Reunion

Archive: 2005 – Planxty Live at The Barbican, London

The Barbican, London Sunday January 30th 2005 by Nick Morgan

I have to thank Frank McCamley and Mike Hayward for introducing me to Planxty in October 1973. In a moment the cliché of Irish folk music (“when I came home drunk last night, as drunk as drunk could be” etc.) was demolished.

And at the same time I began an as yet unrequited love affair with the painful, mournful, bending notes of the Uilleann Pipes (Watkin Lees notwithstanding), and with the angelic voices of Andy Irvine and Christy Moore. The album, The Well Below the Valley, barely survived the pounding of indifferent styli, spilt beer and forgotten cigarettes, along with other favourites such as 10CC and Little Feat. And the eponymous song, a morbid celebration of rustic incest, infanticide and consequent damnation, was, it was whispered, never to be recorded, and certainly never to be sung on stage. Welcome to a magical world of mystery and musical complexity.Two years later Planxty disbanded, and though briefly reformed in the 1980s this supergroup of Irish folk (their only equivalent I suppose is the Scottish/Irish The Boys of the Lough) were confined to vinyl memories and increasingly difficult to find CD reissues. Of course all pursued individual careers, none more so than Christy Moore, whose songs, soulful voice and outstanding albums and performances have blazed a trail for the poor, the oppressed, and the victims on injustice for many years.

Planxty, circa 1978

But last year these four older, greyer and fatter men (Editor’s note – enough of this!) came together for a handful of performances in Ireland. And on Sunday we sat transfixed amongst the Willie Johns, the black haired darlings, the raggle taggle gypsies and the forlorn anglicised gentry of the Barbican as Planxty played their first gigs in London for 25 years.When you see a band like this, who you never thought you would, whose timeless respect for (and reinterpretation of) tradition provides constant twists and surprises, whose musical complexity (guitar, mandolin, voice, pipe, bodhran, bazouki, flute) is both beguiling and almost bewildering; well its almost enough to bring tears to your eyes. And great news – no need to write a set list – you can just buy the Live 2004 CD and you’ll get the bulk of it in the comfort of your own living room.

Highpoints? Liam O’Flynn’s pipes on ‘The dark slender boy’. Christy Moore’s pronunciation of “taarrtarsch” in ‘The good ship Kangaroo’; St Brendan’s circumnavigation of the world, which sounded a lot more fun than Ellen Macarthur’s, and Christy Moore again singing on ‘Little Musgrave’ (or ‘Matty Groves’ to Fairporters). Donal Lunny’s astonishing and rhythmical guitar, mandolin and bazouki (he counted in every song with his plectrum on the strings as if he was about to play ‘Voodoo chile’), and Andy Irvine’s voice. “Jeez, I’d cry for the sound of himself singing the menu at Kavanagh’s”, whispered my raven-haired companion.

Christy Moore

Euro moment: Irvine singing Angus McBride – “The Queen wouldn’t scruple to send us to France where we would be shot in the morning”. And song of the night, forget tradition, was Irvine’s ‘The west coast of Clare’. It’s not quite as magical as Skye or Islay, but the tears, like the smoke and the strong whisky, are just as salty.

– Nick Morgan, photos Kate Akers, X.

source: whiskyfun.com


Robin Denselow January 31, 2005

Barbican, London.

This, surely, was both the comeback and the Irish event of the year. Planxty return to London after 25 years, and the old chemistry and magic were still there. When they first formed, in the early 1970s, these four musicians transformed the Irish traditional music scene. Here was an acoustic band that could mix stirring, soulful vocals with wildly experimental settings and virtuoso instru mental work, and do so with the energy of a rock band.

Only the lifestyle has changed. The once-wild members of Planxty didn’t allow alcohol in the hall, but their playing and singing were as thrilling and varied as ever. Donal Lunny, Andy Irvine, Liam O’Flynn and Christy Moore have broken up and re-formed twice since the early days. They have seen later Planxty members come and go, have all enjoyed success outside the band, and yet they ambled on like a bunch of elderly friends.

