the BIB calendar).

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[14 November]

The November issue of Bluegrass Now magazine carries a news item on the award of Tourist Event of the Year to the Appalachian and Bluegrass Music Festival at the Ulster American Folk Park, including a brief rundown on the festival programme and a nice photo of the members of Broken Strings grinning over a rail fence. It's a good issue for the record-minded: not only thirty-three regular CD reviews, but a special feature in which twelve reviewers pick their personal five best CDs of 2006, and an article on twenty-five years of Sugar Hill records.

The September issue of Bluegrass Now carried a cover picture of Greg Cahill of the Special Consensus, with a fine six-page article on Greg by Tim Walsh. The Special C. will be touring Ireland in January (see the BIB calendar).

Anyone who saw Crooked Still on their recent tour in Ireland and bought their latest CD, Shaken by a low sound, will be pleased to know that the CD receives a Highlight review in the November issue of Bluegrass Unlimited.

[17 July]

Bluegrass Unlimited magazine is celebrating forty years of publication. The July 2006 issue includes, as well as retrospective articles and the usual indispensable news, reviews, and ads, a facsimile of the very first issue, which consisted of eight foolscap pages, mimeographed and stapled together.

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Two successive issues of Bluegrass Now magazine feature artists who will be appearing at this September's festivals in Ireland: the Appalachian and Bluegrass Music Festival at the Ulster American Folk Park at Omagh, Co. Tyrone, and the Johnny Keenan Banjo Festival at Longford. The June 2006 issue, with Mark Newton on the cover, includes an article by Hilary West on Uncle Earl, with the subtitle 'Not your traditional all-girl band'; Uncle Earl are playing at Longford. And the July 2006 issue has a cover photo and five-page feature inside on the headliners at Omagh, Doyle Lawson & Quicksilver. (For anyone who's been living in a barrel at the bottom of a lake for the last 25 years, Doyle Lawson & Quicksilver are the current standard-setters in virtually everything that makes a great bluegrass band, and especially in quartet harmony.)

You can now subscribe to Bluegrass Now on line, giving you access to the latest bluegrass news without having to wait for the post or the news stand.

Moonshine

Johnny Moynihan of Sweeney's Men, Planxty, DeDanann, the Fleadh Cowboys: vocals and accordion, mandola, mandolin, fiddle and more.

Lena Ullman of the Higglers Jug Band: vocals and five-string banjo

Frank Hall of the Monks, Easy Street Stringband, Rhythm In Shoes: vocals, fiddle, guitar

Old-timey dance music from the southern Appalachian region of America, some say the errant son and daughter of Irish music, ranges in style from sensitive waltzes to nervy breakdowns, all safely musical. Wild and edgy, backbeat and funky, bluesy and ballady, the child is also father and mother to country and rock. It's roots music, the spud and the bog carrot, butter fried and salted.

Frank Hall began to learn the art of the bow, playing for square dances in southern Indiana in the early 1970s. He journeyed with various old-time bands and dance troupes, occasionally dabbling in traditional Irish and Mexican fiddle styles. He has been coming regularly to Ireland since 1991, when he first met and played with Johnny and Lena. In addition to fiddle he plays stand-up bass and writes the odd tune.

Lena Ullman's playing and singing has been widely appreciated around the country since the founding of the Higglers Jug Band in the 1980s. Introduced to the 5-string banjo and American music at age 15, she has since become a masterful player of old-timey tunes and 'high lonesome' songs. As an innovator Lena has adapted the quintessentially American 'clawhammer and frailing' on banjo to various styles including traditional Irish dance music, and can often be found in sessions around East Clare. She has also written a number of gorgeous tunes.

Johnny Moynihan, singer, songster, instrumental innovator, itinerant minstrel, hardly needs introduction as he has made a towering reputation in Irish traditional and folk music circles, further enhanced by occasions and stories of his lingual wit. In this combo, Johnny indulges his fondness for American traditional music while adding his own stamp, and another instrument to another tradition, in this case, the box to old-timey music.

Crooked Still tour in Ireland, 22 Sept.-1 Oct.

Thanks to Brian O'Donovan for the following welcome news:

Crooked Still, a young, dynamic quartet of musicians from the north-east US, play traditional-influenced, distinctly American-based music comprised of an extensive bluegrass, Appalachian, and blues repertoire. Their extensive tour of Ireland in spring of last year was a major success thrilling audiences in ten venues around the country, playing live on national radio, and garnering praise from several of the country's top music writers.

The band has just released their second CD, Shaken by a low sound, on the Signature Sounds label. (You can hear full songs from the CD on their MySpace site.) They are looking forward to a return to Ireland this September for a week of concerts north and south.

Fri. 22nd: 9.00 p.m. Dolans, Limerick. Tel: 061-314-483

Sat. 23rd: Doors at 8.00 p.m. Glor, Ennis, Co. Clare. Tel: 065 684 3103

Sun. 24th: Doors at 8.00 p.m., the Crane Bar, Galway. Tel: 091 587419

Mon. 25th: Doors at 8.00 p.m., De Barra's, Clonakilty, Co. Cork. Tel: 023 33381

Tues. 26th: Doors at 8.00 p.m., Kilworth Arts Centre, Kilworth, Co. Cork. Tel: 025-24858

Wed. 27th: Doors at 8.00 p.m., Whelan's, Dublin. Tel: 01 478 0766

Thurs. 28th: Doors at 8.00 p.m., the Glen Centre, Manorhamilton, Co. Leitrim. Tel: 071 98 55833

Fri. 29th: Doors at 8.00 p.m., the Stables, Mullingar, Co. Westmeath. Tel: 044 9340251

Sat. 30th: with Beoga, 2.00 p.m., the Black Box (part of Open House Festival, Belfast)

Sun. Oct. 1st: with Flook, 8.00 p.m., the Black Box (Grand Finale of Open House Festival, Belfast)

'[Crooked Still] may be the most important folk group to emerge from Boston... state-of-the-art musical chops with a deep understanding of American traditional music's raw melodic grace.' - BOSTON GLOBE

'They take legacy material and, concisely and smartly, play the hell out of it in their own image. You can’t beat that.' - ALL MUSIC GUIDE

If you’re a fan of traditional American music of just about any sort, you have heard at least a few of the songs on Shaken by a low sound, the debut album by Crooked Still for the Signature Sounds label. There's a Bob Dylan song (a revved-up version of 'Oxford Town'), classic Robert Johnson (a gender-bending 'Come on my kitchen') and a Bill Monroe number (a foot-stomping 'Can’t you hear me callin’')... plus a bunch of traditional songs - some fairly well known, some obscure to even the deepest miners of such music. But no matter how familiar you may be with some of these songs, you have never heard them played this way. Crooked Still take melodic songs with fertile histories, strip them down, and rebuild them in a spirited, fun and twisted way all their own.

