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


The Best of 2020 (and 2019)

I didn’t put out a best of 2019 list on St. Patrick’s Day 2020 and the whole world went to shite. So, in my attempt to fix the strange vortex we have been in since, here with no further ado is the Shite’n’Onions best of 2020 (and 2019)

The Top 6:

#1 The Go Set: Of Bright Futures….and Broken Pasts

#2 Greenland Whalefishers: Based on a True Story

#3 The Walker Roaders: The Walker Roaders

#4 The Real McKenzies: Beer & Loathing

#5 The Tan & Sober Gentlemen: Veracity

#6 Bodh’aktan: Ride Out The Storm

Best 30 Year Retrospective:

The Mahones: This Is All We Got To Show For It (Best Of 1990 – 2020)

Best Debut (single):

The Placks: Rebellious Son (7”)

Best Other Shite:

Flogging Molly – Swagger 20th Anniversary Edition

The Pogues ‎– BBC Sessions 1984-1985

The Radiators: Ghostown 40th Anniversary Edition

Flogging Molly: Swagger 20th Anniversary Edition

Is it really 20 years!! Seriously? To me Swagger is the album that started the Celtic punk scene. Sure the Pogues were the first Celtic-punk band but there was not a real scene before Flogging Molly exploded with Swagger. Even the Dropkick Murphys were still a street punk band in scally caps back then.  The 20th Anniversary Edition box set is a really nice package – Swagger as a double LP on red and white colored vinyl including the bonus Juan El Sentimental. A six track live EP on blue splatter vinyl from 2001 with mostly previously unreleased traditional stuff. A DVD of Swagger live from 2000 and various goodies – lyric book, buttons, record player pad. In all a very, very nice package.



Shite’n’Onions on Spotify

I know we all hate Spotify but sometimes if you can’t beat’em you have to join’em. So here is the official Shite’n’Onions playlist as it stands with 8 hours of the best Celtic-punk.

The Walker Roaders: THE WALKER ROADERS

Celtic-punks first supergroup here! LA based The Walker Roaders consist of a Pogue, James Fearnley (vocals and accordion) and former members of the Dropkick Murphys (Marc Orrell) and Flogging Molly (Ted Hutt, a founding member of the Mollies and later producer). Musically, The Walker Roaders are closer to the Pogues then DKM or FM though even closer to James two post-post Pogues bands, the 1990’s Low & Sweet Orchestra and the more recent Cranky George but with stronger Celtic melodies then either which meshes so well with his north of England grittyness.



Podcast# 68, 999 Years of Irish History (part 1)

January 19, 2013

Battle of Clontarf

The Prodigals – Boru’s March

Ceann – Blame The Viking

1014 is the best place to start Mustard Finnegan’s history of Ireland. It in that year Brian Boru defeated the Danes. For hundreds of years, Ireland was known as the Isle of Saints and Scholars – the image of monks in monasteries; smoking pot, lovingly illustrating copies of the gospels, praying and guiding the heathens in Europe outta of the Dark Ages. Though not  all of that is necessarily the true. Ireland was made up of a bunch of small kingdoms with kings more like Afghan warlords or the Bloods and Crips – I’m the king of from here to that rock over there and I’m gonna steal your cattle and run back to my ring fort. Ireland had big problem with the Vikings. The Vikings were a bunch of dudes from Scandinavia with helmets with horns sticking out of them who loved to vacation in Ireland and plunder the Irish monasteries and murder the monks. After a few hundred years of this the Vikings started to stay around and started, like all the cities in Ireland and meddled in Irish politics (bit like the EU these days).

Vikings. Horny fellows coming to rape and pillage
comely Irish maidens

Brian was an ambitious sort of fella and conquered one Irish kingdom after another and made them pay tribute to him (this is not like Michael Jackson’s Tribute, Brian would take hostage of the kid of the lesser kings and if the lesser king didn’t do his bidding and pay taxes and send solders when Brian needed them then that was the end of the young fella). Once the Irish were under his heal he went after the meddling Vikings of Dublin. Coming face to face for battle on Clontarf beach on Good Friday 1014 – the Irish warriors kicked serious Viking ass along with kicking the asses of the Dublin Viking’s mates from the Isle of Mann and Denmark – many of whom after the beat down drown in Dublin Bay trying to escape the Celtic axemen, starting the long tradition of pollution in Dublin bay. Unfortunately, for Brian, who being wicked old (he was about 73) and was praying in his tent as the battle raged so he did not notice a sneaky Viking who suck up on the big B and buried an axe in Brian’s back and that was the end of him.

