Innovative Irish ensemble the Gloaming takes on NYC (VIDEO)


Big Apple was baked in glorious weather over the past weekend with sunny days devoid of the uncomfortable humidity that will inevitably visit us over the summer.

It was a fortuitous time for the very innovative Irish music ensemble the Gloaming to make a return visit to New York City on a very brief three gig tour that also included an arts festival in New Haven, Connecticut followed by two nights back to back in the Greenwich Village area of Manhattan at two different locales. Each had its own vibe and purpose, but both managed to capture the mystique of the nascent Irish music troupe that also includes a New Englander now resident in New York City who is well plugged into the local music scene.

Like the English phrase it takes its name from describing that exquisite time when day passes into night, the Gloaming group of stellar musicians take us on a passage from ancient Irish music into a more contemporary world around us in an entertaining and satisfying fashion.

The periodic band came together in August of 2011 arising in part out of the ferment of Culture Ireland’s Imagining Ireland initiative spurring Ireland’s artistic sector to reach beyond its own borders while also stretching its impact at home and abroad.

The collective features Martin Hayes, Dennis Cahill, Iarla Ó Lionáird, Caoimhin ÓRaghallaigh and Thomas Barlett, who first came together at the West Grouse Lodge Studios in Westmeath to begin their musical exploration prior to beginning a tour in Ireland.

All were accomplished artists who had achieved success in their own spheres and were also known for pushing the explorative envelope through other collaborations but were drawn to one another for a variety of reasons.

The youngest of them is Bartlett from Vermont, who at age 12 “stalked” Hayes and Cahill in Ireland on a trip with his parents and followed their work from then onwards as he developed into a much-sought after piano accompanist and musician known as the Doveman around New York musical haunts.

Along with Cahill, a native Chicagoan born to Irish parents from the Dingle Peninsula, Bartlett establishes a rhythmic foundation for the others to follow and interact with throughout the course of their performances.

The centerpieces then are Hayes on fiddle alongside ÓRaghallaigh who plays a hardanger damora fiddle (from Norway). They also perform as a trio with Peadar O’Riada (son of the iconic Sean) called Triúr who skillfully fill spaces or enhance one another’s playing on a variety of pieces on the set list.

Ó Lionáird, steeped in the sean nos song and Gaelic language milieu of the West Cork Gaeltacht around Cúil Aodha, has long been recognized as one of Ireland’s most authentic voices in that tradition, while also achieving brilliant success with mega popular Afro Celt Sound System. He steps up boldly in this unit giving voice to centuries old poetry and songs in the mother tongue.

While their gigs together may be intermittent, their combined star power and abilities allow for indescribable musical magic to flow when they are on stage together as this past weekend proved in many ways.

First up was a multi-faceted appearance at the Greene Space, the street level performance space for WNYC radio ( as part of a concert series called “New Sounds Live,” produced as part of the weekly New Sounds radio program hosted by world music aficionado John Schaefer.

Schaefer was smitten by the group’s music from previous performances in town and also by their self-titled new CD and invited them to perform live at the unique hall at the corner of Varick and Charlton streets. The facility also allowed for a live webcast to be aired online at site which Schaefer interrupted his vacation to emcee and interview the artists in between pieces of the show. (You can see this show on archive at that website also).

Audience members got to experience the visual aspect of the webcast through automated video cameras and flat screen monitors in house which enhanced their appreciation of the tight stagecraft and personal interaction that made it such a brilliant show.

Ó Lionaird was perched alongside Bartlett’s piano either at the harmonium borrowed from Cleek Schrey or at the vocal mike center stage. The singer, who turned 50 on the day they were coming to New York, tenderly gave us a song he first heard at the age of eight that was hundreds of years old as part of the sean nos song tradition appearing on the new recording as “Song 44” as Ó Lionaird titled it.

Much of his material comes from these art songs from times when poetry was king and songs were unaccompanied because they had their own grace and airs that didn’t need embellishment.

Others like “Slan le Maigh” display that powerful connection between the melody of a song air and the instrumental one which may have inspired the words or derived from them. In either case the emotion is palpable and brought to life by a singer like Ó Lionaird.

The instrumentals fueled by Hayes and O’Raghallaigh are rapturous as they “find space for one another between the notes and at other times feed off of it” explained O’Raghallaigh to a query from Schaeffer mid-show.