'We usually look for a song that’s simple and classic and that we can put a good beat to', says cellist Rushad Eggleston. 'We stay away from long, boring ballads. After a while, we as a band know when a song has this unspoken vibe. We have a sound and we look for songs that will benefit from that sound.'

Calling that sound, that vibe, unique may be the understatement of the year. Take the band's haunting version of Robert Johnson's 'Come on my kitchen'. It starts with Eggleston's deep cello bowing that classic blues-guitar riff. In comes double-bass from Corey DiMario, providing an even deeper bottom for the tune. These instruments are balanced by the higher-register, four-finger banjo parts of Gregory Liszt and the breathtakingly beautiful vocals of Aoife O'Donovan.

This is traditional acoustic blues set in a whole new light. Robert Johnson songs without a guitar? Rocking out with no percussion instruments? And above all, a cello in an American roots band? Most definitely, say the members of Crooked Still. 'The cello is like a big, low fiddle that always should have been there: tenor fiddle', says Eggleston, who studied classical music before being wooed by the charms of his first bluegrass festival. 'It provides a range and texture much acoustic music is missing. It can be like an electric guitar. All the cool rock guitar riffs are on the low strings – and that's cello territory!'

As ferociously as Eggleston's cello parts growl, O'Donovan's breathy vocals soar in a more subdued – but equally attention-grabbing – fashion while Liszt trades off between straight-ahead rhythmic picking and wildly fast, four-fingered lead banjo riffs and solos. Liszt's virtuoso and versatile style of playing got the attention of none other than Bruce Springsteen, who positioned the banjo player right next to him on the center of the stage during his Pete-Seeger-inspired 'Seeger Sessions Band' tour that hit the road in April.

Crooked Still's history goes back to 2001, when O'Donovan and DiMario were classmates at the New England Conservatory of Music in Boston. Eggleston, who attended nearby Berklee College of Music and Liszt, who has earned a doctorate in biology from MIT, soon joined up. The quartet quickly built a loyal following in Boston-area clubs, grabbing rave reviews from local newspapers and magazines. It wasn't long before they found their way to the festival circuit, drawing invitations to play huge events like the Falcon Ridge Folk Festival and the historic Newport Folk Festival. The band's reputation as a raucous live band grew and their performances across the country have cemented them as crowd favorites wherever they play.

'It seems our audience is extremely diverse', says DiMario. 'I think we appeal both to people that are steeped in traditional music as well as people who are perhaps just being introduced to it. People are always struck by the fact that we have such a unique instrumentation and approach to these very old songs. We sound complete in spite of our limited instrumentation. We sound fresh and progressive while also fitting clearly and organically in the string band tradition.'

And the band was adamant about capturing that rollicking live sound in the studio on Shaken by a low sound. 'On a general level, I like the raw energy and feel of this album', DiMario says. 'To me, it sounds like a band playing live together and not some sterilised studio version. More specifically, my favorite moments are the quiet ones. It's the times in "Lone pilgrim" or "Ecstacy", when you can hear Aoife's voice as if she were singing to you alone, or in "Come on my kitchen" where you can hear us all really listening to each other and reacting in the moment to the ebb and flow of the song. They are the kind of special moments that don't always get captured in a studio recording.'

Crooked Still are:
Aoife O'Donovan: vocals
Rushad Eggleston: cello
Gregory Liszt: banjo
Corey DiMario: double bass

Publicity requests: Flora Reed; +1 413.665.4036

'Come West Along the Road' Festival, Galway, 15-21 Dec.

[Press release]

Nashville and Irish songwriting greats Jim Rooney and Mick Hanly are to headline an exciting week of American folk music, featuring the best of visiting and local musicians on the Americana music scene.

The festival, which is sponsored by Stella Artois and the Crane Bar in Galway city (venue for all the events), will include a great variety of American folk music: Cajun, bluegrass, old-time, blues, country, and folk.

The packed programme, which consists of twelve sessions and gigs over seven days, will see other household names perform such as Corkman Mick Daly (Any Old Time and the Lee Valley String Band); Lena Ullman, Johnny Moynihan, and Frank Hall of the Monks; Arty McGlyn; five-string banjo supremo Tom Hanway; Maimin Cajun Band members Jimmy Fitzgerald, Paul Gunning, and John Martin; and many, many more.

Thursday 15 December
9.30 p.m. Greg Cotter, Mary Flanagan (country/folk)

Friday 16 December
7.00 p.m. Jimmy Fitzgerald, John Martin, and Paul Gunning (Maimim/Cajun)
9.30 p.m. The Badbelly Project: Tom Hanway (NY/USA) and Michael O’Connor (blues/gospel/bluegrass)

Saturday 17 December
7.00 p.m. Chad Dughi and Friends (Hawaii/USA/folk)
9.30 p.m. (d/s) Ruth Dillon and Bernie O’Mahoney (country/folk)
9.30 p.m. (u/s) Big Danny Gallagher (NJ/USA/blues)

Sunday 18 December
7.00 p.m. Lena Ullman, Johnny Moynihan, and Frank Hall (N. Mexico, USA/old time)
9.30 p.m. (d/s) Greg Cotter and Mary Flanagan (country/folk)
9.30 p.m. (u/s) Pete Lamb (UK), Rob Stein (USA) Darren Roberts, and Cormac Dunne(honky-tonk and country)

Monday 19 December
9.30 p.m. (u/s c/c €12.50) Mick Hanly (country/folk)

Tuesday 20 December
9.30 p.m. Ruth Dillon, Pete Lamb, Ivor Ottley, Tom Portman (UK) (contemporary bluegrass)

Wednesday 21 December
9.30 p.m. Jim Rooney (USA), Mick Daly, and Arty McGlynn (country/old time)

Contact: Mick Crehan, 087 224-5637; mickcrehan@eircom.net

Carmel Sheerin & the Ravens: Winged Winter Tour

Carmel Sheerin & the Ravens begin their 'Winged Winter Tour' on Saturday 10 December at 10.00 a.m. on Shannonside/Northern Sound 104FM, with a live radio performance and interview on the Charlie McGettigan Show.

The group takes flight at 9.30 p.m. on Wednesday 14 December at the Palace Loft in Athlone, Co. Westmeath, sponsored by the Athlone Folk Club. 10 euros cover. Media contact: Tom Hanway; 'phone (0)43-46340.

Dominic Stratton

Dominic Stratton of Castlewellan, Co. Down, well known mandolinist in the Ulster bluegrass community, who had a major operation for lung cancer this time last year, lost his battle when he passed away at 9.30 p.m. on Saturday 26 November. The funeral service will be held after 10 o'clock mass in Castlewellan on Tuesday 29 November.

Thanks to Seamus McElroy and Tony Curran for the sad news; and every sympathy to Dominic's family.