The Norman Invasion

Belfast Andi – Irish Ways Irish Laws

Diarmait does the dirty deed dirt cheap
Strongbow gets the girl and the Kingdom

After 1014, Ireland went back to it petty warlords fighting with each other over this bit of bog and that sheep over there and all was good and dandy until a woman got in the picture. In 1167, Diarmait Mac Murchada (that’s Murphy in English), King of Leinster (the east bit of Ireland) ran off with Derval (the woman in question), the daughter of the King of Meath (the rich bit of Ireland in them days and these day) and the wife of Tighearnán Mór Ua Ruairc (Terry O’Rourke in English), King of Bréifne (a strip of fields and bogs that ran from Meath to Sligo these days called Leitrim). Tighearnán was pissed off of course and with the help of the High King, Rory O’Conner, they ran old Diarmait outta the country. Diarmait being a schemer and a general a-hole approached a Norman Knight called Richard de Clare, 2nd Earl of Pembroke also known by the name Strongbow (Strongbow is much more Knightly and Ciderish name, Richard de Clare sound more like the name of the owner of chain of ladies hair saloons). Diarmait promised Strongbow his daughters hand in marriage, who by all accounts was a pretty hot chick, as well as succession rights as King of Leinster, if he’d help him out. Strongbow not having much going on as the King of England when not hammering the Scots was beating up on his own Knights, took him up on the offer and arrived with his mates (Fitzgerald, Fitzgibbon, Burke, Butler and Prendergast) and the best in 12th century military technology gold pieces could  buy. Shortly there after Diarmait was back being King of Leinster but over old England, old Henry II didn’t like the idea of one of his knights becoming a king of anything and setting up a rival kingdom so he called up the Pope and asked for the OK to invade Ireland (of course this is the one time the Pope is a bloody Englishman) and once permission given Henry arrives and declares himself Overlord of Ireland.

The Pale and Beyond

Blood or Whiskey – Follow Me up to Carlow/Holt’s Way

BibleCodeSundays – Clew Bay Pirates

The Dreadnoughts – Grace O’Malley

We can skip ahead to the 1590’s now, the Norman Knight have gone native (more Irish then the Irish themselves) and the English rule is now pushed back to the general Dublin Area – known as The Pale. Ever heard the expression “Beyond The Pale”? Meaning being outside proper behavior, well that was where the wild Irish lived with their new Norman mates, fighting with each other over this bog and that bog and the odd goat.

Grace O’Malley telling Lizzie 1 to stuff it.

One of those Chieftains was a woman called Grace O’Malley,  the Pirate Queen who was so fearsome that she show up bare breasted in Queen Lizzy’s court in London to demand the removal of the Queens representative in Connacht.

The Flight Of The Earls

Black 47 – Red Hugh

Queen Elizabeth was a tough old boot in her own right and took a leaf outta ol’ Brian’s book raising the sons of the Gaelic Chieftains in her court. One of these lads was Red Hugh O’Donnell of the Tyrone. Hugh and his mate O’Neill of Ulster (The O’Neills are the oldest and biggest family in Europe, there is something like 3,000,000 descendants of Niall of the Nine Hostages the original Neill running about, the O’ meaning descended from, talk about virile) played a good game with the Queen. When in her court they played along by English rules and when back home in Ulster they did what ever they bloody pleased. But Lizzie’s henchmen in Ireland keep pushing in on O’Neill and O’Donnell business and enough to piss’ em off that they stopped playing the game and rebelled. The Irish chieftains were able to push the Perfidious Albion almost out of the country but were finally defeated a the Battle of Kinsale in 1601 – Kinsale is as far as you can get from Ulster, being on the south coast in Cork. O’Neill and O’Donnell and most of the other O’s fled the country for Spain and that was the end of Gaelic Ireland.

The Plantation Of Ulster

The bollocks of Henry the Eight

Being traitors to the crown, all of the lands of the O’Neill and O’Donnell went to the crown who decided that the best way to control the Irish was to get rid of ‘em and replace ‘em with good English protestants – this was after the reformation of course.

