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Jeff Meade

Dance, Music, News

Philly’s First-Ever Sober St. Patrick’s Day

Family-friendly fun

Family-friendly fun

It seemed like four-time All-Ireland fiddle champion Dylan Foley and his bandmates hadn’t gotten through more than a few lines of a jig set when people had taken to the dance floor. When the tunes were over, he looked out to the audience in the auditorium at WHYY, gathered for the first-ever Sober St. Patrick’s Day party, and marveled—albeit in a cheeky way.

“We’ve been trying to get people to dance to our music for years. Who knew all we had to do was take away the alcohol.”

Foley’s quip drew laughs, but in a way he was right. A St. Patrick’s Day bash without booze is inexplicably freeing. Well over a hundred people crowded into the auditorium on Sunday following the Philadelphia parade—so many of them, in fact, that organizers had to scramble to find more chairs. Everybody seemed relaxed, and maybe it was because they could just be themselves. They didn’t need booze to have fun. In fact, it was precisely because no alcohol was served that many party-goers in recovery really could relax at a St. Patrick’s Day party for the first time in years. That’s if they’d ever gone at all.

The place was filled with families, too, and that’s not something you’re likely to see during a St. Patrick’s Day pub-crawl, either. Hot dogs moved, well, like hotcakes, and everybody noshed on cookies, chips, soda bread, cheese, and other party foods. Some of the best musicians you could find anywhere played for hours. Dancers, still fresh from the parade—they’re kids, so they don’t tire the way we do—pranced about the floor as party-goers clapped. The only thing that was missing was the one thing that precisely nobody missed at all.

“The appeal is great music, great dancing, and a place to go where you don’t have to worry about drinking,” said Katherine Ball-Weir, who, with partner Frank Daly, pulled off the spectacularly successful event.

Hosting a first-ever event of any kind can be a little nerve-wracking. You can never predict how it’s going to over. “Nobody knew what to expect,” said Ball-Weir.

At first ticket sales were a bit slow. That changed. “Every time somebody bought a ticket, I got a notice on my phone,” said Daly. His phone didn’t buzz much at first. But “in the last four to five days, ticket sales picked up,” says Daly, “which is typical.”

And some people decided to go really late in the game.

“Somebody bought seven tickets at 4:42,” Ball-Weir laughed. “The party started at 4.”

Now that they’ve proved the concept, Daly said, “I think it’ll grow every year, absolutely.”

No one could have been more thrilled than William Spencer Reilly, founder and producer of Sober St. Patrick’s Day, a concept now taking hold in many cities, including New York, Dublin, Belfast, Richmond, Va., Casper, Wyoming, and Avon Lake, Ohio.

“Both of these guys did a terrific job. I’m just thrilled,” said Reilly. “More than any other city, we wanted it here because of its history. You couldn’t have asked for a better team to do this. I have no doubt it’s going to grow in Philly.”

The party is also likely to do things for the local branch of Comhaltas Ceoltóirí Éireann, which sponsored the event, Reilly said. (CCE is the world’s largest organization dedicated to the preservation and promotion of traditional Irish music. Many people who previously haven’t been exposed to the tradition could become dedicated followers as a result.

Musicians like the party, too, but for another reason.

“Brian Conway (one of the top fiddlers in the world) put it best,” Reilly said. “He described it as ‘an oasis because people actually listen to me.’”

We have pictures from the party. Check them out.

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News

Duffy’s Cut Memorial 2015

Bill and Frank Watson lead the procession.

Bill and Frank Watson lead the procession.

On the third anniversary of the burial of the victims of Duffy’s Cut, a crowd of local Irish and Irish-Americans showed that no one is about to forget the 57 Irish railroad workers who died in 1832 along Mile 59 of the Pennsylvania-Columbia Railroad in Malvern.

After a week of bad weather, the sun shone brightly on the procession of well-wishers last Sunday, as they made their way from the main building of the West Laurel Hill Cemetery to a tall monument—a stone Celtic cross engraved with elegant knotwork. They were led by brothers Bill and Frank Watson in full piping regalia.

It was a time for a brief period of reflection. Singer Charlie Zahm set the tone with a moving rendition of the classic “Four Green Fields.” Prayers were read by Frank Watson, a Lutheran minister, while others spoke words of remembrance.

Frank McDonnell, president of the Donegal Association of Philadelphia, paid tribute to the Watson brothers who, with their colleagues and volunteers, have led the effort to recover the remains from a mass grave along the tracks—and to help solve the mystery of how they came to die. Many of these lost souls succumbed to cholera, certainly, but at least some of them murdered.