Copper Creek's 2006 Bluegrass Calendar

The Bluegrass calendar is a long-established favourite - not just a good calendar, not just a collection of fine photos to delight bluegrassers in general, but a mine of useful information and dates that are important in bluegrass music. The subtitle of this year's calendar is 'Celebrating bluegrass around the world', and it features American artists who have played a lot overseas - Bill Monroe, Ralph Stanley, Bill Clifton, Bob Paisley, Liz Meyer, the Johnson Mountain Boys, and the Williams & Clark Expedition - together with bands from the rest of the world: Nugget, Lilly of the West, Fragment, Bluegrass 45, and John Reischman & the Jaybirds.

The blurb on the back underestimates the number of festivals outside the USA, but that's no reason not to get this fine production, a bargain at $11.95. It can be ordered direct from the publishers, Copper Creek Records, from your favourite record supplier, or from the European Bluegrass Music Association, with a special reduction for EBMA members.

Cork: powerhouse of Irish bluegrass

Kevin Gill reports from Cork: 'We are tipping away at the playing. Myself, Geraldine, and the boys are playing Sunday nights at the Spailpin Fananch and Thursday nights at the Gables Bar. I play the Corner House on Monday nights with the Lee Valley String Band. Also at the Corner House on Sunday nights are Dark Road [Pete Brennan, Brendan Butler, Hal O'Neill, and Martin Styles]. This is four bluegrass sessions per week here in Cork. Is that some kind of an Irish record?'

Dublin grits its teeth and prepares to redouble its efforts. Meanwhile, the Kevin & Geraldine Gill Band have also been asked to play at a new festival in Wales, the Coastline Bluegrass Music Event, to be held at Llandudno on 9-11 June 2006, a month before the established North Wales Bluegrass Festival a few miles away at Conwy. Carmel Sheerin & the Ravens are topping the bill at Conwy this year.

European World of Bluegrass 2006: strong growth

EBMA press release, 15 June 2006

The Ninth European World of Bluegrass (EWOB) Festival took place on 25-7 May in Voorthuizen, the Netherlands, its permanent location, under the auspices of the European Bluegrass Music Association (EBMA). The winners of this year's professional band awards, voted for by their fellow musicians among the thirty-eight European bands at the EWOB Festival, are:

#1 European Bluegrass Band 2006: Mideando String Quintet (Italy)

#2: 4 Wheel Drive (Netherlands)

#3: Bononia Grass (Italy)

The MSQ will bear the title of #1 European Bluegrass Band for the next twelve months. Carmel Sheerin & the Ravens (Ireland), who were voted #1 last year, will represent Europe at the IBMA's World of Bluegrass Fan Fest at Nashville, TN, in September 2006, where they will also be showcasing at the Business Conference and beginning work on recording their second CD.

The European World of Bluegrass embraces bluegrass events taking place every spring throughout Europe. Eighteen festivals — two more than in 2005 — took part in EWOB 2006, and scores of other bluegrass and old-time music events took place during the EWOB 2006 period (27 April–5 June) in Belgium, the Czech Republic, Denmark, Germany, Italy, the Netherlands, Slovakia, Switzerland, and the UK. Ticket sales at the EBMA's EWOB Festival at Voorthuizen rose by over 25 per cent over the previous year: the Spring Festival at Willisau, Switzerland, did even better with an increase of 30 per cent. New events this year included Bluegrass Fest 2006 in Bratislava, Slovak Republic, and the 1st Bluegrass in Basel Festival in Basel, Switzerland.

Sponsors for the EBMA’s EWOB Festival include the major US companies D’Addario, Deering, and Gibson, and the Czech luthier Lebeda. Their products were among the impressive display of top-quality instruments at the Festival’s fully sold-out Trade Show. The winning raffle ticket for a Gibson A-9 mandolin belonged to Petra Klepper from the Netherlands, who will receive her prize at the Gibson Europe Office in the Netherlands later this month. Bidding for the Gibson Hound Dog guitar, Deering Vega Little Wonder banjo, and Lebeda F5 Premium Plus mandolin will remain open till the end of October 2006. This year also, the Festival's schedule of workshops added a Carter-style guitar workshop and a 'bluegrass karaoke' service; the children's program, first introduced two years ago, extended to two days.

North American artists performing at the EWOB Festival included Randy Waller & the Country Gentlemen, Greasy Beans, the Hunger Mountain Boys, and the Abrams Brothers. Bill Keith, living legend of bluegrass banjo, was again present. American artists performing in EWOB events elsewhere in Europe included Valerie Smith & Liberty Pike, Chris Jones & the Night Drivers, Randy Kohrs & Band, Neil Rosenberg & Terri Thomson, the Gordons, David Grier (with the UK's Hootenanny Three), the Moonlighters, Mike Bella & the Blue Boys, Prickly Pair, and Tim & Mollie O’Brien.

Among the European bands at Voorthuizen, this year's Audience Popularity Award winners were:

#1 4 Wheel Drive (Netherlands)

#2 Blue Grass Boogiemen (Netherlands)

#3 Rawhide (Belgium)

Other festivals taking part in EWOB 2006 were:

Czech Republic: Sazava Bluegrass Minifestival, Jilove u Prahy; Jamboree 2006, Strakonice
Denmark: Bluegrass Festival/MOTMA, Fredericia
Germany: 4th International Bluegrass Festival, Buhl; Looping Brothers Festival, Bramsche; 41st Pfingstfestival, Neusudende
The Netherlands: Strictly Country's 35th Anniversary Festival, Voorthuizen; Prewob, Nijmegen; Rabo Bluegrass Festival, Surhuisterveen; Boet'n Deure Festival, Odoorn; Midwob Minifestival, Zoeterwoude; Bluegrass Festival Hoofddorp; 24th Big Bear Festival, Zuidlaren
Slovakia: Bluegrass Fest 2006, Bratislava; Dobrofest 2006, Trnava
Switzerland: 1st Bluegrass in Basel Festival, Basel; 7th Spring Bluegrass Festival, Willisau

The tenth EWOB Festival will take place at 't Trefpunt, Voorthuizen, the Netherlands, on 17–19 May 2007. Other festival dates already fixed for the EWOB period next year include: Bluegrass Festival 2007, Det Bruunske Pakhus, Fredericia, Denmark (4–5 May); the 8th Spring Bluegrass Festival, Willisau, Switzerland (12 May); and the 25th Big Bear Festival, Zuidlaren, the Netherlands (28 May).

Nashville, Tennessee, October/November 2005

By Niall Toner

I have just returned from a five-week visit to Nashville, Tennessee, and surrounding areas, during which I forged many new writing partnerships, and renewed many old ones, and also got to play and sing with many of the legends I have come to know through their classic recordings and performances in recent years.

