Music vit i , fe si r ia la m b lo o r er i i r q e, u ca e e a si q lu m ov m so u a d pt ol id ol lu e o un a upt eliq rem pta . qu te s aqu ui ut v i et mp inis i e cu vo n r or un epe au a pit lup e te rc tem ud q tio a m ua . ve p h tiu ru ar iliq que u m u m po la , is qu at s. re c c i ur un ria cus sint one offic ? da sap qu ur st ip ca nt id am si i b tu q etu e tin er qu r su ui d r a st, s ctib im ic U t e i u ta offic sit ilit qu cull s. tib it e e ia ab us is ius ve po o n a qua ape is r se no m ru el d s re m lab re cta do o. nt ti le io b sc . Ne usa iqu nto id un t.
E p lest e o em si um r u d id m at em aud uc o i v i s d a m i um ad oles n is vo e tiu is et qu le t, e m a s ex e ve la ut vo ce dit rn u lo vo atu a c at q tem latq r r u o lu m n u a i et piti olu seq isqu di u a o as r te ui i r ta pu mi mo m. s a ect s d , in s Ut lig em ut ae cti mol ex end im a up ex it s F de ent um ta pliq is c a l v l c e o re u ui u e ndi lor rem sa n a s s t o r n e e s fu t g re a . st s u iis n e t u n m a es m ci d d-
25.02.2014 T+
Slanes Former Glory
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sa o mv x lu it olen p e m re a im l i g re rum ut v i qu um en h r r is l d i d um sit ell acc eb lit cu em qu at p oris ate is u ib a d e s . t co t offi est Axim us rcil ele pr o q i ce e n o Vo stru seq cid ffic inih uid l iu r f u i u im c er sa er c lo n i co ons rep tur sim nde en te spe e n u U n ed ta an q liq t m l As t q po m m, dit uas uia acc qu in lu rp a iu at s a i cu O sa pti m isin ore ios nti a d init nem turi que la s a m ol la b c n in n M usa ulp t m ven on quo um non ecu ut vole eru sit re us m a o d e d s p r s s d m pta ate esc ve m a s m ior em equ dem olup ti b tae M od ti a ii ni in o u t er q ia en agn ut am cea s es mo cill solu lup ptat uib po is m at a aee te i h fa q ti o ec m tae ur us re in lig co c n Nu tur? m hi ll aru cea uat as d dis tia m i u Te m Q pi p m c en i r tio tur fa atur od et a ne us, is i t , o n t e m c u q e n s i v e a ip li e un i a a q vo iur, sin uat ate te a vol uis pr et q um par elle pta liq sun bus t qu t m s up si eh u n ib s q ua t ci i ab lo od cil pe qu t a e i a is u m u m et us, as or rro is e lic e n am sit nt ut ac sam o ia ep vi ad tu lan fu o d t e r ae as ve ep er t q it sae g m is ue eu n a e po su em ne seq nis ta eaq olu dol tust a. s t u n di m m, on d rro es qui cab uia ut on ua do pt iam Fer t, i, vid se to or d vol e m, lu ae , so quo e p d ra lo et ev ra n ece olor ore osa quo ptu rae omria do e im en ih aq is rch sa r s q lup eru in is ille ue qu il i pit volu esto vo m r c ui tu m u a o s e sd r a olo ium , si tiis ven dio m l tus t eo repe a d s un as bor r d u au e ip de a bo n sse d te cor ae t e nis ict sse s u . U dit qu nd i i xp ea ur ip lla t e et is l c is on il lac rc is a sa bo nt fu m se i i d agn m c ul l ipi ute nt d . Be s el git ut ie inu le du se iti aq it a ec n s cto n qu ss uo m ta is el t, ut e si ime te ti se lam e te s m ac di i t cu t v re in c du mpo m ol s m a u r ea up inc po pt pe r tu ti ri a r r os bu cu neep sa pt m i am ed vo ic lu i ae pr ti po bu en s. to
Adam Duke asks if Slane must move out of the limelight, like the great acts it once hosted….
again.
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Last week it was announced that Slane Castle won’t be going ahead this year, the second time in four years that this has occurred. While there’s nothing uncommon about this, with there sometimes being two or three years between Slane gigs, it’s reasonable to assume that Slane might never go ahead
Henry Mountcharles reasoning for not putting on a concert this year is that it’s too difficult to find international acts to come to Ireland. However that’s simply not the case, with a number of huge gigs taking place in the country over the summer. Whether it’s the Arctic Monkeys, Kings of Leon, Arcade Fire or Macklemore in Marley Park, whatever Dance acts play Oxegyn this year, Garth Brooks in Croke parc (x5), the Longitude festival in Marley Park (again), the likes of Elton John and Lana Del Ray at the Marquee in Cork or the yet to be announced Electric Picnic line up,
there truly does appear to be something for everybody this summer in Ireland. This is part of the problem for Slane. While it’s very possible that no acts could be found to play at the venue, it’s also possible that Slane has simply lost its place in the Irish music scene.
