FT: You’re known for your travels, and there can’t be too many spots in the world you haven’t been to. Many artists complain about life on the road, but you seem to thrive on it. Why so?
AI: I’ve always been excited by travel. When I was about 13 I started collecting maps and planning journeys on my bicycle. I started hitchhiking when I was about 17 and often travelled to places just to see what they looked like! I bought a motor bike when I was 19 and travelled all over Ireland on it. I don’t know where all this love of travel came from but it still drives me on.
FT: The new album, ‘Precious Heroes’ is a collaboration with Australian musician Luke Plumb. Can you tell us a bit about it and how it came to be?
AI: I heard Luke Plumb playing at a session in Tasmania, where he comes from and made a mental note to remember him. He joined the Scottish band – Shooglenifty – and a few years later he produced an album for a couple of Australian friends of mine, and did a really good job. I wanted to do something a little bit different and asked him if he’d produce it. That’s how it came about.
FT: The new album celebrates working class heroes, people who have fought the system and that theme has run through your music throughout your career. People like Damien Dempsey and Mick Blake are keeping that tradition of protest alive. Folk music rather than any other type of music, has always been seen, and continues to be seen as the perfect medium for such protests. Why do think that’s so, and is it still the case?
AI: Yes, I think it is the perfect medium for songs of protest and more, for me, a medium of reminding the listener of people who had fought the bad things of the system they lived under. I was always horrified that history in school was about kings and rulers and never even made a mention of those who had fought for the shorter working day and better wages.
FT: Over the years you’ve played with some of the finest musicians in the world. Difficult I’m sure to narrow down, but which stand out? Either in terms of sheer musicality or just who they are?
AI: I’ve spent a lot of my life playing with Donal Lunny, certainly one of the finest musicians in the world. All the bands I’ve been in were made up of great musicians. Mozaik for instance, playing with Bruce Molsky and Nikola Parov, Usher’s Island, playing with Mike McGoldrick, John Doyle and Paddy Glackin, playing as a duo with Paul Brady, Planxty, Liam O’Flynn, Christy Moore, I can’t think of any world famous household names that I’ve played with though! Just the usual suspects!
FT: Are there any musicians that you haven’t played with, that you would like to?
AI – Can’t really think of any! I’m pretty happy with my own set!
FT: Do you listen to other styles of music. Who are listening to at the moment?
AI: I listen to jazz a lot. Miles Davis, Coltrane. I started listening to Charlie Parker many years ago and then got stuck in the 1960s with Miles etc.!
FT: Have you heard any new acts or artists of late, and thought, they are worth keeping an eye on?
AI: I’m very impressed with many of the new young musicians that I’ve heard. I met the Friel Sisters in Newfoundland last summer and our plane home was delayed so they played there while we waited and were wonderful. I also love the girl singer in Lankum, Radie. She’s the best female singer I’ve heard since Dolores Keane.
FT: What the plans for this year?
AI: Solo Tours of Norway and Sweden in April, Canada in July, UK in October and Japan in November. Never tire of the road!
Analysis: throughout his remarkable career, Andy Irvine has remained a consummate singer, storyteller and interpreter of songsSince arriving in Dublin in 1962, Andy Irvine has been an ever-present figure on the Irish music scene, and is a worthy recipient of the Lifetime Achievement Award at the inaugural RTÉ Radio 1 Folk Awards next week. Highly respected across the traditional and folk spectrum, the singer, songwriter and multi-instrumentalist is celebrated both for his solo work and for his contribution to a succession of ground-breaking ensembles, most notably Sweeney’s Men and Planxty.
From RTÉ Radio One’s Second Captains, an interview with Andy Irvine (starts 4:03)
To understand his contribution to music in Ireland, and his influence on later musicians, it is helpful to look at how Irvine encountered this music for the first time. Born in London in 1942, his Irish mother and Scottish father had both been involved in music, and he found early success in film and TV as a child actor. Like many of his generation, his first involvement with folk or vernacular music came through the skiffle boom of the mid-1950s. He had already been studying classical guitar, but after hearing some of Lonnie Donegan’s recordings Irvine abandoned this to set up a skiffle group; a common step for many budding musicians in this period.
Skiffle’s eclectic repertoire introduced these young British and Irish musicians to a heady brew of American folk and blues sources, and it was through this that Irvine first encountered Woody Guthrie, who has served as a touchstone throughout his career. The attractions of the road, the identification with workers and the oppressed, and the potential power of protest song all stem from his relationship with Guthrie. Right from the outset, then, Irvine helped shape perceptions of Irish folk music in the 1960s and 1970s as having a political dimension, even if this wasn’t always the primary focus of his groups.
