The Goo 1
ADHAMH O’CAOIMH Interview MAR-APR 24 Niamh Bury N
iamh Bury, like so many artists I now admire, first came to my attention through the lens of the inimitable Myles O’ Reilly. I can remember where I was sitting when I first saw that beautiful piece, half enjoying a mediocre coffee in a deeply overrated cafe in Rathmines, listlessly doomscrolling, before being unexpectedly delighted by a clip of Bury performing in a gray knit hat at some bandstand on an overcast Dublin day. Her compelling voice and beautiful songcraft on the beguiling ‘Lovely Adam’ immediately made me a fan. It is with no small amount of delight that two strange years later I had the opportunity to speak to the lady behind the incredible Yellow Roses, a deep and moving album of authentic and delicate songwriting. Produced by Brían Mac Gloinn of Ye Vagabonds, with stunning artwork from Poor Creature/Landless polymath Ruth Clinton and featuring beautiful contributions from Crash Ensemble cellist Kate Ellis, double bass virtuoso Caimin Gilmore, Alannah Thornburgh on harp and the omnipresent and ever welcome Ryan Hargadon, the record has been on constant rotation since gratefully received. As one of Claddaghs excellent new signees, I first asked Niamh about the label’s brave new direction. Obviously, they have a massive history supporting Irish music, folk and traditional music. It’s a huge honor to be on the roster. I’m also such a huge fan of the new acts being signed like ØXN and Lemoncello, it’s so exciting that a label is taking a new direction, and embracing more experimental folk music. It’s so nice to see that branching out from a purist tradition. PHOTO CREDIT: ELLIUS GRACE I think so. We have such great folk music in this country, to keep it fresh and to keep people embracing it, it’s amazing. I don’t consider this album trad, at all. I would never label it as such. I am very into traditional music, and traditional singing. In its purest form, the session in the pub holds that purity of the tune and the song. So I dont think it’s a bad thing to experiment, or to broaden the genre. Oh absolutely. In bringing it forward, making it vital again. Are you seeing more of that when you’re organizing The Night Larry Got Stretched, at the Cobblestone? Or would that still be very much rooted in traditions? There’s definitely more and more people coming along. And more young singers, especially singing in Irish. It’s really encouraging that people are getting more into it, and I don’t know where that’ll take us. I play in a couple of different tunings. I find it’s the easiest way for me to write freely. I was learning a couple of Joni Mitchell songs a while ago and I discovered Open G. Also Open D, DADGAD. A few minor tunings as well. But I’m conscious of not making it a nightmare for myself, live. .. WE HAVE SUCH GREAT FOLK MUSIC IN THIS COUNTRY.. We’ve read about your admiration for Wayne Shorter, but who else have you been listening to in the Jazz canon of late? That album Floating Points made with Pharoah Sanders is incredible. Promises, with the London Symphony Orchestra is such an incredible album I love the expansiveness of jazz, and the experimentation. It gets the cogs turning whenever I hear it. There are some amazing bands in Dublin, like Organ Freeman [who play The Big Romance most Sundays] and Jawbone, who play in Arthurs. The Bonk, as well. You often have to see it live as well. They’re amazing. What about your own live shows in support of the record? What kinds of shapes will they take? It’ll be a combination of solo shows and some shows with accompaniment. I’ll be performing with another guitarist for some of them, and the Whelans show will have a full band. Ryan, Alannah and Caoimin,who played on the record, and Aongus MacAmhlaigh on cello. Niamh Bury’s ‘Yellow Roses’ is out now. Niamh plays Whelans on April 28th. PAGE 13