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Glen Hansard played the Wiltern, LA on 6/20/12, the opening concert of his Rhythm and Repose tour. The film Once that introduced most Americans to Glen Hansard started off with Van Morrsison’s And The Healing Has Begun and that was prophetic. This summer solstice in LA the Wiltern became a gathering place of souls for healing and Glen’s powerful music was the medicine of choice. The Gathering Those who understand the power of their music and the musicians who create magic with their sound gathered together at The Wiltern, a wonderful art deco building in Los Angeles, last night. You get a sense of entering another time as you view the decorated walls and ceilings of the Wiltern. I entered it in the company of Vicky & Bob who have been to thirty one Glen concerts so far, sometimes on crutches and even once in a wheelchair! I can see why they gravitate towards the Glen factor. I watched them share joy with all around them. They greeted Joe who they met two days ago and who got his guitar signed by Glen in Amoeba as an old friend. This is the human factor at its best: this is the way to live life. It was a communal experience from the start. If The Wiltern wasn’t sold out last night, it was damn close to it. The roar that welcomed Glen and Co. to the stage was not the same welcome cry of anticipation that welcomed him to The Wiltern back in 2007 where it all hushed down fast and reverence filled the room. Back then people wondered whether the music could be as good live or not. This time it was a roar of ‘Hell, yeah we know we’re going to have a good time.’ Glen read the crowd and felt the positive energy. There was no doubt on either side, just sheer joy in the playing and giving even when the music and lyrics were devastatingly true. He was born for this. Leave http://www.youtube.com/watch?v=QpxHh7z7EMc The band has grown. It is bigger now and truly it’s not necessary but who cares. The man could give a concert with just his voice and his broken guitar and you’d have to remind yourself that there wasn’t a full orchestra playing. I’m not sure if he’s aware of his own power. But it’s about community and maybe that’s what keeps him grounded. He picks up talented friends along the way. Glen cannot stay still. How could he? It’s in his creative nature. He will always explore and try new sounds. As much as I know everything was perfect as it was before, I also know he has to do this. I wasn’t complaining last night as we were in the company of Leonard Cohen’s brilliant guitarist Javier Mas (¡Viva Asturias!). He took the simplicity of Paper Cup and Back Broke and made them sublime. I had seen him at Mc Cabe’s and was already a huge fan. I wondered about the two extra string players behind Colm. The Frames’ violinist is a legendary part of the group and I wondered why he needed anyone else. He too can make you think there is a whole orchestra playing when it’s just him and the fiddle (check out his contribution on the Swell Season /Daniel Johnston collaboration http://www.youtube.com/watch?v=dMYjCINcH9g ). The most impressive evolution in the group was Rob Bochnik. His time spent watching over Markéta Irglová as she went on her tour clearly was very fruitful. This was a new man on stage and I had to check that it really was him. I had no idea that his vocals were that good. She must be a very special muse. I would love to see this group again at the end of the tour to see how the sound evolves. Lisa at the El Rey the night before. Glen attended and invited her to his gig the next day. For the encore Lisa Hannigan sang Little Bird alone http://www.youtube.com/watch?v=DtOBYFzNZG0 and then joined John Smith and Joe Henry for The Night they Drove Old Dixie Down as a tribute to Levon Helm. Slide Show by Timothy Norris: http://alturl.com/w8vmz The Healing Glen’s Ireland didn’t have therapy. That was an American concept. Apart from hitting the bottle, the choices were to talk to a priest in confession or let the music do its healing. The wise figured out the better option early on. Yeats in his poem The Fiddler of Dooney wrote of a musician and his brother and cousin who were priests. The fiddler tells the tale: I passed my brother and cousin: they read in their books of prayer; I read in my book of songs I bought at the Sligo fair. When we come at the end of time to Peter sitting in state, he will smile on the three old spirits but call me first through the gate. Photo by T. Norris The concert started with The Storm: It’s Coming and that was utterly appropriate. Other Glen concerts have left me in awe. This one shakes you to the core. Be warned, oh you who dare to get aboard on this tour, that this will be a very heady and exhilarating emotional ride. Bird of Sorrow completely undid me. I was shaking and crying at that stage and am the better for the release. That’s a first. High Horses took me to a place of utter freedom. This is where you drink deeply of musical magic. For those who are not yet familiar with Rhythm and Repose songs there was a mix with songs from Once and The Swell Season. Extra roars greeted those familiar songs. Most people only got their hands on the new album the day before but those unfamiliar with the new songs were won over by the end of each tune. As we sang High Hope Glen noted how the singing along was like being in a church but without the priests. That was understating it. This was a night of stripping away of defenses and healing through the power of sound. To paraphrase Patrick Kavanagh, in word and tint he did not stint. The Powerful Music The Setlist - The Storm, It’s Coming - You Will Become - When You Mind’s Made Up - Love, Don’t Keep Me Waiting - Happy Birthday (for fun for Ali) - Low Rising - Talking with the Wolves - Bird of Sorrow (with tears) - Leave - In These Arms - Say It To Me Now - Astral Weeks (Van Morrison cover) - Back Broke (with Javier Mas) - Paper Cup (with Javier Mas) - Feeling the Pull - High Hope - High Horses - Song of Good Hope - Little Bird – sung by Lisa Hannigan - The Night They Drove Old Dixie Down (Levon tribute led by Lisa and John Smith and Joe Henry) - The Shape I’m In (Glen’s Tribute to Levon Helm with all on board ) - The Auld Triangle 9-12 Glen playing solo and 18 – 22 Encore set Kelly Hogan opened. The girl can sing.
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An gcríochnaíonn amhrán na farraige ar an gcladach nó i gcroíthe an dream a n-éisteann leis? – Kahlil Gibran Beidh seans ag muintir na hÉireann an scannán seo a fheiceáil ón 10iú Iúil 2015. Ná caill é!!! Bhí scannán le Gaeilge san iomaíocht d’Oscar i mbliana. Nuair a chonaic mise é ní raibh Song Of The Sea le Tomm Moore le fáil ach i bpictiúrlann amháin i gCalifornia agus an lá deireanach ann dó é. Mór an trua é. Chonaic mé an scannán le beochan seo i gCathair na nAingeal. Spreag sé mórtas cine is meas do mo chultúr ionam níos láidre ná ariamh. Bhí mé ag casadh amhrán ón scannán: ♫ Idir am is idir áit… ♫ ar mo bhealach amach ón bpictiúrlann Nuart ar Santa Monica Blvd. Mé idir am is áit. Ardáthas agus ionadh orm tar éis scannán le Gaeilge, seanchas & ealaín ceilteach den scoth a fheiceáil. Deacair a mhíniú an bród a tháinig orm ag éisteacht le mo theanga féin i scannán chomh hiontach leis seo. Béarla is mó atá ann ach ó am go ham briseann an dúchas amach le amhrán nó comhrá beag as Gaeilge. Tá leagan as Gaeilge amháin de le feiceáil anois faoin tideal Amhrán na Mara. Feicthe agam i mí Iúil in Éirinn agus iontach ar fad an leagan sin freisin. Ardmholadh do chuile dhuine a bhí páirteach ann. B’fhéidir go bhfuil dul amú orm ach ceapaim go bhfuil na