A Dub in Nashville: Dylan Walshe interviewed

Shite’n’Onions – First of all apologies for being so late to the game – I read a write up on you in London Celtic Punks a couple of months back and was so impressed by what I read that I ran out and bought your album “All Manner of Ways”. After a few spins, I really like it but I’m struggling to put a label on your sound. I hear outlaw or alt-country – you remind me of people like Townes Van Zandt and Blaze Foley, yet I also hear Christy Moore – it’s almost country with a Celtic soul. How would you describe your music and who influenced you?

Dylan – Yeah, Eddie & London-Celtic-Punks do great work in raising awareness for artists, glad to have had their support recently. You know yourself, most publicity is bought & paid for, so when people like yourselves reach out to an artist, on your own time, purely based on the fact that you’re actually interested in the artist & their work, well, it’s more of a genuine thing isn’t it? I’ve never paid for PR myself & I self released that record, so I expect it to continue to reach people as time rolls on, rather than it having reached a lot of people from the get-go. Naturally, when you first release a record, after all the hard work that goes into making it, you do what you can to get it heard. My drive for getting an album heard, is always geared towards the gigs. I’m a live artist, not so much a studio artist, so other than working on the songs themselves, I’m always thinking of the gigs. As much as that record is considered a studio album, my own performance is completely live on there, I didn’t use click tracks, headphones or overdubs or anything like that. I sat in the room, in front of a couple of mics & played the songs live. With having moved to Nashville from Dublin, via London, I did have distribution issues in getting hard copies across seas to folks, but we live in a digital age, so it was available to be listened to anyways. I’m sure all this played a part, in the album reaching people quite some time after its release, but a lot of new listeners found that album during the pandemic.

I guess All Manner Of Ways is the sound of my life’s journey. That album wasn’t designed with a certain audience in mind, like how a lot of genre based albums are. When other musicians join in on my songs, I only really know when it’s not right, which is more of a feel thing, I don’t to ask them to play a particular way. I’ve never had a contemporary sound either, so I think that record will always sit a little outside of whatever is current, ye know? Songs inspired me, not genres. In my formative years, I just followed the songs. I was brought up on Christy Moore & at that time, I wouldn’t have even known what a genre was. Of course, eventually, we learn more about the journey of songs & where they came from, which helps us to describe their sound, but artists like Townes & Blaze just had great songs & I believed them, that’s what was most important to me. Townes sang Dirty Old Town & Christy sang Song To Woody. A lot of the Irish folk song pioneers, of the 60s & 70s, were immersed in American song traditions in their formative years & of course, Irish music is a root of American Roots music, so I never really felt any restraints in that regard. It was immediately obvious to me, how connected it all was. Van Morrison would be the most obvious example of that. As soon as I became aware of genres & the likes, I knew the artists that communicated important things to me, wrote outside of those restraints. I enjoy the fact that you mentioned Celtic country here & that you came across me in a punk article. That makes me feel good. ‘Celtic soul got country’, we’ll go with that for All Manner Of Ways.

Shite’n’Onions – You are originally from Dublin and you followed the natural route of many Irish musicians to London but now you are based in Nashville. How did you end up in Nashville? I’ve been there a few times and it’s a culture shock to me (and I’ve been in Boston 25 years). How do they accept an Irish guy playing in Nashville? Is there a good alternative scene in Nashville (outside of Music Row and the Broadway Honkey Tonks?

Dylan – Yeah, I was born & raised in Loughlinstown, a very working class area on the south eastern outskirts of county Dublin. From an early age, I had a hunger to experience the diversity I imagined a big city would offer. By my late teens, I had my eye on New York, but I ended up in London instead. For the guts of ten years, I lived all over London, in places like Kentish Town, Crystal Palace, Tottenham, East Finchley, Acton & Forest Hill. I had arrived in London with a guitar & songs to sing, but it was during my London years, that I learned how to be a live solo performer. Towards the end of my time in London, I began to venture over to the continent of Europe, which led to me performing at Muddy Roots fest in Waardamme, Belgium in 2013. Muddy Roots fest is run by a label of the same name & they are based out of Nashville. In 2014, I was invited over here to the States, to play some gigs & record for that label. During that visit, I met my now wife. So initially, it was music that brought me over here to Nashville, but eventually, I moved here to be with my wife.