My visit began on September the 27th, with an appearance at the annual Jerusalem Ridge Festival in Rosine, Kentucky, the birthplace of Bill Monroe, where I performed my original Monroe tribute songs, ‘Bill Monroe’s mandolin’ and ‘The Master’s resting place’, on all three nights to an audience of about five thousand people, seated outdoors in a natural amphitheatre in the grounds of the Monroe homestead. My backing band were the Cumberland Mountaineers, and Al Jones and Frank Necessary and the Spruce Mountain Boys, who had learned my songs, and did a fine job, evidenced by the fact that I sold out of CDs. Also on the bill were the Ralph Stanley Band, Melvin Goins and Windy Mountain, Wayne Lewis, Marty Raybon, Clarence Kelly, Larry Sparks, and about thirty-five other bluegrass legends, and I was very proud to be the first ever Irish artist to appear at this festival.

Towards the end of my trip, on October the 29th and 30th, I appeared at showcase gigs during the IBMA (International Bluegrass Music Association) Annual Conference at the Renaissance Hotel in Nashville, Tennessee, in the International Suite run by the European Bluegrass Music Association (EBMA). These performances were also very well received, and as a result I placed many songs with other artists who were appearing at the same event. I was left in no doubt as to the fact that it was my original material that caused the most stir. Clem O’Brien and Dick Gladney, the regular members of the NTB, were unable to travel to Nashville on this occasion, and so for these showcase appearances I was joined by Woody Hawkins (mandolin and vocals) and John Fox (string bass and vocals), both of whom did a sterling job. Also, once again, I was honoured to be the first ever Irish artist to appear at these EBMA showcases. I owe a great debt of gratitude to Paolo and all his compatriots from the EBMA for their help and support and encouragement during IBMA 2005 in Nashville.

My time between these two performing events was spent writing with various writers, and the result was an amazing six new songs. ‘Josie's reel’ was written with Keith Sewell, who currently plays guitar with the Sam Bush Band, but who will be going out on the road shortly again with the Dixie Chicks. ‘Sailing too close to the wind’ was written with Kim Williams, who has sold in excess of 180 million records, and Larry Shell, who wrote ‘Murder on Music Row’, a number one for George Strait and Alan Jackson, and a hit for his co-writer, Larry Cordle and Lonesome Standard Time. ‘O trials, O tragedy’ was written with Terri Lynn Weaver, ‘Short story’ with Barry and Holly Tashian, ‘Beautiful disguise’ with Alison Mellon, and ‘Some things’ was composed with Don Poythress, whose recent successes have included two songs on the current Willie Nelson CD. The quality of new songs written was just wonderful, and I’m pretty sure many of them will turn up on recordings in the near future.

In mid-October, I also performed as part of a Writers-in-the-Round tour with Buddy Mondlock, Rosey from Birr, Co. Offaly, and Brian Heuston from Belfast. We played the Bluebird Café in Nashville, Eddie’s Attic in Decatur, Georgia, a University in Springfield, Missouri, and the Focal Point in St Louis. It was full houses all the way, and we also did extremely well with CD sales after all the gigs.

I was George Hamilton the Fourth’s guest, backstage at the Grand Ole Opry, where I met Del McCoury and his son Ronnie, who was sporting a recently-acquired Lloyd Loar Gibson F-5 from 1923 in mint condition! Judging by the price paid for Bill Monroe’s F-5, this one is worth a pretty penny! I also spoke with Jesse McReynolds and Mike Bub. Mike has recently left the McCourys to concentrate on freelance work. Other high points of my Nashville visit were hearing bands like the Cherryholmes Family, Alison Krauss, Ricky Skaggs, and the marvellous King Wilkie; and I would have no hesitation in recommending to any artist or songwriter that they should undertake a visit to Music City USA, if for no other reason than to soak up the very musical atmosphere of Nashville.

This article has also been printed in Bluegrass Europe #47 (Dec. 2005-Jan. 2006).

Where the BIB comes from

The Irish Bluegrass Music Club Newsletter was founded in 1992 by Dick Gladney, bassist at that time with the Flint Hill Boys of Athy, Co. Kildare, and in recent years with the Niall Toner Band. I took over the editing in 1996; it was renamed Bluegrass Ireland in 1999. The aim was to provide news of bluegrass and old-time music events throughout Ireland; to report on CDs, books, hardware, gossip, and quotes; and to link those who love these forms of music with one another and with the worldwide bluegrass and old-time communities. It appeared six to eight times a year up to early 2007, since when it has been suspended under the pressure of other commitments.

But with the increasing flow of news that has developed, a hard-copy newsletter, sent by post, will always appear too early for some news items and too late for others. The Bluegrass Ireland Blog (BIB), first launched on 21 November 2005, aims to remedy that: bands, event organisers, and any members of the bluegrass/old-time community in this island can now have news made available here to anyone with internet access anywhere in the world, practically as soon as we receive it.

The BIB's model is the original Bluegrass Blog*, established in the USA in 2005 by John Lawless and Brance Gillihan, whose example and encouragement are gratefully acknowledged. Thanks to Alice Toner for setting up the BIB, and to Eamonn Quigley for his cordial assistance.

*Reborn, transfigured, in 2011 as Bluegrass Today.

First Bluegrass Camp Ireland, 22-4 July 2016: a founder's report

Participants in the first Bluegrass Camp Ireland
(photo: Sean McGrath)

Together, Simon Humphries and T.J. Screene organised the First Bluegrass Camp Ireland, held on the weekend 22-4 July 2016 in Headfort School, Kells, Co. Meath, with the Hamilton County Ramblers of Chattanooga, TN, as the core of the teaching faculty. Thanks to Simon for this very evocative account of the event:

First off, it was kind of special. It was pretty amazing, and something a lot different from all the Irish festivals I've been to. We had twenty-eight paying customers and about another ten, including the band, three other tutors, the two of us (TJ and myself with Jenny doing the donkey work), plus four in the kitchen. Anyway, a brief report:

Friday 22nd: Folks started arriving about 12.00, and to be honest, they were a litttle confused about what they were in for. Headfort School is an imposing pile, and we wanted all to get a sense of the place before the business of the day began. TJ showed all to their rooms. Patrick Simpson had put a collection of his bluegrass themed portraits up for show. I was lucky to bag two of them. Luke Coffey started proceedings with a jam session and some bluegrass tunes to kick it off. 3 o'clock, we herded everyone into the classrooms on the top floor. Jim Pankey took about fourteen for the banjo class, the fiddlers were segregated with John Boulware, mandolin class with James Kee, Roy Curry took about eight guitarists, and Josh Hixon took double bass downstairs (those oversize violins are pretty heavy).