dathanna níos fearr fós sa leagan as Gaeilge. Tá mé fiosrach cén fáth nár ghlaoigh siad selchidh ar Shaoirse in áit bean róin. Tá ‘fhios agam nach raibh an focal san bhfoclóir ach bhí sé sa chaint agus in am dúinn an focal a chur isteach san bhfoclóir. Tá leagan as Fraincis feicthe ag daoine sa Fhrainc cheana féin agus an-chaint dearfach ansin faoi. Tháinig an chéad gáire os ard uaim nuair a chonaic mé an fógra: Feic off ar dhoras. Nach minic a úsáidim fhéin an stíl sin ar Twitter! Liricí as Gaeilge sa cheol atá álainn ar fad. Cuid acu traidisiúnta mar Dúlamán, Báidín Fheilimí, agus Cailleach an Airgid. Spéisiúil go n-athraíonn siad go Cailleach Oíche é. Téarma eile d’ullchabhán. Cuid eile nua ar nós an amhrán le tideal an scannáin: Amhrán na Farraige. Tá mé iomlán gafa leis. Seo cuid láidir den draíocht sa scannán a chuireann muid idir am is áit. Tuigeann chuile dhuine sa scéal Gaeilge. Deireann an seanchaí ‘Ar aghaidh leat’ agus níl fothidil ann ná gá leo. Tuigeann daoine ón gcomhthéacs céard atá sé ag rá. Piocaimid suas snáth an scéil mar a déarfá. Fíorchliste. Seo an domhan atá uaim. Domhan ina dtuigeann gach duine Gaeilge agus, dáiríre nuair a smaoinímid air, an domhan atá againn. Fíordheas an chaoi a d’aithin siad é sin a fheiceáil sa scannán. An dúshlán tugtha dúinn ag an deireadh ó Bhrónagh: cé go dtuigimid Gaeilge agus na scéalta, caithfimid a luach a thuiscint agus iad a choinneáil beo. Seanchas is seanchaí is eachtra den scoth a thugann fuinneamh agus neart don scannán seo. Tosnaíonn an scannán le dán YeatsThe Stolen Child. Is ina dhiaidh sin leanann muid scéal Human Child amháin. Ní dearthair maith é Ben ach de réir a chéile tuigimid cén fáth. Tá eachtra aige a mhúineann dó an cheacht is tábhachtaí is é ♫ ag cuardú go damanta ♫ grá a bhí caillte. Buaileann sé le seanchaí a chabhraíonn leis ar an mbealach. Cloisimid faoi Mhanannan Mac Lir, Macha, na daoine sí, selchidh, Cú agus araile. Tá na scéalta tábhachtach agus sin an teachtaireacht ann. Níl ort ach snáth an scéil a leanúint le foghlaim. Ní thuigeann Ben a scéal féin ar dtús. Ní thuigeann sé an draíocht atá ag an taobh baineann dá chlann. Ach cé go bhfuil an-chumhacht ag Saoirse, a deirfiúr (selchidh óg), caithfidh Ben cabhrú léi. Tá saoirse ó na daoine beaga agus is í Saoirse amháin is féidir é sin a thabhairt dóibh. Scaoiltear an scéal amach go nádúrtha ag dul ó dhomhan gnáthpháiste go domhan atá faoi cheilt. Domhan lán le draíocht. Creideann na daoine sa scéal i ndraíocht. Cineál Realismo mágico na nGael le sonrú ann. Tá dhá dhomhan ann agus muid idir eatarthu go minic. Tá cuid mhaith de na carachtairí i ndomhan daonna & i ndomhan na sióga chomh maith. Seanmháthair agus Macha, Conor agus Manannan, Saoirse agus selchidh srl. Ar nós Spirited Away ar bhealach. Bhí mé ag déanamh ceangail i mo chloigeann an chéad uair a chonaic mé an scannán Miyazaki úd leis na scéalta againne faoi na daoine beaga. Bhí mé ag ceapadh ag an am go bhféadfadh duine scannán a dhéanamh cosúil leis bunaithe ar ár scéalta. Go mór mór nuair a chonaic mé na clocha ann. Ach ní raibh mé in ann scannán chomh hálainn le Song Of The Sea a shamhlú. Fós inniu táim ag déanamh iontas de agus ag smaoineamh ar na scéalta eile atá againn a bhféadfadh siad a úsáid as seo amach. A áille na háille, Song Of The Sea, ní fhaca mé farraige níos áille in aon scannán nó pictiúir riamh. Mé cinnte anois go raibh mé cineáilín high ar an dtaithí seo. Fonn orm dul ar ais agus é a fheiceáil arís is arís eile. Pléisiúir do na súile. Stíl Cheilteach chuile háit. Curtha le chéile le ceol draíochtach, baineann sé ón gnáthshaol thú go áit aoibheann is leanann an t-aoibhneas sin i bhfad. Ealaín & ceol den scoth a chruthaíonn an draíocht is fearr ann. Bruno Coulais a chum an ceol draochtúil le Kíla. Aisteoirí ag casadh ann chomh maith mar is teanga draoíochtach