The Turning Tide

by John L. Murphy

25 May 2010


Can Soft Vocals Express Raw Anger? An Irish Band Blends Sweet and Sour.

cover art


The Turning Tide

US: 16 Feb 2010
UK: 22 Feb 2010

This veteran Irish-American band merges traditional with folk tunes. Fourteen years on, they provide consistent, accessible interpretations of standards, along with original songs in the Irish style, and on this new CD, covers of Bruce Springsteen, Richard Thompson, Josh Ritter, and Karine Polwart.

This broad approach places their style in the middle of the road. Seamus Egan favors in his multi-instrumental leadership a clean, lush, friendly sound. Little of Irish music’s darker, somber qualities shroud this music for long. Although their covers are, respectively for the artists above, “The Ghost of Tom Joad”, “The Poor Ditching Boy”, “A Girl in the War”, and “Sorry”, these socially aware lyrical themes seem novel as conveyed through the soft vocals of recent recruit Mairead Phelan.

Phelan’s breathy, whispered delivery expressing Tom Joad’s “a hole in the belly, a gun in my hand” forces listeners to reconsider how we react to such a violent tale of revenge in the name of justice. She does not switch the gender of Thompson’s lament, and hearing “she cut me through to my bones” likewise catches the audience off-guard. While I am not sure if this was the intended effect of the singer matched with these songs, it makes for a more unexpected encounter with venerable folk themes of discontent. Softening their punch, it freshens their sting.

Session musicians on acoustic and electric bass and on drums move some songs towards a mainstream, studio-friendly ambiance. They smooth off the rough edges other Irish bands keep, and this may please or displease aficionados of the genre. Winifred Horan’s fiddle, Mick McAuley’s accordion and concertina, and Eamon McElholm’s guitar and keyboards provide modest rather than bold backing on many tunes. They create an ambiance of contentment despite the discontent sung about in the cover songs.

“A Sailor’s Life”—far shorter than Thompson’s former bandmates in Fairport Convention had adapted—waltzes and reels, and the gentle, guitar-based closer “A Tune for Roan” show other directions for the band, closer to their previous albums. Solas, whose name means light in Gaelic, tends towards sunniness. Despite the waves that grace the inside folds of this compact disc’s presentation, the musical forecast again proves to be brighter.

The Turning Tide


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