With enormous enthusiasm, they set out to “revive music from the players who came before us”, mixing tunes that were dominated by O’Flynn’s stirring uillean pipes with ballads that were matched against the delicate inter-play of Lunny’s bouzouki and Irvine’s mandolin, with Moore adding guitar, sparse keyboards and the bodhran hand-drum. Moore is the Planxty superstar, thanks to his international solo career, but he never dominated here. A burly figure in a black T-shirt, he was in fine soulful voice on old favourites like the murder ballad Little Musgrave, and the glorious, stirring Cliffs of Dooneen, but only allowed himself one of his own songs, the witty St Brendan’s Voyage. He constantly swapped vocals with Andy Irvine, who in turn switched from traditional songs to his own poignant West Coast of Clare or a demonstration of eastern European influences.

Planxty could still delight and surprise. They well deserve their three nights of standing ovations at a packed-out Barbican.

· At the Barbican tonight. Box office: 020-7638 8891.

source: freakyparty.net


Carol McDaid February 6, 2005

The old ones are the best

Folk: Carol McDaid on Planxty

Barbican, London EC2

Taking up the same stage positions they have occupied, on and off, since archive footage shot around the time they supported Donovan, Planxty, the fab four of Irish music, have re-formed for a few nights only, because they can. From left: Donal Lunny bobbing around on bouzouki, the dynamic time-keeper; Andy Irvine bent over decorous mandolin and mandola; Liam O’Flynn, modern master of the uilleann pipes, the only one in an ironed shirt; and the Buddha-like Christy Moore, one of Ireland’s best-loved singers, adding rhythm guitar and occasional keyboard.

This is an evening of highlights, not least the evident pleasure these fastidiously dedicated fiftysomethings take in working with each other again on Planxty’s quasi-baroque arrangements of traditional material gleaned over years. The way Moore leans forward listening to O’Flynn, his favourite piper, on the searing ‘Dark and Slender Boy’ (there is something at once prim and profane about the uilleann pipes; whenever they start up, the audience whoops); the quiet relish with which O’Flynn introduces Moore’s definitive rendition of ‘Little Musgrave’, an epic song of ‘love, lust, infidelity, jealousy… and murder’.

Then there’s the eternal melancholy of Irvine singing, slightly crumpled, his own heartbreaker, ‘As I Roved Out’; the 16-string perfection of his courtly mandolin trickling through the astonishing drive of Lunny’s left-handed bouzouki. The way it works every time – on a rollicking rake of Balkan-inflected polkas; a set of jigs honed to the basics (O’Flynn on whistle, Irvine’s delicate tracery and a double heartbeat of bodhrán from the bookending figures of old schoolfriends Moore and Lunny); unfolding organically on the elegant ‘Si Bheag, Si Mhor’ – the first tune ever written by the great 17th-century piper O’Carolan, and as O’Flynn says, ‘a hell of an effort’.

source: freakyparty.net

Archive: 2005 – Planxty Live at The Point Depot, Dublin

Planxty – The Point Depot, Dublin, 4th January 2005

Review Snapshot:
A reunion concert sceptic is blown away by Ireland’s trad supergroup.
The CLUAS Verdict?
9 out of 10
Full review:

Short of The Smiths burying the hatchet anywhere other than firmly in between their respective shoulder blades, I generally don’t approve of bands reforming and screwing their fans one last time to top up their pensions. More often than not, what ensues is a sub-standard offering – take the recent shambolic Pogues Christmas karaoke. To put it mildly, I am underwhelmed at the prospect of catching Planxty, the privilege of which is costing me 65 euro (including the outrageous Ticketmaster charges?deep breaths, deep breaths). Still I have promised an exiled friend home for the holidays, so it is off to the Point with me.