I sat in on the banjo class. Jim Pankey came alive in the classroom. He was wonderful. He started by asking everyone where they were at. He told stories about how he got going. He talked about how the banjo kind of chooses you, rather than the other way around. He talked about how much practice he'd done as a kid (bus on the way to /from school, first bluegrass band with schoolmates with blessing of the teachers, playing when he got home, playing after meals and homework, played till his father sent him to bed, said he'd play a bit more in the wardrobe so his folks wouldn't hear. He talked about studying Flatt and Scruggs records on 17 rpm, going over every lick 1000 times to get it exactly rhe same way. How Scruggs tried to imitate Flatt's melodies note for note on his breaks. He told us if we wanted to grow as bluegrass musicians we had to listen to the best bluegrass, continuously. How he'd put one song on a tape and listened to just that song in his car- for months at a time, till every nuance sunk into his brain. He talked about how to put swing, syncopation into the banjo to breath life into the music. To play in front of the beat. And more: he was inspiring. That was all in his first hour.

Afternoon tea and coffee, everyone seemed to have had similar experiences with their respective tutors, and were keen to get back to the classrooms. Finished at 6.00, and people retired to the bar before Luke and Paddy [Kiernan] kicked off some jam sessions. Everyone played until dinner was called.

We wanted our musicians to have a taster of some of the best food in Ireland. An innovative new food company, Edible Flower, from the north of Ireland, were doing the food for the weekend. I found them through Ballymaloe connections. A three-course dinner, featuring slow-roasted pork belly with fennel, served buffet style, was our first introduction, in one of the dining rooms downstairs. This was a chance for everyone to get to know each other. Guitarists sat with Roy, banjo players with Jim etc.

After dinner the Hamilton County Ramblers played a concert in the ballroom. The irrepressible John Nyhan as MC. They were brilliant. The concert was short, so that everyone could get on with what they were there for, which was to play. Jam sessions everywhere. Great to see beginners form their own session, and led by Paddy Kiernan. Paddy is a marvellous teacher, maybe the best in the country. He has great time and patience, is incredibly encouraging, and gets his students playing to their potential as quickly as possible. This is what his guys were telling us. Meanwhile Luke led a big session. He quit playing at 6.00 in the morning. He's a master at jamming, and got everyone involved and on the edge of thier seats.

Next morning, after a full breakfast, more classes until lunch. I took some time out, and it was wonderful to hear the sound of a distant violin, a banjo break, the resonance of a double bass resonating through the corridors and staircases of the gorgeous house. After lunch, Hamilton were back on stage to do a Q and A, with Niall Toner acting as MC. They played several songs, and talked about how they worked together on stage as a band: their respective roles, how they worked out what was going on, and how they had to adapt when things went off plan, as they did all the time. It was great.

Later in the afternoon, we had three luthiers: a violin maker, a guitar and mandolin luthier, and a bow maker. Again Niall Toner did a great job of bringing their stories to life and how they went about developing their respective expertises and what went in to building their instruments. Niall Hughes, Paddy Kiernan, and Grainne Quinlan gave a brief impromptu performance to highlight the instruments.

More jamming until another great dinner. That evening, another concert. First on stage, Luke Coffey with Lily [Sheehan], TJ, Grainne, and Niall Hughes [photo above]. Followed by Niall Toner backed up by Paddy on banjo and Niall Hughes on guitar. A different take on bluegrass, with Niall's original songs with great storytelling and great voice.

More jamming for everyone after. The space in the buildings was immense with big glorious rooms used for three or four different jams. People played through the evening till 5.00 in the morning.

Sunday, after breakfast, Niall Toner gave a great two-hour songwriting class (what a great storyteller), while Paddy Kiernan took all beginners and improvers for a five-hour class in the mechanics of music theory, band etiquette, and what's expected of you as a bluegrass musician. Great feedback here. All attendees seemed to want more time with Paddy - he was a real asset to the weekend. After lunch Luke, though tiring, led another inclusive jam. He kept everyone going until we said our goodbyes, thanked everyone, and people started to drift off. 6 o'clock, all our customers were gone, leaving us the evening to reflect on how to do it all better next year.

Highlights for me: first and foremost, that people enjoyed it. Some lovely comments - Jim Curry: 'this is the most beautiful room I've played in - ever'; Karina: 'I fell in love with my fiddle again' (one wag's reply: 'I fell in love with drinking again'); Yvette: 'this was a life changer for me'. To see Jim Pankey sit with beginner banjos at 2.00 in the morning and spend an hour showing them stuff. The guys from Hamilton were great fun as well as outstanding musicians. The food, the concerts, the classes, standing on the balcony overlooking the stunning gardens with a pint of Guinness listening to beginners and pros playing great bluegrass.

We've asked everyone to give us feedback so that next year it'll be even better. Date to be announced shortly. We can't wait. This will be an annual fixture.

Athy 2008 photos

Leroy Mack with Special Consensus (photo: Dave Byrne)


Leroy Mack and Dave Byrne (photo: courtesy of Dave Byrne)


Greg Cahill (photo: Dave Byrne)


Martin McWhorter (mandolin), Richard Hawkins (banjo) (photo: Dave Byrne)


High Country perform their gospel set (photo: Dave Byrne)


Martin Cooney & Bending the Strings (photo: Dave Byrne)


High Country (photo: Dave Byrne)


Special Consensus (photo: Dave Byrne)


Woodbine (photo: Carl Mark O'Neill)


Nicola and Tony O'Brien (photo: Carl Mark O'Neill)


Niall Toner (photo: Carl Mark O'Neill)


David Thomas and Justin Carbone of Special Consensus (photo: Carl Mark O'Neill)


Geraldine Gill (photo: Janet Holmes)


Greg Cahill (photo: Janet Holmes)


Colin Henry & Leroy Mack (photo: Janet Holmes)

PRESS RELEASE – Gerry Madigan and George Kaye - Irish tour Oct./Nov. 2017 

Two pioneer maestros of bluegrass music in Ireland bring it all back home!

Gerry Madigan and George Kaye made their separate marks on Ireland’s live music scene in two phenomenally successful bands of the late 1960s and 1970s, and both of them did it by opening the ears of ballroom audiences to the sounds of authentic Americana. The vibrant dancehall circuit,
dominated by big showbands, was already changing under the influence of new bands with ‘Country & Irish’ instrumentation and repertoire. George Kaye, in the Smokey Mountain Ramblers, and Gerry Madigan in the Cotton Mill Boys pushed the envelope further, changed the way audiences viewed country music, and set new standards of excellence.

The Smokey Mountain Ramblers served up a unique sample of old-time country, bluegrass, Carter Family, and roots music. George was the first musician to front a full band on the ballroom circuit playing electric fiddle, and wowed packed houses with his dynamic rendition of ‘Orange Blossom Special’ and other bluegrass favourites.