“Here’s a health to the Protestant Minister And his church without meaning or faith For the foundation stones of his temple are The bollocks of Henry the Eight” – Brendan Behan

This plan didn’t work out so well as most of the smart English with ambitions for advancement went to the America’s and stole the Indians land so in Ulster the numbers had to be made up with low class, lowland Scots. The Irish got kicked out and the planters got the good land (and the natives the views).

Cromwell in Ireland

Flogging Molly – Tobacco Island

The Fisticuffs – Young Ned of The Hill

Ollie Cromwell, Lord Protector and general bastard. Warts’n’all

The 1600’s was an ugly time to live in Ireland. When the civil war broke out in England the Catholics of Ireland, Gaelic and Old English supported the cause of Charles I and took the opportunity to try and get their lands back from the planters – much slaughter followed. With the end of the war in England and Chuck’s head on a spike Cromwell turned his eye on Ireland and took revenge in the Irish for rebelling and waged holy war on the population. Cromwell was by far the biggest Fu#ker in Irish history, his soldiers laid wasted to much of the county, butchering the citizens of Wexford and Drogheda when the garrison of those cities didn’t surrender fast enough. When he didn’t murder you, then he transported you to Barbados to your death as a slave in the sugar plantations or worse to Connacht and eternity as a bogger. Allegedly Rihanna is descended from one of those Irish transported to Barbados…..I told you Cromwell was a fu#ker. Cromwell eventually dies (of malaria of all things) and the Stuarts are back on the throne of England. Cromwell’s body exhumed, hung, drawn and quartered.

Ollie Cromwell, Lord Protector and general bastard. Warts’n’all

 The Battle Of The Boyne

Roaring Jack – The Old Divide And Rule

Hugh Morrison – Ye Jacobites By Name

Prydein – Minstrel Boy

James II

The Tossers – Johnny I Hardly Knew Ye

William of Orange
(only one of these guys was was in Poison)
Patrick Sarsfield

The Stuarts were bad new. It would have been in everyone’s favor if Guy Fawkes had his way……BOOM! Things calmed down under Chuck II but there are problem when his brother Jimmy II replaces him. Well wee Jimmy was a Celtic support and the England parliament, Huns. They manage to live with him until a son was born and then they realism  the Catholics won’t be going away. Jimmy is given short shift and exiled to France with his daughter Mary and her Dutch son-in-law William of Orange put in his place. Jimmy II raises any army with the support of the King of France and sails for Ireland to join up with his Irish supporters.

James manages to set back peace, love and understanding 1,000 years in Ireland when he lays siege to the walled city of Londonderry. The siege is only lifted when Williams ships arrive with solders and supply’s . The two sides play cat and mouse for a little while and finally meet on the banks of the river Boyne on July 12th, 1690. James’ French and Irish army verses Willies Dutch, German, English troops. William wins and James runs away. The most ironic thing about this is the bad history that still abates- the brethren up in Ulster regard this a a victory over the Pope and Popery, yet the Pope was playing politics here not religion and supported the protestant William and most of Williams army was Catholic – the Pope was trying to stick it to the French. With Jimmy gone, the Irish fell back to Aughrim under the command of Patrick Sarsfield, defeat followed and then on to Limerick. The City of Limerick was put under siege (that it still needs to clean up after) but William didn’t want to wait it out and offered a fairly decent treaty – join me or go to France and join the French army. The Irish took the French route and spent the next hundred years dying on the battlefields of Europe for the ungrateful French. With Willie back in England and Sarfield and his men dying for France. The over loards in Ireland we left to their own devices to introduce the penal laws

“Cuimhnigidh ar Luimnech agus feall na Sassonach!” – “Remember Limerick and Saxon Perfidy”


File:The Battle of Fontenoy, 11th May 1745.png
Irish revenge for Limerick at Fontenoy

Flogging Molly: Celt-in-a-Twist interview with Dave King

January 16, 2005

Dave King was interviewed by Celt In A Twist host, Patricia Fraser, December 9th, 2004, and the following transcript as reprinted with her permission. Listen to Celt in a Twist for an hour of outrageous Celtivity every Sunday afternoon on AM 1470. It’s Celt in a Twist, the very best in contemporary Celtic music.

Some Irish people walked into a bar…..and instead of starting a joke, they started a band. Yes, not just trendy cars are fueled by alcohol in Southern California; a brand new sound was born the day the members of Flogging Molly met in a bar named Molly Malone’s. The seven members invented an as-yet-unnamed classification of music. It might be agro-Celt, jig-punk, or Celt punk, but it’s gaining popularity all the time. Their new album is “Within a Mile of Home” and we’re talking about it with Dave King. Dave! How are you?