“You talk about history, and you talk about recorded events,” said McDonnell. “Those events will become part of our history. They remain part of our heritage.”

In standing alongside the monument, McDonnell added, “we stand on the edge of history. And we would not be here if it were not for these two brothers.”

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Music

FullSet Warms a Cold Winter’s Night

Piper Martino Vacca

Piper Martino Vacca

Michael Harrison, fiddler and leader of the stunningly talented Irish traditional band FullSet, admitted their tour might have been better planned.

It began in New England, about at the same time the region was blanketed with 120 feet of snow, accompanied by plagues of lice, frogs, locusts and rivers of bloods.

OK, maybe not that much snow, and maybe we’re making it up about the lice, frogs, locusts and rivers of blood, but the timing couldn’t have been worse, and the travel was harrowing at times.

Last Friday night, the band rolled into Philly for a concert at the Philadelphia Irish Center, where the weather outside was frigid, but subtropical in comparison to New England.

In no time at all, the joint was jumping, bringing the ballroom crowd to its feet at the end.

We have the pictures.

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News

Raising Funds for Duffy’s Cut

16709175976_35f671ab0b_kMaggie O’Neill’s in Drexel Hill played host to a well-attended fund-raiser for the Duffy’s Cut project last Saturday.

The upstairs bar was full of folks who want to help the brothers Bill and Frank Watson continue excavations at the site where 57 Irish immigrant railroad workers died in 1832, less than two months after their arrival in the country. Research suggests they were afflicted by cholera, and that at least some of them were murdered by local residents, possibly fearful of the spread of the disease.

The site is in a patch of woods in Malvern, along an Amtrak line about 30 miles west of Philadelphia.

Members of the Watson Highlanders greeted guests with the skirl of bagpipes, later replaced by the tunes of Karen Boyce McCollum and friends.

The money will go toward continuing the excavation of the site and to repatriate two small bones of the only woman victim, Catherine Burns, to her native Tyrone.

Last week’s fund-raiser pulled in $2,150.

Here are some pictures from the event.

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News

Top 10 New Alternatives to “Danny Boy”

dannyhomeWe’re nearing St. Patrick’s Day, a time for parades, corned beef and cabbage, the wearin o’ the green, the wearin’ o’ the shamrock deely-bobbers, and the ritual singing of “Danny Boy.”

It is this last custom that gives me pause, dear reader. It would be one thing if the versions we heard were performed by the likes of Celtic Woman, the Irish Tenors, Daniel O’Donnell, or even Elvis Presley. And yet I say no. Nay, even.

Typically, “Danny Boy” is painfully performed by someone who has no business singing anything at all, much less a song with a high note that most of them are capable of reaching only if kicked, at precisely the right moment, in the private parts.

Amateur singers of “Danny Boy,” an otherwise nice little ditty, are likewise driven to new and terrifying heights of emotion. The shedding of tears is not unusual—for the singer, certainly, but perhaps especially for the listener.

Living in dread of this excruciating annual custom made me think about potential alternatives to “Danny Boy” that at the very least would be less of a bummer. I have also provided the beginnings of what the storyline might be behind each one. You can make up your lyrics.

Please don’t sing them anywhere near me.

Here from the home office in Horseleap, County Offaly, the official irishphiladelphia.com Top 10 New Alternatives to “Danny Boy”:

  1. Uncanny Boy. Watson’s little-known pet name for Holmes.
  2. Boy Danny. A pop artist of the late ’80s New Romantic period, best known for his hit, “Kilkenny Chameleon.”
  3. Danny Toy. Demi Moore’s latest husband.
  4. Branny Boy. He’s just a regular guy.
  5. Manny Boy. Who, with his brothers Moe Boy and Jack Boy, runs a chain of auto parts stores.
  6. Danny Boy Schmanny Boy. Someone who obviously doesn’t take our boy Danny very seriously.
  7. Tanny Boy. George Hamilton. Or John Boehner.
  8. Sappy Boy. Michael Boulton.
  9. Teriyaki Boy. Where we’re going to eat after we’re done with this insanity.
  10. Def Sugar D Danny Wack. Otherwise known as Rapmaster Skibbereen. (See below.)