The Cotton Mill Boys, featuring Gerry on 5-string banjo, vocals, and pedal steel guitar, was the first band to feature the 5-string banjo, the core of bluegrass music. They were also the only Irish band capable of playing live on stage ‘Foggy Mountain Breakdown’ or ‘Dueling Banjos’, known throughout the world through smash-hit movies ‘Bonnie and Clyde’ and ‘Deliverance’. They extended their reach from ballrooms into cabaret venues throughout Ireland and the UK; won ‘Opportunity Knocks’ (similar to today’s ‘American Idol’) with their new fiddler, Charlie Arkins; recorded 15 albums and 25 singles; and the only band in history to have a #1 and #2 hit record concurrently in the Irish music charts.

Besides playing on the live music circuit, Gerry and George were both in high demand in recording studios, and took part regularly in Folk Sessions, jam sessions, and anywhere bluegrass enthusiasts gathered. As the dancehall circuit waned in the late 1970s, they teamed up with mandolinist Dermot O’Connor (whose band Spud had a #1 hit record in the Irish music charts) to form Mash – a three- piece acoustic band playing bluegrass mixed with old-time, Cajun, and solid folk and roots music, delivered with red-hot impeccable instrumentals and tight vocal harmonies. Mash was signed by Polygram Records, released one single and one album, toured Ireland and the UK, and held a regular Dublin residency at The Tailor’s Hall, playing to packed houses.

Gerry Madigan and George Kaye have been called ‘seasoned professionals’, and their offering of live music today is one born of a lifelong love for bluegrass music, years of hard experience on the road, and the illustration of that experience in the songs they have written. They are well known and respected among the musicians and devoted longtime fans of bluegrass and acoustic country music. And for today’s younger audience, avid to hear this music, these two guys are the ‘real deal’.

Gerry has enjoyed a successful career as a best-selling author and as a keynote speaker on the international speakers’ circuit throughout Canada and the USA, and now lives in Calgary, Alberta, in western Canada. He has also just released a new CD of all original songs, entitled Wild Bird, Fly Free (available on iTunes).

George has enjoyed great success with multiple bands (including the Permanent Cure) in the UK and Germany, and now calls Germany his home. But now they're 'bringing it all back home’ with their visit to Ireland in October 2017. Playing a rich blend of authentic bluegrass, folk, country, and roots music (sprinkled with some original compositions), they will be playing a series of acoustic concerts (with a special guest at each show) in a select number of intimate theatres and clubs throughout Ireland. Two pioneers of bluegrass music in Ireland coming together to provide an exciting night of dynamic live music entertainment - this is a show not to be missed!

To book Gerry Madigan & George Kaye for your music venue, please contact Denise Hyland at MMI Music (denise@mmimusic.ca ) or Gerry Madigan (gerry@mmimusic.ca ) A final list of their tour dates and venues will be published on the MMI Music website (www.mmimusic.ca) in September. 

Welcome to the BIB

The Bluegrass Ireland Blog (BIB) keeps its calendar updated, publishes news received, and adds new features whenever they come to mind. Send in news or queries by e-mail, please; we can't send a direct reply to a comment on a post. The BIB does not do reviews or accept posts with 'marketing messages'.

Thinking of touring in Ireland? Look at the BIB's THINKING OF TOURING IN IRELAND? page (recently updated). Click on the 'Welcome' label below for more about the BIB's background, purpose, and uses.

THINKING OF TOURING IN EUROPE?

Revised September 2016

The following is a slightly revised and updated transcript of a detailed four-page memo, 'Thinking of touring in Europe?', produced some years ago by the European Bluegrass Music Association (EBMA).

The original version of this document was compiled from contributions by two distinguished leaders of American bluegrass bands with considerable experience of touring in Ireland.

The early draft has since been comprehensively rewritten and expanded by Kevin Lynch of the EBMA to apply to Europe in general, but all the advice holds good for anyone considering a band tour in Ireland.

THINKING OF TOURING IN EUROPE?

Perhaps you’ve heard how rewarding the experience can be? New friends, new environments, new cultures, and new music – these things and more are all exciting and true. However, bands from America should keep the following general points in mind.

Representing bluegrass abroad
A tour to any foreign country takes planning, preparation, and thought far in advance. A year or more in advance is not unusual. And bands considering touring abroad should seriously ask themselves if they are ready to act as ambassadors of bluegrass music, because that’s exactly what they will be doing. An overseas tour is not just a paid vacation. It presents many challenges, and when show time comes the band is expected to deliver first-class music and entertainment. A leading bluegrass musician once said: ‘You’ve got to do your best on stage, and you’ve got to have a best to do it with; otherwise it hurts you and it hurts us.’ A band that delivers less hurts not just itself, but the promoters, the professional musicians who are trying to make a living with their music, and any potential audience for bluegrass music in Europe.

Are you still with us? The following tips and suggestions may help you prepare for your tour. But please note: they have not been checked out from a legal viewpoint. Every European country has different regulations affecting such things as work permits and the import and sale of CDs. Make sure of where you stand on these points in each country where you want to go.

European venues
You are entering a crowded market. The bluegrass music scene in Europe is now well established and expanding annually. Naturally, many bands want to get into it. However, compared to the USA the number of potential jobs is limited, especially for new, relatively unknown bands touring for the first time. In addition, many venues cannot afford to pay as much as similar venues in the USA. The O Brother, where art thou? factor has not boosted the music in Europe as much as in North America.

On the positive side, if you’re prepared to perform at most any type of venue – from cafés and house concerts to theaters and festivals – you’re more likely to realize financial success at the end of your tour. Playing two gigs in one day (afternoon / evening) is a good way to supplement your income. Alternative venues can also be found through arts councils, cultural centers, universities, elementary schools, etc.

Contacts, booking, and promotion
An unrivalled database of contacts is the European Bluegrass Directory, now in its sixth edition, published by the European Bluegrass Music Association (EBMA). It has 750 entries covering every European country with an active bluegrass / old-time music scene. The listings include national bluegrass associations, festival and concert organizers, and promoters. Some of this information is also available in the EBMA magazine Bluegrass Europe and online at www.ebma.org. The European Bluegrass Directory is available for the price of postage (US$5.00) by writing to:
EBMA EBD, c/o Paolo Dettwiler, Steinenweg 8, CH-4133, Pratteln, Switzerland.

[Update 2016: Unfortunately, the EBMA no longer publishes the Directory, and its website at present does not give an equivalent range of information, except for the list of festivals across Europe. The Bluegrass Ireland Blog carries links to the websites of national bluegrass associations in Europe.]

A band or artist website, professionally recorded CD, and promotional material is essential. Promoters who don’t already know your music can research your materials online and form their own conclusion whether to pursue the possibility of a Euro tour. Many venues request press kits. These can be emailed (or put on your website for easy access), but high-profile venues usually want hard copy. Send all packages by air mail; surface mail is much too slow. Determine all needs for promotion, and provide whatever is needed or requested as soon as possible.