As a general rule, I have a fondness for all genres of music, but as with jazz and blues, I usually enjoy trad for about fifteen minutes before I grow weary. As Planxty take to the stage, the crowd of a couple of thousand is attentive to the Point of being able to hear a pin drop – a complete atmosphere bypass, so all of the omens for an enjoyable night are bad. And then the music starts. The first thing of note is that the sound is absolute perfection, probably the best I’ve heard at a gig; precisely balanced, particularly in ensuring that Liam O’Flynn’s pipes do not drown out the delicate string playing. Christy Moore takes us through instant crowd pleasers of ‘The Good Ship Kangaroo’ and ‘Little Musgrave’ with Donal Lunney and Andy Irvine’s intricate mandolin and bouzouki complimenting each other beautifully. O’Flynn chips in with some excellent pipe and tin whistle and Christy is at his understated best, clearly relishing not being the centre of attention.

The first real show stopper of the night is O’Flynn’s rendition of the ‘Dark and Slender Boy’, an air that showcases the power and depth of harmonies a master player can extract from the pipes. As the songs roll on, you can only sit there and appreciate that you are listening to four musicians who if anything have only got better as time has passed. The fragility the years have brought to Irvine’s voice only adds to the charm. The tunes are timeless and their execution exemplary.

At the close, the Planxty standards of ‘The West Coast of Clare’ and ‘Raggle Taggle Gypsy Rose’ bring the house down – two hours have passed in the blink of an eye. It has been thoroughly captivating. The encore includes Andy Irvine’s recently penned ‘O’Donoghues’ a reminiscence on their heyday when you couldn’t get arrested for playing this sort of music. I can only take it all back. Planxty have been worth every penny. They are masters of their craft and who could begrudge them their day in the sun having each spent thirty years championing this music.

Brian Farrelly

source: cluas.com


Planxty – Live in The Point Depot, Dublin

You know, it would be easy to consider Planxty a little naff. They play a mix of folk and trad, sing songs about the ‘West Coast Of Clare’ with lyrics that mention shillelaighs and were entertaining your parents before many of you were even born. But Planxty are much more than just a sentimental relic of the past…

You know, it would be easy to consider Planxty a little naff. They play a mix of folk and trad, sing songs about the ‘West Coast Of Clare’ with lyrics that mention shillelaighs and were entertaining your parents before many of you were even born.

But Planxty are much more than just a sentimental relic of the past, and it was perhaps the fact that it was No Disco’s premier indie boffin Leagues O’Toole who made the docu which lead to their reunion that made many in the younger generation sit up and take notice. Last year’s triumphant run of sold-out Planxty reunion shows in Vicar St. earned such a reception that the trad supergroup were bound to do an encore, which materialised recently in the shape of yet another run of packed concerts.

This time The Point was the venue for the veteran folk collective to weave their spell, and when Christy Moore prompts the assembled throng by describing how the crowd on the group’s first reunion night sang along to every word of ‘Cliffs Of Doneen’, the audience responds accordingly, providing perhaps the most spine-tingling moment of the evening.

This is about as far away from souvenir shop Irish muzak as it is possible to get. You go to a Planxty gig and not only do you get a whole world of balladry and songs opened to you, it comes with a compelling history lesson as well. Some groups pillage the ’60s for inspiration. These guys at times go back to the 1760s, but breath life into the songs by the vigour with which they play them.

The musicianship is simply incredible. Indeed, when Liam O Flionn starts blowing on the uileann pipes the other three look almost as mesmerized as the rest of us, providing the core around which Moore, Donal Lunny and Andy Irvine weave their guitars, mandolins, bouzoukis and bodhráns in different rhythms. He’s also the main wisecracker, going on about the “erotic experience of the double bodhran intro”, although all of them pipe up with a joke or story at one stage or another, the audience hanging on every word.

And when Christy relates the background to one song, when the four of them were in a pub and heard “songs we’d never heard before, and time stood still for a few hours”, you know exactly what he’s talking about.