Nashville is an interesting town, it’s very much its own thing. There’s nowhere else like Nashville, not in my experience anyways. You could draw some comparisons with Austin, Texas maybe, but even then, Nashville could still be considered, to be more of a self-interest-music-biz-town in a lot of ways. Many people move here, in an effort to further themselves within the music industry, but I don’t tend to be around those people much, as it’s not really where I’m at in life. I become friends with people, for who they are, not for what I think they can offer me, ye know? I think you can find alternative scenes in most towns & Nashville has a lot going for it, but you would definitely have to dig a little deeper, to find alternative scenes here, especially if you’ve lived in a place like London, or even Dublin for that matter. This isn’t Country Music City, It’s Music City, but in fairness, you’d be hard pushed to even find some of the more mainstream genres, like Reggae or Celtic Punk. Bill Herring of 1916 just moved here from Rochester, New York & there’s a strong possibility, that he may very well be, the only active Celtic Punk singer currently living here. No joke. My wife & I love Nashville & it’s a town full of great people, but we do keep an eye out for other places to live though too. 

Speaking of honky tonks, Broadway & alternative scenes, there is a very healthy local honky tonk scene here in Nashville, away from the downtown areas. Over towards East Nashville, there are important events like Honky Tonk Tuesdays, which have to be seen to be believed. It’s a revival of sorts I guess. You could also maybe say, that there’s another folk revival currently in bloom too. When it comes to traditions, I’m not much of a fan of the term ‘revival’, continuity has always been there for me, but those traditions have been entering mainstream culture again, in an obvious way. There are a handful of honky tonks on Broadway, that the locals will still go to, like Robert’s Western World or Layla’s, & some of the best & hardest working musicians are in those places to, but for the most part, locals don’t tend to visit the majority of honky tonks on Broadway or the bars over on Music Row. 

All in all, we’re spoiled rotten here for music, both in quality & in quantity. It’s a very vibrant town & like everywhere else, it’s fast changing. As for myself, I really haven’t played in Nashville much, during the time I’ve been based here, but that’s about to change.

Shite’n’Onions – Speaking of Celtic-punk you have written/recorded with James Fearnley of The Pogues and The Walker Roaders. How did that come about?  Any plans for future collaborations? And you have toured with Flogging Molly, The Mahones and the odd metal band – how did those tours go?  

Dylan – Well, most of those things would be linked. I met Flogging Molly here in Nashville in 2016. We got chatting, they had a listen to my music & I got an invite to perform on their punk rock cuise in 2017. The Flogging Molly Cruise was an amazing experience. The cruise ship left from Miami & it travelled through the Bahamas for a few days, with bands like DeVotchKa, The Skatalites, NOFX, The English Beat, Voodoo Glow Skulls & of course, Flogging Molly too. Flogging Molly’s accordion player, Matt Hensley, is also a renowned skateboarder, so they had a skate ramp up on deck, between the pools & the stage. Matt got his old skateboarding crew together & they skated away while the bands played. The cruise ship had various venues throughout its decks & we all performed multiple times over the course of the few days. By my last performance on there, quite a crowd had gathered for my set. Flogging Molly’s singer, Dave King, joined me on stage too & that helped a lot with the momentum of things. Dave & his wife, Bridget Regan, couldn’t have been more supportive of me. I’ll always be very grateful for that. Once I finished out, the last song of my last set, Dave & Bridget told me that they wanted to take me on tour with them. Later that same year, they did just that. I went on a US & Canadian tour, as the third & opening act, with Flogging Molly & The White Buffalo.  

I didn’t write with James Fearnley of The Pogues, but James did add accordion to two of my songs from from that album, All Manner Of Ways. I’ll try not to make this confusing, but again, it’s all linked up. My actor & musician pal, Zander Schloss, was also performing on The Flogging Molly Cruise. Zander had his then manager, Tom Barta, on board with him too. Zander has been in many bands, such as The Cirlce Jerks, The Weirdos & The Latino Rockabilly War with Joe Strummer, but Zander & his then manger, Tom, were also in a band together, known as The Low & Sweet Orchestra. Well, James Fearnley was also in The Low & Sweet Orchestra. So Zander, Tom & James were all in that band together, they are all friends & they are all based out of LA. Are ye still with me? Hah. Just to further confuse things, at that time, Tom had also started to manage James Fearnley’s new band, The Walker Roaders. While I was on the punk rock cruise with Zander, Tom said that he also wanted to manage me. So, for a time, Tom Barta ended up managing Zander, James & myself. My tour with Flogging Molly & The White Buffalo, started at the Fox Theater in Oakland, California, so my wife & I flew out to LA, a day or two before the first show of the tour, to meet up with Tom Barta & James Fearnley there. I kept in touch with James after that & he added accordion to a couple of songs on All Manner Of Ways for me. We’ve already spoken about the flavour of that album, so it was important for me, to have someone like James on that record. Especially on the songs that he performs on. I grew up on The Pogues & having James on Where Dublin Meets Wicklow, the only song on that album that references home, really grounded the spirit of the album for me. James used the same accordion, that he used on The Pogues album, Rum Sodomy & The Lash too. Back in Nashville, I had recently opened for Spider Stacy, who was also in The Pogues, so it was all a real buzz for me & a serious honour.