It is certainly possible to organize your own tour without involving a promoter or exclusive agent, but chances are you will need a lot of assistance your first time around. The Internet is an excellent starting point for researching potential venues, associations, and promoters. Emailing promoters is also a good start. You may or may not find a promoter willing to help book your tour. A primary agent who coordinates the whole tour can be very helpful. Associations can offer a wealth of information and are generally interested in doing so. But don’t expect them to do everything for you; they have lives of their own. However, they may be able to suggest venues in their area, advise you on work permits, and so forth. 

Bear in mind that very few promoters or agents in Europe are currently able to arrange full tours for a US band, and those few are flooded with requests. Some tend to work as individuals, setting his/her preferred dates. Others may become involved in booking your group, but only once a primary agent contacts them requesting additional bookings for your tour.

After making email contact, a personal conversation by phone is always best. Call repeatedly until you reach the person in charge. You can usually proceed with email or postal mail after that. Keep a dedicated folder of all emails sent and received. This will save you a lot of time, as well as provide you with a record of what was said and when.

Occasionally two or more bands may be touring at the same time, competing for the same few venues. In that case, your tour may become less viable financially, for you and the promoter as well. Do your own research – try to find out if any other bands have confirmed dates in the regions you hope to visit, before scheduling any dates of your own that might conflict.

Logistics, expenses, and currency exchange rates
Once you’ve made contacts and have an idea of the areas you may be visiting, set a time frame for the potential tour. That will give you a starting and ending point for estimating many aspects of your trip. You may want to consider the travel distance between gigs to determine whether your potential tour is even feasible. For routing you should use a detailed European atlas.

Once you have determined the first and last dates, check airfares and vehicle rental rates for your time frame – and book flights and vehicles well in advance. If you know what nights you will need to pay for lodging, estimate those costs as well. Some venues provide lodging and meals; some do not (see Accommodations below).

Estimate total mileage and then fuel costs. Fuel will be a major expense in all European countries. You might consider renting a vehicle with a diesel engine and standard transmission for the best rates and fuel economy. If you are touring in Europe for more than two weeks, Renault ‘EuroDrive’ has an excellent lease program with brand new vehicles and extensive coverage included in the price. The leases are tax-free for non-EU citizens. Be sure to check which countries are not included in the contract.

Try to include a rough estimate of potential product sales in your trip expense estimates. After estimating total tour expenses you can then determine an estimated range for performance fees necessary in order to cover expenses and pay personnel. Just to be on the safe side, it may be a good idea to allow for miscellaneous expenses that may occur…and they usually do.

Be aware of the currency exchange rates that will apply to you when estimating your expenses and income. In most countries you will be paid in Euros. As of this writing, exchanging Euros to US dollars will result in a higher total income figure.

Foreign banks and currency exchange kiosks charge relatively high fees for converting your US cash to Euros. When making major purchases in other countries, you will find a credit card to be the best deal. It will automatically include the exchange rate at the time of your purchase, with no additional fees.

For your cash needs, the ATM machine can be your best friend! As long as a Cirrus-affiliated bank issues your ATM card, you can always get ready cash. The only dollars you will need in your pocket are whatever you might have immediate need for on your return home.

Booking flights
As mentioned above, once the first and last dates of your tour are confirmed – book your flights. Booking well in advance usually results in the lowest airfare possible. It is also cheapest to fly into and out of the same airport. Non-stop flights are always the best option. Try to book your final tour dates accordingly. If you consult a travel agent well in advance of your departure date, he/she should be able to shop around for the best fares possible. It’s a good idea to book flights through a travel agent. If you run into any complications during your trip, your travel agent is likely to get immediate and positive results for you. Many a musician’s problem at the airport has quickly been resolved over the phone by a travel agent.

It is best to arrive at least one day earlier than your first gig! Most international flights are overnight flights. It can be a real chore adjusting to the time change. If you have a long drive to your first gig, take that into consideration as well when choosing a departure/arrival date.

Instruments
Flying with instruments is generally not a problem. Many musicians with flight experience choose to carry them onboard and store them in the overhead compartments or in closets. Ordinary instrument cases, up to and including the size of guitars, will fit into most overhead compartments.

The major anxiety about checking instruments in baggage is the chance of theft or damage. If you’re checking your instrument, it is unwise to use anything but a sturdy flight case. Ordinary instrument cases can get severely damaged on flights... and it does happen! People with secure flight cases can check their instruments in baggage with no second thoughts.

Regardless of which method you choose, it’s wise to take the tension off the strings – most luthiers recommend dropping them at least one full step below 440 tuning. It’s also a good idea to cushion the neck with soft material where it rests on the inside of the case. Some banjo players remove the neck and wrap it in cloth inside the case. These measures can help prevent damage due to extreme temperature changes, or to sudden shock caused by throwing and/or dropping your instrument on its way to and from the aircraft’s baggage compartment.

With a little research, bass players can arrange to borrow or rent a bass while in Europe. It is customary to bring the owner a new set of strings if you will be borrowing it from someone.

Transportation
As mentioned above, consider renting a diesel vehicle with standard transmission for the best rates and fuel economy; and examine the excellent Renault ‘Eurodrive’ lease program if you’re touring for more than two weeks. A large van is highly recommended for a band. These can be surprisingly comfortable if you choose your vehicle wisely… even when storing an acoustic bass. A seven-passenger van is ideal for a four-, five-, or six-piece band. A nine-seat van is luxury! Some bands opt for multiple cars during their tour, but most find vans to be the best option.

Driving can be a challenge. However, the highways and secondary roads are well marked these days and shouldn’t be a real issue for most visitors. Again, it is a must to have a detailed European atlas. Be aware that direction signs list the upcoming cities and towns in descending order, with the top being the next city/exit up ahead.

Do not underestimate travel time from one place to another! Today’s European highways can be very crowded, especially when approaching major cities. And not all venues are on or near fast roads.
Respect the speed limits and pedestrian traffic. There are often traffic cameras that will take your photo as you pass by if you are speeding. This can be true on even the most secluded roads. There are usually warning signs that traffic cameras are up ahead. If you get your photo taken, chances are you will be receiving a fine in the mail a month or two later!

Drinking and driving is not tolerated in most foreign countries and can result in harsh penalties.

Accommodations
If possible, try to arrange all lodging in advance. It may be possible for your representative in each country to help you with information, or perhaps even make your reservations for you. Some venues provide lodging and/or meals; some do not. It is not unusual to be hosted by a family in their home. Chances are if you don’t ask for accommodation, it may not be offered. Either way, you should definitely confirm lodging in advance – especially for your first night. If – as is likely – you have an overnight flight, arriving early next day in Europe, you will not feel like running around trying to find a room.