Music Review/Live: 12 Jan 2005
Maurice O’Brien

source: hotpress.com

Setlist: 30th Jan 2008 – Andy Irvine & Paul Brady

30/Jan/2008  – Andy Irvine & Paul Brady,  Glasgow Royal Concert Hall (Reunion gig at Celtic Connections)

Setlist

Heather on the Moor
The Longford Weaver (Nancy's Whiskey)
Wearin' the Britches
Jigs (?)
As I Roved Out
I Am a Youth That's Inclined to Ramble
Băneasă's Green Glade
Paddy's Green Shamrock Shore
---
Martinmas Time / The Little Stack of Wheat
Lough Erne Shore
Reels ("Fred Finn's Reel / Sailing into Walpole's Marsh"??)
Streets of Derry
The Jolly Soldier / Blarney Pilgrim
Autumn Gold
Arthur McBride
Bonny Woodhall
Mary and the Soldier
Plains of Kildare
---
West Coast of Clare
The Lakes of Pontchartrain
The Blacksmith / Blacksmithereens

celticconnections_jan-2008_a-_-p-setlist

Archive: 2004 – Then and Now – Andy Irvine on Planxty

IT’S FITTING Planxty should return to Galway as part of its reunion tour. After all it was in Galway the legendary quartet of Dónal Lunny, Andy Irvine, Liam O’Flynn, and Christy Moore played their first major concert. ANDY IRVINE talks about Planxty’s reunion, blowing Donovan off the stage, and how history proved him wrong on ‘Raggle Taggle Gypsy/Tabhair Dom Do Lámh’.

Galway Beginnings

Planxty will play three nights in the Radisson SAS Hotel on Monday December 6, Tuesday 7, and Wednesday 8. Planxty’s return to Galway shows things have come full circle for the band. Andy Irvine says Galway was the “starting off place for Planxty” in 1972, when they supported Donovan at the old Hangar Dancehall in Salthill.

“Planxty’s first major gig and big success was at the old Hangar supporting Donovan. We blew him off the stage!” Andy tells me, recalling the show. “It was the first gig of a short tour we did with Donovan. As I recall I was quite nervous as I had never seen such a lot of lights and microphones before. The soundman, who was Donovan’s brother-in-law, appeared to pay us scant attention – as you might expect, being the support.

“I concentrated hard behind my microphones, intent on playing the right notes and singing the right words! It was about 20 minutes into our 40 minute set that I realised something unusual was happening in the audience. My first thought was a fight had broken out. I had experienced such things in dancehalls before. I looked across the stage at the others who were all wreathed in smiles. Slowly, it dawned on me that the audience was reacting to us and the music. That was about the biggest buzz of my life! At the end of each number the audience went wild, and we collapsed into hysterical laughter at the unexpectedness of our success. If there is one occasion that stands out above the others during my time in Planxty, it would have to be that Hangar gig!”

The individual members of Planxty were all prominent on the Irish music scene. Lunny had been in Emmet Spiceland, Andy in Sweeney’s Men, Christy was a solo artist, and Liam O’Flynn was active in Irish trad. However it was when the four came together to work on Christy’s classic 1971 solo album Prosperous, that the idea of starting a band arose.

By 1972 Planxty was in action and had recorded its eponymously titled debut (known to fans as ‘the black album’). However there was surprise among ‘purists’ that Liam O’Flynn had joined and at the time the band was described as “three hippies and a civil servant”. Did Ó Flynn find it difficult to fit in?

“Liam was, perhaps, quieter and more reserved generally, than we other three,” Andy says. “As the ‘traditional’ musician amongst us, I think he had a certain amount of criticism from some other traditional musicians to contend with. ‘What was he doing playing with a bunch of guitar and mandolin toting hippies?’ I’d say the fact that Seamus Ennis was a supporter of the band helped him through that. We all got on very well from the outset. Christy and Donal knew Liam from early days I think, and I knew him a bit from the Dublin trad music scene.”