an ceol: David Rawle, Fionnuala Flanagan, Lisa Hannigan, Lucy O’Connell… Oireann sé. Ní chasann Brendan Gleeson mar tá a charachtar croíbriste. I bhfad, i bhfad níos fearr ná an scannán álainn The Secret of Kells ón ngrúpa Cartoon Saloon céanna a bhí san iomaíocht d’ Oscar i 2010, tuilleann an scannán seo 98% ar Rotten Tomatoes. Tháinig an comórtas is láidre don Oscar dó ó The Tale of Princess Kaguya. Caighdeán ard i mbliana? Cinnte. Níl The Lego Movie fiú san iomaíocht. Sa deireadh ba é Big Hero 6 a bhuaigh an Oscar. Tá mé ag rá libh go bhfuil Song of The Sea nó Amhrán na Mara níos fearr. Locht ar bith mar sin? Ar dtús chuir an t-amhrán seo a leanas a bhí ag an deireadh isteach orm mar bhí an stíl chomh difriúil sin ar nós amhrán do scannán Disney. Bhris sé an draíocht a bhí ann roimhe leis an rithim is an mblas nua. Ach ag an deireadh thaitin sé liom. Cúig réalt uaimse. An chuid is fearr dínn i The Song Of The Sea. Ardmholadh do Cartoon Saloon, an chomhlacht atá bunaithe i gCill Chainnigh a chuir le chéile é. Súil agam go bhfeicfidh gach duine ar fud an domhain é. Maith sibh. Buíochas ó chroí uaimse. Seo blas den scannán. Bainigí taitneamh as. Ná cailligí The Song of The Sea. Oscar tuillte go maith aige mar a fheicimse é. Draíocht níos láidre ná aon Oscar ann. Gach uair a fheiceann tú é, feiceann tú rud nua. Rud a thug mé faoi deara uair amháin: an uimhir ar an gcarr OW 45. Tagairt don reifreann in Albain? Cliste más ea. Bhí sé pianmhar ceart go leor. Comhbhrón leo. Saoirse ó gach duine. Mar sin, cosúil le Ben a chaill eagla leis an rud ceart a dhéanamh agus Saoirse a fuair a guth, caithfidh muide labhairt amach agus na rudaí is fearr sa saol a shábháil. Ná coinnigh pain taobh istigh. Ná fan ciúin faoi mar leanaidh sé ar aghaidh agus gheobhaidh áilleacht bás má fhanaimid ciúin. Ceacht iontach tábhachtach. Glen Hansard played the Wiltern, LA on 6/20/12, the opening concert of his Rhythm and Repose tour. The film Once that introduced most Americans to Glen Hansard started off with Van Morrsison’s And The Healing Has Begun and that was prophetic. This summer solstice in LA the Wiltern became a gathering place of souls for healing and Glen’s powerful music was the medicine of choice. The Gathering Those who understand the power of their music and the musicians who create magic with their sound gathered together at The Wiltern, a wonderful art deco building in Los Angeles, last night. You get a sense of entering another time as you view the decorated walls and ceilings of the Wiltern. I entered it in the company of Vicky & Bob who have been to thirty one Glen concerts so far, sometimes on crutches and even once in a wheelchair! I can see why they gravitate towards the Glen factor. I watched them share joy with all around them. They greeted Joe who they met two days ago and who got his guitar signed by Glen in Amoeba as an old friend. This is the human factor at its best: this is the way to live life. It was a communal experience from the start. If The Wiltern wasn’t sold out last night, it was damn close to it. The roar that welcomed Glen and Co. to the stage was not the same welcome cry of anticipation that welcomed him to The Wiltern back in 2007 where it all hushed down fast and reverence filled the room. Back then people wondered whether the music could be as good live or not. This time it was a roar of ‘Hell, yeah we know we’re going to have a good time.’ Glen read the crowd and felt the positive energy. There was no doubt on either side, just sheer joy in the playing and giving even when the music and lyrics were devastatingly true. He was born for this. The band has grown. It is bigger now and truly it’s not necessary but who cares. The man could give a concert with just his voice and his broken guitar and you’d have to remind yourself that there wasn’t a full orchestra playing. I’m not sure if he’s aware of his own power. But it’s about community and maybe that’s what keeps him grounded. He picks up talented friends along the way. Glen cannot stay still. How could he? It’s in his creative nature. He will always explore and try new sounds. As much as I know everything was perfect as it was before, I also know he has to do this. I wasn’t complaining last night as we were in the company of Leonard Cohen’s brilliant guitarist Javier Mas (¡Viva Asturias!). He took the simplicity of Paper Cup and Back Broke and made them sublime. I had seen him at Mc Cabe’s and was already a huge fan. I wondered about the two extra string players behind Colm. The Frames’ violinist is a legendary part of the group and I wondered why he needed anyone else. He too can make you think there is a whole orchestra playing when it’s just him and the fiddle (check out his contribution on the Swell Season /Daniel Johnston collaboration http://www.youtube.com/watch?v=dMYjCINcH9g ). The most impressive evolution in the group was Rob Bochnik. His time spent watching over Markéta Irglová as she went on her tour clearly was very fruitful. This was a new man on stage and I had to check that it really was him. I had no idea that his vocals were that good. She must be a very special muse. I would love to see this group again at the end of the tour to see how the sound evolves. Lisa at the El Rey the night before. Glen attended and invited her to his gig the next day. Glen’s Ireland didn’t have therapy. That was an American concept. Apart from hitting the bottle, the choices were to talk to a priest in confession or let the music do its healing. The wise figured out the better option early on. Yeats in his poem The Fiddler of Dooney wrote of a musician and his brother and cousin who were priests. The fiddler tells the tale: I passed my brother and cousin: they read in their books of prayer; I read in my book of songs I bought at the Sligo fair. When we come at the end of time to Peter sitting in state, he will smile on the three old spirits but call me first through the gate. Photo by T. Norris The concert started with The Storm: It’s Coming and that was utterly appropriate. Other Glen concerts have left me in awe. This one shakes you to the core. Be warned, oh you who dare to get aboard on this tour, that this will be a very heady and exhilarating emotional ride. Bird of Sorrow completely undid me. I was shaking and crying at that stage and am the better for the release. That’s a first. High Horses took me to a place of utter freedom. This is where you drink deeply of musical magic. For those who are not yet familiar with Rhythm and Repose songs there was a mix with songs from Once and The Swell Season. Extra roars greeted those familiar songs. Most people only got their hands on the new album the day before but those unfamiliar with the new songs were won over by the end of each tune. As we sang High Hope Glen noted how the singing along was like being in a church but without the priests. That was understating it. This was a night of stripping away of defenses and healing through the power of sound. To paraphrase Patrick Kavanagh, in word and tint he did not stint. The Powerful Music The Setlist The Storm, It’s Coming You Will Become When You Mind’s Made Up Love, Don’t Keep Me Waiting Happy Birthday (for fun for Ali) Low Rising Talking with the Wolves Bird of Sorrow (with tears) Leave In These Arms Say It To Me Now Astral Weeks (Van Morrison cover) Back Broke (with Javier Mas) Paper Cup (with Javier Mas) Feeling the Pull High Hope High Horses Song of Good Hope Little Bird – sung by Lisa Hannigan The Night They Drove Old Dixie Down (Levon tribute led by Lisa and John Smith and Joe Henry) The Shape I’m In (Glen’s Tribute to Levon Helm with all on board )