On arrival in Europe, most people find it best to try to stay awake until the evening. A long night’s sleep seems to help international travelers adjust to the time change.

Merchandise sales
It is virtually imperative to have a recording to sell to help make your trip a financial success. The CD is the medium of choice. Cassette tapes are not popular and very few may ever be sold. Other products (T-shirts, caps, photos, etc.) usually realize limited sales. You may want to consider whether it is practical to cart them all the way overseas. Bear in mind when packing your luggage that you will be dragging it everywhere you go! You can save a lot of time, some money, and hassle by shipping product ahead well in advance. Contact your host, agent, or first gig venue and arrange to have it delivered to them.

Different cultures
First of all, be aware that you are entering a vast territory of different cultures. You are not in Kansas anymore! Keep an open mind and don’t be afraid to try new things. As a rule, people living outside the cities in Europe enjoy a more relaxed, slower-paced life. Try to go with the flow. Enjoy the different cultures you will be experiencing for a relatively short period of time, and remember that you are essentially representing your own country.

As one might expect, the food in different countries is varied and specific to each region, and there are some amazing dishes to be had. The nearest thing to a full American-style breakfast is in Britain and Ireland. The usual Continental breakfast fare is fresh baked bread/rolls, some cold cuts, cheeses, a boiled egg, juices, occasionally cereal or oatmeal, and always tea and/or coffee. A typical meal in a restaurant or private home is generally a slower-paced experience than you are accustomed to having at home. Evening meals are typically a time for enjoying good company and conversation. It’s not unusual for a meal to last a couple of hours in some cases.

Business hours are very different from the USA. Keep that in mind when planning to buy food for the road, using banks or the post office, and so on. Many businesses are closed on Saturdays and most are closed on Sundays, with some exceptions in the cities. Holidays are also an issue when travelling – especially in regards to highway traffic.

Again – keep an open mind and enjoy your tour if you are fortunate enough to be chosen to perform in other countries. We hope this guide for touring will help you on your initial journey into international bluegrass music territory. The bluegrass friends and fans overseas are knowledgeable and extremely appreciative. You can’t help but have a good time; and a good relationship with the people and venues you encounter will make a return tour a lot easier.

The European Bluegrass Music Association thanks the experienced international promoters and touring artists whose contributions made this guide possible.

The European World of Bluegrass (EWOB) Festival is held in May every year in Voorthuizen, the Netherlands. Full details are at www.ewob.eu. NOTE (added 16 Jan. 2017): the twentieth EWOB Festival, to be held on 25-27 May 2017, may be the last, so don't miss it!

Mala & FyrMoon press release June 2016

BIB editor's note: This is not a facsimile of the press release as received, and lacks the design and graphics of the original. However, the text is complete and unaltered.

Mala & FyrMoon: Carrying sounds from the Swiss Mountains to the Irish Island [June 2016]

Writing new songs and taking them to other countries are Mala & FyrMoon's two passions. This time it’s Ireland’s turn! Several shows are coming up with all original songs and instrumentals, brought to you right from the Swiss mountains:

June 22: Kilkenny, Ryan’s Bar, 9.30pm
June 24: Waterville, Tech Amergin Arts Centre, 8pm
June 25: Cork, Sin È, 10pm
June 26: Shanahoe, County Laois, house concert, 8pm

Composing On Bicycles

Mala & FyrMoon’s ”Celtic Americana” style is inspired from both sides of the Atlantic, by bands like Alison Krauss & Union Station or Lunasa. Their songs tell stories about snow-covered mountain peaks, travelling the world, matters of the heart and lonely cowboys...

For composing, they often ride their bicycles escaping to another world, the mind fixed on just one thing: climbing that distant mountain on two wheels. Memories and thoughts passing by. All of a sudden, that ultimate phrase enters the head. It already comes with a melody, free of charge. Don’t lose that idea! Go type it into a smartphone or on a piece of paper. Once the end of the road is reached, a new song is born.

Bio

Mala (vocals, fiddle, mandolin, guitar) grew up in a musical home, where every day there was playing and singing by her parents. She started her classical violin education at the age of 8, and trained her voice in regular singing lessons. Inspired by her mother’s record collection, she also fell in love with American and Irish folk music. At festivals, she participated in jams and sessions to learn about fiddle playing. Mala performed with various folk bands in Switzerland, choirs, orchestras and theatre projects. Recently, she opened up for the Kruger Brothers and shared the stage as a guest with Dale Ann Bradley and Steve Gulley. In 2014, she was awarded a workshop scholarship by the European Bluegrass Music Association (EBMA).

Stefan (vocals, guitar, dobro, mandolin, bass) was raised in northern Germany, where he learned about Bluegrass music by listening to a distant FM radio station in Hamburg. Leaving a deep impression, at age 15 he began to play 5-string banjo. With no teachers around, no Internet yet, just instructional books and records. He finally met like-minded musicians, and trained his musical skills at jams - and by using his ears. His former bands include bluegrass- und acoustic rock projects in Germany, Switzerland and San Francisco.

In 2015, they took their new album ”On The Run” to Ireland, this winter to Folk Alliance International (Kansas City) and to music city Austin TX. It’s a bucket full of fresh music with vocals and tight harmonies that will light a small ”fyr“ in your heart. A next recording project is already scheduled, album release planned for spring 2017. So who knows what new songs will come into their minds travelling - or cycling - the hills of Ireland? No commercial music, no big show, but unique to the core – don’t miss out!
In Short
Swiss band (Duo/Trio) - on the road since 2009
original ”Celtic Americana“ with vocals & harmonies, fiddle, guitar, dobro and mandolin
tours in Switzerland, Germany, Netherlands, Sweden, Ireland, USA (Grey Fox Bluegrass Festival, North Carolina, New York, Texas)
albums: ”Simply a Lotus“ (Mala 2011), ”On the Run“ (Mala&FyrMoon 2014), ”Woanders & Elsewhere“ (Stefan 2015)

Quotes

“…more than their individual contributions as singers, songwriters and instrumentalists, it is the musical interplay, the well-arranged original compositions and the interaction with their audience. They immediately won their audience’s hearts at their Folk in Heaven concert”
Stephen Ferron, Article in „Country Style” magazine

“...it’s music that overcomes you gently, and cheers you up, and whose melancholic gleam ensures you to stay connected to your roots. ... Three connoisseurs are at work who play brilliantly and pass on their joy about singing and about a good arranged song to the listener“
Pirmin Bossart, CD Review in „041 – Luzerner Kulturmagazin” (art magazine of Lucerne)

“Other bands play music – Mala & FyrMoon celebrate it“
Ruedi Antonietti, Swiss fan

“I was blown away! Great vocals and harmonies. You guys have it going on! Your originals are great. Well done!“
Rich Cormier, Canadian Fan