Their detractors were soon silenced when Planxty showed what extraordinary musicians they were on albums like The Well Below The Valley and songs like ‘The Blacksmith’ which pushed the boundaries of what Irish music could achieve. However their most famous recording is ‘Raggle Taggle Gypsy/Tabhair Dom Do Lámh’. How did the celebrated segue from one track to the other come about – was it deliberate or did it just happen in rehearsals?

“The segué for ‘Tabhair Dom Do Lámh’ came at the instigation of Christy,” Andy remembers. “It was at a rehearsal in my flat in Donnybrook for his album Prosperous in June 1971. I still have that rehearsal on tape. Christy wondered if it would be possible to marry the tune to the song. Donal came up with the key. At the time, I thought it was a bit facile and didn’t work that well. History has proved me wrong!”

The Reformation

Planxty’s 2004 reunion concerts have been an unqualified triumph (as testified on the excellent Live 2004 album) but it was not the first time the band got back together. “We re-formed once before in early 1979. That was only a little over three years since we had broken up,” Andy says. “This reformation is 21 years after the subsequent break up…We are all a lot older and wiser now! I think the success of our current incarnation has a lot to do with our musical and life experiences during those 20 odd years. Though it’s true that much of the material we played in January/ February this year was from the old days, nevertheless it felt very fresh and that freshness lasted for the entire run of the concerts.”

Andy says the audience reactions have exceeded all his expectations. “It was genuinely uplifting to go on stage each night that we played,” he says. “Sometimes it was as if the audience was nearly bursting with joy. A very moving experience.”

However Andy says the band has no immediate plans for anything post January 31 2005. “Planxty is a ‘one at a time’ band these days,” he says. “We will see how this next raft of gigs goes and then decide if there is to be anything further.”

Tickets for Planxty’s Galway shows are still available but are selling fast. They can be purchased only from Redlight Records on Shop Street and Eglinton Street.

by Kernan Andrews.

Galway advertiser. Date: 07-10-2004

photo by Mick King

source: www.china2galway.com [deadlink]

Archive: Planxty Live 2004 – CD/DVD Reviews

Sony 517319 2

The roars from the audience on this live CD say it all: not mere enthusiasm, more like primal expressions of joy from those lucky enough to have witnessed, in the first weeks of 2004, the historical reassemblage of Christy Moore, Donal Lunny, Liam O’Flynn and Andy Irvine into the legendary supergroup Planxty.

After 1973, once these boys had invigorated it, traditional Irish music was never the same again. Already virtuoso players with a vast love of the tradition, they infused their music with youthful energy and innovations from subtle harmonies to driving rhythms and the introduction of the bouzouki. Reformed for a dozen Irish concerts after a 21 year lay-off, the band played to ecstatic full houses and recorded this CD and a DVD for posterity.

The track list is a Planxty fan’s dream and rightly so – why abandon a great repertoire unused for two decades? From the off, the sound is unmistakable – the melodic, intricate weavings of Lunny and Irvine’s bouzouki and mandolin, the rhythmic drive, and above all, O’Flynn’s razor-sharp uilleann pipes, locked rail-tight and flying over, in and through everything else. Moore and Irvine’s voices are a little mellower, the familiar songs given maybe a little more bite: The Good Ship Kangaroo, Arthur McBride, Little Musgrave, The Blacksmith (chased by the tumbling, Balkan-inspired Black Smithereens), two versions of As I Roved Out, The West Coast Of Clare … and the real prize, Raggle Taggle Gypsy with its classic segue into Tabhair Dom Do Lámh, still a heart-stopper after all these years.

There’s nostalgia value aplenty but there’s nothing dated or outworn from these four, who clearly still delight in each other’s company. One gets the sense that on- and offstage spontaneous combustion was only narrowly avoided – you can feel hairs standing up on necks, the sense of prodigals returned, family restored. Just pray the rumours of more gigs turn out to be true.

