we’re all saints and sinners
There are people who think it odd for me to live in society and not be of it, but I’m quite okay that way. This is mostly because I have a difficult time following popular culture…I simply don’t buy into the illusion. If you are an actor or musician, make me feel something; don’t sell me sneakers, I don’t care who you’re shagging, and I’m not interested in touring your home. The business of manufactured celebrity strikes me as abhorrent; most of the time it is a slight of hand meant to distract from a truly talentless core. Real ability can often be found in those who will likely never find the cover of People or play Madison Square Garden. But if these guys do, I can say I knew them when…
A few years ago, I accompanied the Young Dubliners for 10-or-so days of shows in Ireland, which almost immediately became less about touring the homeland, and more about seeing the inside of pubs. More pubs than I can count and more alcohol than I’ve ever consumed – talk about a hooley, I still have folks telling stories about the trip that I can’t seem to recall.
In short, I consider the lads as friends, very gifted ones at that, whose music is a delight. The new album, Saints and Sinners, continues on from the folksy covers on With All Due Respect: The Irish Sessions, this time highlighting their original music, and mixing a unique recipe of rock with celtic sounds. There’s no Enya here, this is genuinely durable music. The singles give an idea of their live experience (something I highly recommend) – with soaring energy, political poignancy and lyrical tightness. There are some powerful external collaborations on this album, which seem to provide further focus on the boys’ individual talents – the symbiosis between Brendan’s bass and Bob’s drums is superb, and Chas’ fiddle is simply frosting on a tasty YD cake.
Not a dud among them (the Dubs or the tracks), I found Rosie and In the End had the most in-head-staying power. Most unlike the time in Ireland.