How are you? Are you good, Patricia?

Yeah! We’re really happy to be talking with you about the new album. You’ve been part of the Van’s Warped Tour, and just returned from a tour of Europe. Do you do your writing on the road or at home?

Sometimes in sound checks. I will play a chord or something and it will sound different to me and I’ll record it down. Then I’ll come back home and I’ll play my tape to see what I have and something might strike me. But usually I write the body of a song here at home. You know I have a little desk set up here and I have photographs of friends and family around me and a little bottle of whiskey maybe here or there, and I just reminisce of things past, you know?

You name the Pogues and the Dubliners as inspiration as well as Johnny Cash. Do you see a connection between the music of the old country and the country music of the new?

Oh, absolutely. It’s a very interesting story. When I was a kid, my father brought me out to buy me a couple of albums. And the albums that he bought me were Johnny Cash at Folsom Prison and the Dubliners Live at the Gate Theatre. And it’s really, really bizarre because I obviously listened to those albums when I was a child for years. And when I think of Flogging Molly, in some ways it’s almost like a combination of the two. You have that train-driven sound, but you have traditional sound on top of that as well. And to me country music I think sprang originally from traditional Irish music and folk music, do you know what I mean?

You wrote the song “Don’t Let Me Die Wondering” after the death of Johnny Cash. How did his music affect you and your writing?

To me he was a man who sang of freedom and he sang of justice for man and he went through so much in his life. And when I found out, when I heard he died it was the last thing I could imagine Johnny Cash doing was lying in his deathbed wondering what he should have done and what he shouldn’t have done. You know what I mean? Johnny Cash lived a life, and he lived it every day, and that’s an inspiration for me in any way it is because hopefully when I’m on my death bed I’m not going to be lying there going “Oh, I should have done that and I should have done it this way.” No, I’m going to do it my way and that’s it, you know? So spiritually and musically he was a huge influence on my life.

You sing a song on the new album with Lucinda Williams called “Factory Girls” The Rolling Stones also used a Factory Girl as inspiration for a song. What is it about those girls that moves you to pick up a guitar?

I remember as a kid when I lived in Beggar’s Bush, there was a factory up the street. It was a cleaning factory where you’d bring all your dirty wash and you know, the cleaners they did it for you. And every night when those girls got off, they would walk by Beggar’s Bush, and they were all linking arm in arm and they would always be singing songs. And it always stuck in my head. Then when I went back to Ireland last time, I was sitting with my mother, and she’s on in age now you know, and it was like I tried to imagine her as the factory girl, and what it was like for her when she was younger. And so they both combined and Factory Girls came out. And then as I was writing the song I was, you know, “I don’t hear myself singing this. I need somebody else to sing it with me. “ And we’ve always been huge fans of Lucinda Williams. And I just put it out there, you know? Never thinking that she’d do it. And a couple of months down the road, you find out that she’d love to do it and it was fantastic.

You were born in Ireland, and traveled very far, musically speaking, before you came home again. Is “Within a Mile of Home” getting you even closer to the music of your childhood?

Yeah, I mean, I suppose it is. I think the further away I go the closer I want to be back. It’s a contradiction of course, being Irish, which you probably know, we’re full of contradiction. I mean I didn’t really realize it until the album was done, how much more at home I felt. The title itself has nothing really to do with being within a mile of home as such. It actually means for me personally, it’s within a mile of being happy. Not afraid to be happy. And therefore once you’re happy, I think you’re home.

You’ve got your Celt In A Twist and we’ve got Dave King from Flogging Molly on the line to talk about their new album, Within A Mile Of Home. More news from Flogging Molly is within your grasp. Just visit http://www.floggingmolly.com. What’s next for the band, Dave? Back to Molly Malone’s?

I might head down there. Yeah, I might head down there for a few pints. I’ve got a bit of time off so I might go down see all the old folks down there. All my old friends. Yeah, we’ve got a little bit of time off, something we haven’t had in years. And I don’t know what to do with myself, really. But we’re going to be going to Australia and stuff like that. But we’re planning a big Saint Patrick’s tour. In March, we’re going to do seventeen days in March for the 17th of March, Saint Patrick’s Day. We’re going to do a big seventeen-city tour in the US. So that should be fun.