When you talk to somebody that was at one of the early Slane gigs, it sounds like an almost legendary occasion, be it the Rolling Stones in 82’, Bob Dylan in 84’, Springsteen in 85’, Queen in 86’ or Bowie in 87’. You’d never hear somebody talk about more recent Slane gigs in the same way. While it’s possible that those acts were superior to what came after it, it can’t be true that none of the performances since have lived up to them. When looking at the early gigs in Slane, the context that they played in is vital. For a lot of the acts mentioned above it was either their first or within their first handful of appearances in this country. Due to a myriad of reasons, Ireland simply didn’t have the ability to attract top music talent until Slane Castle starting hosting gigs in 1981. It was the first time vast numbers of people got to see acts that they had listened to or seen on television, live. Things have changed in Ireland since then, for the
better, and now hundreds of live acts can appear in Ireland every year, mainly due to there being a lot more venues. Improvements in communication and transport as well have meant that main stage acts regularly appear in Ireland, which is far different to the situation that the Slane took place in. There’s a lot to be said about Slane’s atmosphere, which is regarded as its finest detail. I can’t comment on this accurately, given that I’ve never been to Slane, but surely any band that’s worth your attention should be able to create a unique atmosphere at any gig, be it Slane Castle or a local pub. Losing Slane would be a blow to the music scene in Ireland, in the sense that an iconic venue that hosted some of the biggest names in music will be gone, but realistically it’s not a loss that would be missed. There was a lot of questions asked last year when Bon Jovi was announced as the headliner for Slane, with the general consensus being that in a way they were a band that was appropriate for the venue. Past its prime, and a group that most of the country had moved on from, the same could be said for the venue itself.
A Drifter of Modern Times: Frank Fairfield.
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Geneva Pattison asks whether Frank Fairfield’s indulgence in the past makes for a relevant contemporary musician... Frank Fairfield’s dynamic musical dexterity paired with lilting Americana blue-grass sound, transports the listener from an existence ruled by technology straight to the rural Appalachian frontier of old. Hailing from California, the 28 year old grew up much like the musical spirits emulated through his music, wayfaring through life (albeit during the boy band riddled 90’s) with an authentic appreciation for the simple things. Fairfield is far from some phony hipster, revelling in their faux vintage lifestyles only to tweet about their disdain for the latest ‘gotta haves’ on twitter later, he’s the real deal. His roots flavoured music and Brylcreamed classic appearance serve as proof that he is a true advocate of the classic and practical. Playing the banjo, the fiddle and the guitar, the multi-instrumentalist singer songwriter’s work tells tales of murder ballads, hillbilly living and esoteric ramblings only the dedicated can decipher. His tremolo tenor voice often imitates the flow and dexterous rhythm radiating from his instruments, adding to the naturalistic ‘down-home’ flair he possesses.
While earning his bread by playing street corners and small farmers markets, Fairfield was discovered by the curious and enthusiastic Matt Popieluch. Already a member of a signed band, Popieluch felt he couldn’t pass up the opportunity of furthering the career of this man who provided “the most authentic translation of music” he had ever seen. Fairfield had found a manager. This proved a rewarding coupling, as Popieluch acquired a space for Fairfield as the opening act for the mesmeric Seattle folk collective Fleet Foxes. The Band were struck by Frank’s energy and pure musical wholesomeness, likening him to 1920’s musician Mississippi John Hurt born close to 100 years before Frank. It is an eerily accurate comparison, one might call it a centennial re-embodiment. Regardless, this opened up further doors for Frank and he was soon picked up by the record label Tompkins Square, located in San Francisco. Fairfield’s musical style aptly complimented the eclectic tastes of the record label’s creator Josh Rosenthal, both men burdened by the compulsive desire to stockpile records, two archivists of folk music. His self-titled debut, released in 2009 saw tracks come to the fore such as the rustic lilt Nine pound hammer and Call me a dog when I’m gone a song somewhat remi-
niscent of famed wartime musician George Formby’s style. Whether you’re a devoted fan of the newest most current incarnation of music or an avid follower of the sounds of old, Frank Fairfield seems to cater to both sides of the spectrum, distorting the opinion of ‘what’s past is past.’ Here we find… what’s past has a bright future.
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