Mel McClellan - July 2004

source: www.bbc.co.uk


Music Review/Album: 09 Jun 2004

Twenty years after going their separate ways, Planxty came together for a series of twelve concerts in Vicar Street and Glór…

Planxty, in their original line-up of Christy Moore, Andy Irvine, Donal Lunny and Liam O’Flynn, were arguably the most influential of any of the early Irish folk bands. Their legacy can be heard in the sound of virtually every group to grace the traditional music scene since, from Altan to Dervish to Stockton’s Wing.

Twenty years after going their separate ways, these four musicians – all of whom went on to become legends in their own right – came together for a series of twelve concerts in Vicar Street and Glór. Happily for those who didn’t make it to any of those extraordinary shows, a CD and DVD have now been released featuring excerpts from them.

From the first spontaneous roar from the crowd as O’Flynn’s rock-solid pipes make their entrance on ‘The Starting Gate’, it’s evident that something magical is afoot. The four mesh together as though they’d never been apart, especially when Moore, Irvine and Lunny join in rich three-part vocal harmony on ‘The Good Ship Kangaroo’. And always at the musical centre there’s O’Flynn, his whistle and pipes a massive, deep-rooted core around which guitars, mandolins, bouzoukis and bodhráns dance in contrasting rhythms that intertwine delicately with nary a clash.

All the classics are represented – ‘Arthur McBride’, ‘Little Musgrave’, ‘Raggle Taggle Gypsy’, ‘The Blacksmith’ – this latter segueing into ‘Black Smithereens’, a Balkan-inspired riot of syncopation with pipes and strings alternating in call-and-response style. O’Flynn’s solo turn on the slow air ‘The Dark Slender Boy’ is a high point, as is Irvine’s haunting ‘The West Coast of Clare’.

If you were lucky enough to be there, this recording will take you back. If you weren’t, close your eyes while you listen to it … or better yet, get hold of the DVD and watch it in a darkened room. Don’t be surprised if you find yourself whooping and shouting along with those fortunate punters in the audience.

Sarah McQuaid - Hotpress

source: hotpress.com


Columbia 202534 9; 2004

After initially testing the water in Lisdoonvarna the previous October, Planxty’s Dublin homecoming saw the reunited foursome playing a series of joyously received concerts. The venue was Vicar Street, a snug 300-seater where the front row is just a few feet from the stage.

Live 2004 offers selections from one of those concerts and features several tracks not present on the CD of the same name. These include Christy Moore’s eloquent song True Loves Knows No Season and Liam O’Flynn’s piping tour de force, the Carolan tune Sí Bheag Sí Mhór.

There’s plenty of stage banter (and one of Christy’s famous examples of how to put down a heckler) and the camera captures both the intimacy of the occasion and the intricacy of Planxty’s musicianship. Indeed watching close-ups of O’Flynn’s flying fingers and the intertwining devilry produced by Andy Irvine and Dónal Lunny on the strings is fascinating in itself.

Additionally, the DVD includes three bonus tracks, Andy’s song My Heart is Tonight in Ireland, Christy’s version of Mickey McConnell’s Only Our Rivers Run Free and an O’Flynn whistle solo O’Dwyer of the Glen.

But that’s not all you get for your money, for the DVD also features a documentary by Philip King and Nuala O’Connor on the band’s reformation, including some wonderful monochrome archive footage from the early 1970s (and, it has to be said, some wonderful archive hairstyles too) demonstrating just how impassioned Planxty’s music was then and remains so now. As their erstwhile manager remarks of the band, with especial reference to Liam, “You had three hippies up there … and you had this civil servant in the middle, and he’s producing the magic.”

Add to that a separate section of interviews with each of the band (including Christy’s tale of “the man from Portlaoise” – you’ll have to buy the DVD to learn what that’s all about) and this is almost the perfect package. It loses that one star simply because, hard to credit, but the band subsequently achieved even greater heights, as revealed by their momentous Barbican gig.