Lots of celebrating?

Oh yeah, of course, you have to celebrate don’t you? The good and the bad.

We’re going out on 7 Deadly Sins from the album. You can also catch the video for that on World.Beats. Tell us about that song.

Well, once again, that tune was inspired by people like Johnny Cash and Joe Strummer. People like Luke Kelly, who passed away, and who had this camaraderie about them that made you want to jump into their lives. And that song made me want to write a song about Flogging Molly and how we’ve all influenced each other and how we’ve all been on the road for so many years now, and sailing around the world, and singing our songs. It’s just one of those celebration type songs, celebrating the passing of great heroes that we’ve had and looking forward to the future as well. I love that song. Matt actually started playing the accordion riff on that and I had another part and the two, even though one is in major and one’s in minor, they both completely gelled together, and I really, really like that song. It’s a great song live.

We’re going out on 7 Deadly Sins from the album. You can also catch the video for that on World.Beats. Tell us about that song.

Well, once again, that tune was inspired by people like Johnny Cash and Joe Strummer. People like Luke Kelly, who passed away, and who had this camaraderie about them that made you want to jump into their lives. And that song made me want to write a song about Flogging Molly and how we’ve all influenced each other and how we’ve all been on the road for so many years now, and sailing around the world, and singing our songs. It’s just one of those celebration type songs, celebrating the passing of great heroes that we’ve had and looking forward to the future as well. I love that song. Matt actually started playing the accordion riff on that and I had another part and the two, even though one is in major and one’s in minor, they both completely gelled together, and I really, really like that song. It’s a great song live.

We were just wondering because there are seven members of Flogging Molly, and of course, seven Deadly Sins,

Well there’s that of course as well….

If you each took one to specialize in. Thanks for joining us.

Patricia, you are more than welcome.


Flogging Molly /The Currency – The Corner Hotel, Melbourne, AUS (APRIL 10 2008)

So its 9am the morning after the show, I’m struggling a little, however I’m feeling the need to get this down on paper before the buzz wears off too much. What a great show last night! It was truly sensational, and Melbourne gave it to Flogging Molly as much as they gave it to us. The intensity just went up and up with both sides dealing it back in spades.

The venue was fantastic. There was a smaller stage to the side where The Currency played, with the main stage set up on an adjacent wall ready to go for Flogging Molly. This made for a very smooth transition, and there was plenty of viewing room even for the small stage. The Currency were great, they kicked off with a tune that built up layer upon layer as it got going into quite a frenzy by the time the vocalist took the stage. The crowd was appreciative and after a few songs the keener (drunker?) members got quite an impressive bit of jig-spinning mosh-pit action going on by the stage. I would have joined in but it was still important to me at that time not to spill my drink.

The Currency definitely deserve a few words, these guys really know how to play and connected with the crowd well. I had only heard a couple of their tracks previously but I tell you what, I can’t wait for their album release, they have written some brilliant tracks. One that really stuck in my mind was referencing the 8/8/8 plight of the Melbourne unions for 8 hours or work, 8 hours of rest, 8 hours of sleep I think it is. It was also talking about the monument erected to commemorate this which I happened to stagger past drunk at 3am the previous morning but that’s a different story.

Anyhow, after a good set – I would estimate about 45 minutes – there was a relatively short break and Flogging Molly took the stage. The crowd was well pumped and moved into action immediately as the first riff of Selfish Man kicked in and the place went off. I’ve seen Flogging Molly once before as a support act in a large venue, but this was something else again – they were on another level. You could feel how hard they were playing from the moment they hit the stage. The intimate venue meant I could reach the foldbacks and so the band was less than a couple of metres away – and they brought all of my old FM favorites to life in a way I couldn’t have imagined.

It was particularly evident what a fan-base Flogging Molly now have in Australia when during the intro to The Likes of You Again, Dave King found himself drowned out by the crowd singing along – you could see in his face how taken aback he was that here were several hundred people thousands of miles away from home who knew all the words to their songs. And the band just responded in turn.