On the back of that momentum, I met up with a Swedish booking agent, to arrange a solo headline tour of Scandinavia. During that meeting, the agent put the idea to me, of touring Europe & the UK in 2019, with the Swedish heavy metal band Avatar. Avatar had brought a one-man-band on their previous tour & they were looking to keep some of that flavour for their next tour. Originally, I was asked to be the opening & third act, on a bill with Avatar & a Canadian psychobilly band from Montreal called The Brains. The Brains weren’t able to do that tour in the end, but their drummer also drummed for The Mahones, so The Mahones joined the tour instead. That was one hell of a tour. I also joined The Mahones on stage for most of those shows & towards the end of that tour, I ended up being the only support act. When you’re a solo acoustic act, people can have a very limited perception or vision of what your gig can be. Some promoters, gig goers & event organisers, fail to understand, that it’s not only about the amount of people on stage, the type of instruments that are being played, how well known the act is, or how upbeat the music is considered to be. All most solo acts require, is the potential of an atmosphere to work with. All in all, it boils down to being able to communicate. There isn’t going to be much of an atmosphere, if you put a solo act on early, before a crowd has time to settle, or if you put a solo act on a tiny stage, off to the side somehwere, while a DJ in the background drowns them out. If you give any performer, the chance to communicate within an atmosphere, it can often become something far more special than any wall of sound could ever offer. I will say this though, if you do put on a solo act, in front of a large crowd, make sure their volume is at a decent level, otherwise they’re fucked. It’s not that you need to be loud to play to a crowd, but if there isn’t that loud place to go to, the performance can feel far less dynamic & attention spans may drift as a result. So, over the years, I was kind of on a mission to see how far I could take the solo acoustic thing & that was kind of it, being the direct support act to a Swedish heavy metal band, in countries were English is their second language. Some nights, I just stood there & sang A cappella, to a crowd waiting for a pyrotechnic metal show. That tour definitely divided opinions, but there were many beautiful & spirited moments & the magic that comes with that, will make any challenge worth the risk. That was the last extensive tour that I’ve done too.

Shite’n’Onions – This has been a great interview, Dylan. Final question. So, what’s next for you?

Dylan – No bother John. Thanks for your time & consideration. As for what’s next, I really don’t have any solid answers for that. Everything has been so unpredictable of late, ye know yourself. The pandemic hasn’t been a creative period for me, as I tend to do everything at the same time. Touring encourages me to write & vice versa. Like I was saying earlier, most of what I do is geared towards the gigs, but things are starting to pick up again & I’m getting out on the road whenever possible. I had an amazing gig at Muddy Roots Music Festival this year, it was my first time back there in five years & it couldn’t have gone better. That’s the same crowd I was also mentioning earlier, the same label that brought me over here to the States back in 2014. It was a very grounding & wholesome experience to reconnect with all that. I was in Maryland & North Carolina, there last weekend, doing a couple of great shows & that local Nashville residency has just started too. I’m currently booking for Europe & the UK, for March & April in 2022, which I’ll finish out with a visit home to Ireland as well. So hopefully that will all be able to go ahead come the time. I also recently started my own interview show, The Stirring Foot, which you’ll find on all the usual streaming platforms. Episode one was with Ramblin’ Jack Elliott, episode two was with Steve Ignorant of Crass & episode three will be with John Sheahan of The Dubliners. It’s more of an audio montage series, than actual conversations, but it’s been amazing catching up with those artists through zoom calls. They’ve reminded me of why I started playing music myself, at a time when I really needed to be reminded. So I’ll keep my website updated with any further news & hope to see ye down the road. Thanks again pal

https://www.dylanwalshe.com/

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