From RTÉ Radio One’s Arena, Andy Irvine remembers the life and career of Woody Guthrie
After some time in rep as an actor, Irvine moved to Dublin, where he became involved in the city’s burgeoning folk scene, and was caught up in the intensity and fervour of the folk revival. For Irvine and many others, this was a period of restless exploration and learning, whether from older singers, peers, recordings or books. The energy, camaraderie and the characters of the period are wonderfully captured in Irvine’s song “O’Donoghue’s”, named for the Merrion Row pub which was the hub of the 1960s revival.
While the folk clubs and pubs provided many opportunities for singing, there was little money in the scene, and a life of bohemian precariousness was punctuated with sometimes chaotic domestic and European tours. In 1966, Irvine joined with two of his regular partners, Joe Dolan (later replaced by Terry Woods) and the Dublin singer Johnny Moynihan, in the group Sweeney’s Men.
Coinciding with the high point of the ballad boom, they had success with the singles “The Waxie’s Dargle” and “The Old Maid in the Garrett”, although the bulk of their material was more diverse and more exploratory in its blend of English, Scottish and American folk songs. The possibilities afforded by the combination of guitar, mandolin, and bouzouki laid the foundations for many other subsequent groups, and the occasional dance tunes pointed towards the more integrated approach of later bands, most notably Planxty.
Prior to the group coming together in the early 1970s, Irvine left Sweeney’s Men to travel and play in Eastern Europe, learning and bringing back tunes in distinctive Bulgarian asymmetrical rhythms. This encounter has left a significant imprint on Irish music, from Irvine’s own “Blacksmith/Blacksmithereens”, Bill Whelan’s “Timedance” (1981), the “East Wind” collaboration with Davy Spillane (1992), and of course “Riverdance”(1994).
From RTÉ Archives, Planxty playing “Kitty Gone A Milking” and “Music of the Forge” at the National Stadium in Dublin as featured on a June 1973 episode of The Music Makers
In one sense, the coming together of Irvine, Dónal Lunny, Christy Moore and Liam O’Flynn as Planxty marked a détente between the sometimes-opposing forces of the folk music and traditional music revivals. It also coincided with (or helped spur) the emergence of a more youth-based traditional music culture, as is evident from Planxty’s concert footage in this period.
As well as electrifying audiences with their live concerts, the band released six studio albums that still impress today in their creativity and artistry. Among these were some of Irvine’s most memorable interpretations such as “The Jolly Beggarman”, “The Rambling Siúler” and his own “Băneasă’s Green Glade”.
From RTÉ Archives, Planxty perform ‘You Rambling Boys of Pleasure” at the National Stadium in Dublin as featured on a May 1983 episode of Festival Folk
It was also during this period that Irvine forged a partnership with Paul Brady, who had joined Planxty as a replacement for Christy Moore in 1974. After the initial breakup of the group in 1975, Irvine and Brady developed the band’s unrecorded later material for one of the best-loved albums from this period.
The album’s reputation was further enhanced last year when it was commemorated through a concert tour that involved the performance of the whole album (albeit in a different order). This seems to have been the first time that a folk or traditional album has been celebrated using methods more usually associated with the production of “heritage rock”.
After Planxty’s second stint, Irvine began to focus more on solo recording and touring, interspersing this with a vast array of collaborations and membership of other groups. Included among these is a long series of albums with Patrick Street extending from 1986 until 2007 and further explorations of the connections between different folk traditions with Mozaik. Most recently, Usher’s Island brings Irvine, Dónal Lunny and fiddler Paddy Glackin together with younger musicians who emerged in the 1990s such as Mick McGoldrick(flute) and John Doyle (guitar).
The motif of travel continues to be prominent in his musical career, with new pathways being forged to Australia, where he made his most recent recording, “Precious Heroes”, with the Australian mandolin player Luke Plumb. Included on the album are songs about miners’ rights, Irish anti-fascists in the Spanish Civil War and the Australian bushranger Ben Hall. Clearly, the inspiration of Woodie Guthrie on Irvine remains undimmed more than 50 years on from discovering him.
From RTÉ Archives, a Nighthawks’ piece on Andy Irvine from 1990
Throughout his remarkable career, Irvine has remained a consummate singer, storyteller and interpreter of songs. Not only never tiring of the road, his career has also shown a tirelessness in seeking out new connections, new musical experiences, and new repertoire. Perhaps it is this – and his ability to bridge the folk, traditional and wider musical worlds – which has been most influential on later generations of musicians.