The Gloaming and The Gloaming 2
The late George Martin was one time quoted as saying
“can you tell me what music is? It’s completely intangible. It grips you, gets into your soul”.
That quote came to mind when listening to Martin Hayes leading his Gloaming comrades out of their own composition ‘Fáinleog’ and into the first few bars of the traditional jig ‘The Holly Bush’. I wish I could describe the feelings that the transition and Hayes’s fiddle-playing create, but all I can say is, go listen to it.
The Gloaming first got together almost five years ago – a fantastic concert in Triskel Christchurch in December 2012 was one of their early gigs. Since then they have often been referred to in the media as a ‘trad supergroup’. Whatever about that there is no doubting their standing in the world of roots music – Iarla Ó Lionáird (voice and keys) is the leading exponent of the Muscraí singing tradition, and Martin Hayes is the king of east Clare fiddle-playing. Caoimhín Ó Raghallaigh is a wonderful fiddler as well, playing the Hardanger d’amore, his own creation, Thomas Bartlett, from Connecticut is on piano (and organizer / producer in the studio), and Irish–American Denis Cahill, on guitar, is Hayes’s long-standing music partner.
That difficult second album! One of the hoariest old chestnuts in music. The Gloaming have got around it with their second, by creating a companion for their first. Not really a continuation, not the same as the first, but together they form a whole, greater than the sum of the parts. The feeling that the two CDs are a pair is reinforced by the visual presentation of the records by the Real World label — beautiful packaging it has to be said. Both have striking but elusive sepia images on the cover, photos by Robert and Shana ParkerHarrison. The back covers and the inside spreads are also very similar, encouraging us to see them as a pair.
Centrepiece of the first CD was ‘The Opening Set’, track 8 on the album! This is a 16-minute masterpiece in its own right, starting with a traditional song from the Muscraí tradition, and building, layer by layer, through six tunes and airs to a cathartic climax.
There is nothing resembling this on The Gloaming 2, and rightly so. It would have been impossible to equal it. But what we have on both are group compositions using Gaelic poetry, the earliest from the Fiannaíocht or Fenian Cycle, and a 16th-century poem, but most are recent — Sean Ó Ríordáin’s ‘Saoirse’, and Michael Hartnett’s ‘An Muince Dreoilíní’ on the first album; The Gloaming 2 begins with two poems from Ó Ríordáin’s Eireaball Spideoige.
Their versions of ‘Samhraidh, Samhraidh’ (on the first album) and ‘Slán le Maighe (on Gloaming 2) are worth the price of entry alone. These take their place among the jigs, hornpipes, reels, hop jigs, and slides.
The music on The Gloaming 2 might not be created for dancing, but I would challenge anyone to stay sitting quietly when listening to tunes like ‘The Rolling Wave’, ‘Music in the Glen’ and ‘The Holy Bush’. Iarla sings the old lullaby ‘Cucanandy’ which he learnt from the singing of Bess Cronin from his home parish of Baile Bhúirne. The Gloaming’s version wanders off mid-way but returns to finish with a credo that would apply to any musician:
“Piper sell your pipes, buy your wife a gown
Piper sell your pipes, buy your wife a gown
Yerra I wouldn’t sell me pipes for all the wives in town”.
The Gloaming last played Cork at a sold-out show in the Opera House last year. The way they’re going they will fill the proposed Events Centre, and still leave disappointed fans outside.