The sound was great at this venue, the mix was excellent, you could hear all of the instruments distinctly so whether it was the Bob Schmidt’s banjo in Drunken Lullabies or the Bridget Regan’s tin whistle in Devil’s Dance Floor it cut through like a knife. The playing was tight and powerful, exactly what you’d expect from such a hard-touring, seasoned band but it’s still so impressive to see. The set list was perfect for fans like me who will only see them every couple of years at best. It drew heavily from the first couple of albums, from memory they ran through: Salty Dog, Black Friday Rule, Selfish Man, The Likes of You Again, Devils Dance Floor, Swagger, Drunken Lullabies, What’s Left of the Flag, If I Ever Leave this World Alive, and Rebels of the Sacred Heart. From Within a Mile of Home they had my two favorites Tobacco Island and the title track plus Whistles the Wind and Seven deadly Sins. I think there were only 4 off the new album – Float, Paddy’s Lament, Requiem for a Dying Song and Lightening Storm – and all 4 were fantastic – and I certainly appreciated the majority being from the earlier albums that are so well ingrained in the musical appreciation section of my brain.

There were a couple of highlights for me from the night, the first was on the roof-top bar before the show – it was a warm Melbourne Autumn night so sitting outside was very pleasant – when I saw Nathan Maxwell walk past so I had a fan moment and accosted him at the bar to buy him a beer. I tried to impress him with how far I’d traveled to see them, realized I was carrying on like an asshole and eventually we sat down with my friends and discussed everything from Californian red wine to the sights of Chapel Street. He’s a hell of a nice guy and eventually wandered off to sound-check. I saw him later, he watched the entire Currency set from the midst of the audience chatting with people and soaking up the atmosphere. Half an hour later he was bathed in sweat playing his ass off as I was once again blown away by the power of Flogging Molly’s rhythm section (this was in fact my main recollection from last time I saw them – just how tight they had the rhythm section which is of course the heart of Irish music – without rhythm, how can you dance?).

Anyway, highlight number 2 had to be the encore, Dave King came out and played through the verses of Black Friday Rule with his acoustic guitar – it was magic with the crowd singing along – and then when the rest of the band joined in for the mad finale, it was truly awesome.

Throughout the show, the band were beaming, they’d found a home away from home with a manic fan-base, and this was only the Thursday night show – it wasn’t even sold out which the Friday one is – it’ll be off the planet tonight for sure, its just a shame I will be on a plane when they take the stage again, still I feel privileged to have experienced this show, definitely one of the best I have ever attended.

Review By: Alex Kiwi Dean


The openers for Flogging Molly were mediocre. The first band, World/Inferno Friendship Society were good the first time I saw them at the Pontiac Grille with River City High, but this time around they didn’t impress me. The lead singer breathed fire and one of the percussionists set her cymbals aflame, but I thought they’d do more than that since they were in a bigger space (unlike the tiny Pontiac Grille stage). They still churned out some decent songs, most of which are a combination of punk and swing.

The World/Inferno Friendship Society was not as bad as the second act, Chicago’s Blue Meanies. I was told that they were a ska/punk type of band, but I didn’t hear any ska beats. I was also turned off when the lead singer sang through a bullhorn for a few songs. I had a feeling I wasn’t the only one who was turned off by them, as I noticed they hardly got any crowd reaction at all.

Finally, Flogging Molly came out and opened up with “Every Dog Has Its Day”. The song started off slow, and then the tempo got fast and whipped the mosh pit into a fury of people slam dancing and doing Irish jigs. (Flogging Molly is an Irish/Celtic folk punk band.)

The septet gave off a tremendous amount of energy, especially front man Dave King, who kept drinking from a pitcher of Guinness all night. He was a joy to watch, especially when he put down his acoustic guitar and danced during the guitar solo in “Black Friday Rule”. The bands showcased two new songs which I think were “Rebels of the Sacred Heart” and “Death Valley Queen”.

I was extremely happy when they played “Devil’s Dance Floor”, because the first time I saw Flogging Molly play back in December, they didn’t get to play it. My favorite songs, “Salty Dog, Selfish Man”, and “Life in a Tenement Square”, were played as well. The highlight of the evening was when the band played “Delilah”. When the chorus came up, the lights were turned on the audience, which prompted them to sing along. They were eventually told by security to end the show, but the crowd just kept chanting “Ole!,” wanting them to play more. I thought the concert was really over since the house lights were on, but then the band did come back on stage and closed with “Sentimental Johnny”.

Flogging Molly is one of the best live bands today. They never grow tired of playing and always keep the crowd moving

.Thanks to Lauren Dayap for the review.