 

Dance, Music

A Look Back at the 2015 Midwinter Fest in Video

John Byrne

 

Take a look at our wee video sampler, and you’ll see and hear proof that the 2015 Mid-Winter Scottish & Irish Festival truly was Scottish and Irish.

Scottish dancers, Irish dancers. Scottish pipers, Irish rockers. That’s not even scratching the surface.

Really, when you consider how big the festival is, how many days it goes on, and how many music and dance groups there, are it would take a much longer video to fit them all in.

We took a cruise around the festival, checked out a couple of acts on stage, and two more upstairs in the ballroom.

So here is a quick look at scenes from our Saturday at the festival.

 

Music

Get Ready to Hear Ireland’s Top Traditional Group

fshomefeb20If you were a band and you had planned a tour, and that tour was scheduled to start in New England roughly at about the time the entire region was slammed by record amounts of snow, you might curse your luck.

Not FullSet, the incredibly hot, award-winning band that rocked the Philadelphia Irish Center at last September’s Philadelphia Ceili Group Concert. They sold out their first gig at The Burren in Somerville, Mass., playing to a packed house. A few nights later at the Barre Opera House in Barre, Vt., it was another big night.

“We sold it out, 800 seats,” says fiddler Michael Harrison. “We were delighted to be coming to a place we’d never come before, and we appreciate the effort people had to go through to get to the venue.”

When you find a band that exciting, evidently you’ll go through almost anything to hear them.

FullSet is that exciting. The band’s tour began just days after winning the Irish Music Awards top traditional group. Awards aren’t new to the six-member group. In 2012, the band won the Best New Group Award from Irish American News, and Best Newcomer in Bill Margeson’s Live Ireland Awards. The year before, they recorded another win: the RTÉ/RAAP Breakthrough Annual Music Bursary Award.

All of the members are steeped in traditional music: Harrison, together with: Janine Redmond, button accordion; Eamonn Moloney, bodhran; Teresa Horgan, flute and vocals; Martino Vacca, uillean pipes; and Andrew Meeney, guitar. They’re all quite young, and they absolutely put their own unique spin on things—jigs and reels played at terrifying speeds—but still, but they try to remember where the music came from.

“We all bring our influences from our own musical backgrounds, and we come together and see how we can all mix it together,” says Harrison. “It’s quite traditional in that we try to remember our roots that all we came from. It’s good to kind of honor that. We do have the foundation there, really, but we try to bring something different to it. I suppose there’s a bit of a spark on stage when we all come together. It keeps us fresh. It makes every performance special for the audience.”

FullSet does its best to keep the customers satisfied, certainly not in any manipulative commercial way. The good vibes all flow just as naturally as the good music. “We develop a relationship with the audience onstage. We play the music we like and we hope it’s the music our audience likes. We try to bring an element of surprise with the dancing and the odd bit of storytelling. We like to make sure they can close their eyes and think they’re in Ireland.”

A week from now, local audiences will get a chance to appreciate both the music and the vibes when FullSet returns to town in a Philadelphia Ceili Group-sponsored concert Friday night at the Philadelphia Irish Center. The show starts at 8. (Follow info on the Ceili Group Facebook page.)

Harrison says the band is looking forward to the trip. “It’s great to be returning. We’re really looking forward to it. We were so well taken care of by the people at the Irish Center. It’s gonna be great to come back and meet all those lovely people again.”

Harrison can only wish for one more thing. He says with a laugh, “We hope we will be getting better weather when we get to Philadelphia.”

People

23 Years of Craziness

Your host Bill Reid

Your host Bill Reid

Bill and Karen Reid launched the Mid-Winter Scottish & Irish Festival 23 years ago. They’ve triumphed over snowstorms, unexpected construction building projects, falling ceiling tiles … we can even remember when the lights went out for hours.

Problems like that might have stopped anybody else, but for whatever reason—perhaps because it is so well planned and skillfully orchestrated–nothing stops this festival.

Probably the best example of the festival’s endurance is, in fact, the day the lights went out. You couldn’t see your hand in front of your face down in the exhibit hall at what is now known as the Valley Forge Casino. Somehow they managed. There was music and dance, even if the scrounged-up emergency lighting was just barely adequate. Best of all was the Scottish tribal drum band, whose players wrapped sticks and mallets with glow-in-the-dark necklaces, and played a rollicking set.

We’ve put together a few video interviews with Bill Reid. You’ll find out how it all got started, how his son Drew became the musical phenom known as Digeridrew, and how much craziness sometimes goes on behind the scenes.

Happy viewing!