This review by Geoff Wallis was written for Songlines magazine

source: www.songlines.co.uk.


Sleeve Note from Leagues O’Toole:

Amongst other things, the year 2004 will be remembered for the public re-assembling of Planxty for twelve concerts – two in Glór, Ennis, in the music heartland of County Clare, and ten in the plush confines of Vicar St, Dublin – their first live performances in twenty-something years. †This is an event of some considerable historical and cultural magnitude, rendered all the more pertinent given the seamless realignment of Donal Lunny, Andy Irvine, Liam O’Flynn and Christy Moore.

Surreptitious rehearsals in Paddy Doherty’s Spa Hotel in Lisdoonvarna the previous October had revealed to the Planxty players that the chemistry was alive and well and ready to blow. And so it did, as each night the music tumbled magically from their fingers, smiles stretched across our faces, heads bobbed, feet tapped, Christy ‘hupped,’ and we all set adrift on a musical journey that would sail us through the full gamut of emotions.

A cast of odd characters starred each night; lusty blacksmiths, murderous Lords and adulterous Ladies, mighty mariners, raggle taggle gypsies, and shillelagh-wielding latchecos. There was drama, laughs, slagging, jubilation, reflection, and love coming from every corner of the room. The songs and tunes came to us from decades and centuries gone, from 17th century harp music, to the singing of John Reilly, to the priceless pages of the PW Joyce Collection.

‘The Starting Gate’ eases us into the music with delicacy and intricacy, quickly introducing that building block technique that marks so much of Planxty’s music; the blissful bouzouki-mandolin marriage, the otherworldly whistle, the drone, the raspy guitar, the thump of the bodhrán. And in the middle of this melee is Liam O’Flynn whose knife-edge precision piping raises a roar from the audience and elevates the music to the high heavens.

On his solo piece, ‘The Dark Slender Boy’ a mood of pin-drop rapture cloaks the room as Liam bends yearning notes and stretches whirring drones into this profoundly mournful music. In contrast, on ‘The Clare Jig’ his pastoral whistle dances gleefully between the double-bodhrán attack of Donal and Christy.

There are some fantastic stories told within the songs performed here. ‘Arthur McBride’ is an anti-conscription / anti-war song, and one which resonates as much with Planxty’s virgin audience as it does with veterans of the 70s. Here, Andy Irvine calls upon his colleagues to back him up on a suitably rousing rowdy-dow-dow chorus. The nine-minute plus ‘Little Musgrave’ is a poetically written fable of love, lust, infidelity, jealousy, murder, and remorse – the words to which Christy Moore found on pages scattered on the floor of an auctioneers in the early 70s. This particular rendition captures the singer in majestic free-flow.

We rarely discuss Planxty without referencing the unusual new flavours, arrangements, and instruments they brought to traditional Irish music. In a demonstration of their peerlessly inventive verve, they stitch ‘Blacksmithereens’ (a tune based on Andy’s first impressions of Balkans music) onto an old English folk song, ‘The Blacksmith’. This fiery performance is driven by Donal Lunny’s robust, rhythmic, bouzouki and underpinned by Liam’s dramatic phrasing, which prompts another round of hollering from the congregation.

The loudest roar though is reserved for one of the most celebrated segues in traditional music – that invisible bridge from ‘Raggle Taggle Gypsy’ to ‘Tabhair Dom Do Lámh’. And who could deny Andy’s ‘West Coast of Clare,’ a lament of unrivalled pathos that has heads bowed in contemplation right across the venue. It’s rare to see an audience so possessed. It’s little wonder they received standing ovations every night upon entering and exiting the stage.

Nights like those in January and February of 2004 have been wished for, dreamt of, and fantasized about by thousands of Irish music fans for over two decades. We arrived excited, anxious, and downright nervous – there was a lot at stake; memories, expectations, and reputations. We left smiling, speechless, and wondering would we ever see their likes again.

It was a good start to the year.