Archives for posts with tag: Music

she_moved_through_the_fair_margaret_barry_seamie_odowd_and_mary_mcpartlan

Celtic Connections columnist Anni Donaldson reviews one show looking at the life and music of Margaret Barry

This article first appeared in Common Space https://www.commonspace.scot/articles/10265/anni-donaldson-century-apart-art-margaret-barry-and-karine-polwart

THE gulf separating the lived experience of singers Margaret Barry and Karine Polwart could hardly be wider. 

Margaret, born into a family of street musicians in Cork in 1917, and Karine, a 40-something from Edinburgh, show the distance women have travelled in the world of traditional music and song.

‘She Moved Through the Fair’ by Colin Irwin and Mary McPartlan, which played at the Tron Theatre as part of Celtic Connections, gave us a funny, poignant and honestly tuneful evocation of Barry’s colourful life.

Karine Polwart

Finding herself homeless at 16, she took her chances on the road with just her bicycle and her ‘banji’, as she called it. Living rough at times and singing for bed and board, she traipsed around Ireland’s cities and country fairs singing on street corners, in pubs or wherever she could earn her keep.

Although she learned the hard way how to command an audience and compete with the clatter of street and stall, her powerfully sweet and melodic tones gave voice to Ireland’s eternal longing for itself in ballads of migration, of loves lost and found, of failed rebellion and roving in the years after the failed Easter Rising.

The self-styled ‘Queen of the Gypsies’ was strong in the face of the Irish Catholic Church’s view of independently-minded single mothers like herself, of a male-dominated culture and general prejudice against travellers – she held her own and had the last laugh.

Read more – Anni Donaldson: James Kelman on the Dirt Road to Lafayette

Bumping into tradition-hunters Robin Roberts and Alan Lomax in 1951, Barry’s gifts were recognised and she went on to become the centre of the growing Irish community in London, taking up residence at sessions in the famous Bedford Arms with her new musical partner, fiddler Michael Gorman.

Caring little at all for her appearance, lack of front teeth and more for stout, Margaret went on to a colourful career touring the US. Mary McPartlan (main picture) lovingly rendered Margaret’s signature songs like the Galway Shawl, The Factory Girl, My Laggan Love, the Wild Colonial Boy and others including the exquisite title song.

Larne-born actor Ruby Campbell’s fine portrayal of Margaret through her life gave a real sense of this huge character and the size of the toss she never gave for convention or sobriety.

Polwart’s play, Wind Resistance, by contrast, expressed more 20th century concerns for land, nature, community, birth and motherhood. Centred on her beloved Falla Moss, Polwart’s multi-dimensional performance combined songs and stories old and new, chat, audio interviews and wondrous back projections of geese in flight.

Read more – Anni Donaldson: Is it time Scotland paid a new piper?

Polwart drew the connections and cooperation between bird, land, people, history and agriculture, weaving her tale around the love story of Roberta and Will who settled in Falla Moor in 1919. This deeply moving musical essay shared one highly creative woman’s art through reminiscence, via football, medieval medicine, peat bogs, moss and birth.

That Polwart had the funding and freedom to do what Barry could only do by force of will shows how far we have come in recognising the art women can make given half a chance.

We must thank Celtic Connections for reminding us of those uproarious foremothers like Margaret Barry who carved those first paths through the peat bog of centuries of tradition and silt and ended up on the boards of the Tron Theatre.

Pictures courtesy of Celtic Connections

https://www.commonspace.scot/articles/10254/anni-donaldson-james-kelman-dirt-road-lafayette

Our Celtic Connections columnist Anni Donaldson goes on a musical journey with Dirt Road author James Kelman

j-kelman

JAMES KELMAN in conversation with Alan Bisset at a packed ‘meet the author’ session at this year’s Celtic Connections festival was full of surprises. 

The ‘connection’ celtic-wise between Kelman’s latest novel, Dirt Road, and Glasgow’s annual music festival is stronger than you might expect from Scotland’s renowned Booker prize winner, known mainly for his dark and gritty urban tales.

Kelman’s latest novel, which began life as a screenplay for the forthcoming film Dirt Road to Lafayette, is long in miles yet existential in spirit. This sojourn from Bute (maybe) to Louisiana via Alabama is a coming-of-age odyssey steeped in grief, west of Scotland male-style.

Read more from Celtic Connections – Anni Donaldson: Is it time Scotland paid a new piper?

It is a masterful portrayal of the inner life of Murdo, a bereaved, helplessly inarticulate 16-year-old accordion wizard, and Tom, his excruciatingly silent and grieving father. The moment when Murdo finally stops flayling around in his scant emotional vocabulary and gets to the point of his life and the book is simply a joy. That point is music.

The life-changing connection between oor Murdo and the Lafayette’s Zydeco culture he encounters on his travels is the core of the book’s journey. The discussion at the event revealed Kelman’s hitherto quiet passion and breadth of knowledge about American traditional music cultures which began when he emigrated to the States as a teenager with his family in the 1960s.

The musical mash-up between Kelman’s youthful musical discoveries and his political views emerged. For Kelman, the music of Appalachian, Zydeco, Cajun, Blue Grass, Hispanic, Scots and Irish cultures were all essentially “black and white working class people’s music which went around the world and moved people”.

They shared a common root in the experience of “poor people with agricultural roots making joy in their lives”. For Kelman, this music links Scots, Irish, African-Americans, Hispanic, Creole, French Canadians, Louisiana settlers and many more besides.

The maritime journeys and the fiddles, whistles, drums, accordions and harmonicas in their baggage created the opportunity for a shared migrant language which set the scene for jazz, blues and modern popular music.

Preston Frank and daughter Jennifer

Before the Beatles, the Everly Brothers had snuck their own rural family and community tradition of music and song into the emergent pop music of the 1950s. Blues hunters like Alan Lomax fed an appetite among the youth of Scotland and the UK for the truth of the African–American experience rendered in music and song and encouraged them to give voice to their own lives.

The forces of commercialism in popular culture in the 1960s tried their best to distance the new generation from its own cultural roots on both sides of the Atlantic while the previous generation hung on despairing that no one would listen.

Fortunately they did not succeed, family and community ties remain strong and Kelman’s pleasure was plain to see as he introduced his ‘Dirt Road Band’. The line up included Zydeco button box wizard Preston Frank and his daughter Jennifer on bass (pictured), Dirk Powell on fiddle and guitar and his daughter Amelia on guitar, and accordion player and singer Neil Sutcliffe (aka Murdo in the film).

Illustrating Kelman’s point perfectly, the set of Zydeco rhythms including Scottish and American versions of the famous MacPherson’s Rant had the audience not quite knowing whether they were in Townhead or Texas.

James Kelman, Dirt Road, Canongate 2016

Celtic Connections finishes on 5 February 2017.

Pictures courtesy of Anni Donaldson

%d bloggers like this: