Celtic Thunder Embraces Its Folkier Side With Heritage

In September of 2010, I had the opportunity to go to Poughkeepsie, New York, to see the filming of two DVD specials for Celtic Thunder. One of these was Heritage, which marked a dramatic return to traditional music after the extremely pop-flavored It’s Entertainment. In the end, I decided the experience just didn’t quite justify the expense, the bad timing and the logistics of getting there. While I saw that portion of the concert live the next month, I still sort of wish I had gone, especially since Heritage ended up being the last DVD special filmed before the group underwent dramatic changes.

Since September, operatic Paul Byrom and rakish Ryan Kelly, whose first solo album came out in October, have left the group. Multi-talented Neil Byrne, whose first EP was released the same month, continues to rise in prominence within the group, and tenor Emmitt Cahill, the newest member, remains largely a mystery to fans. Balladeer George Donaldson has a solo album out this month, and teen wonder Damian McGinty is currently starring on Oxygen’s The GLEE Project, a reality show in which twelve contestants battle it out for a seven-episode guest starring role on the popular Fox series. The only one whose situation doesn’t seem to have changed much is heartthrob Keith Harkin, who continues to write his own music and sharpen his guitar skills as he prepares for the eventual release of his first solo album. I’m not sure when the next Celtic Thunder special will be filmed, but I know that the group is going to look and sound significantly different.

Heritage is a nice special to serve as the transition between different forms of Celtic Thunder. Many fans were disappointed by the deviation away from music that actually has a Celtic flavor, so the response to this very folksy set of songs has generally been positive. It also contains more joint songs than any previous special, with several duets as well as the full-blown group numbers. This time around, no mystery women perform solos or duets; it’s just George, Paul, Ryan, Neil, Keith and Damian performing together, and the poignant duets between Paul and Damian and George and Ryan take on added meaning in light of events that have happened since. Did they know at the time that these would be songs of farewell to each other?

Heartland - As always, this ensemble opener of the sailors’ prayer written by Phil Coulter packs a powerful punch. We get the extended version here, with Neil showing off his percussionist chops during the majestic early portion that precedes the arrival of the vocalists in their uncharacteristically casual clothing. The stage is dark and misty, with a simple raised platform whose sides ancient cobblestone and a backdrop of rolling green hills. This rendition is much the same as in previous specials, with the major difference being that Ryan sings the Gaelic bridge toward the end that is usually a Damian solo. This song always starts off concerts with a bang, and it’s especially fitting here given the traditional bent of the special. “When the winds are howling, vigil keep. Shelter us and save us from the deep. A Thiarna, déan trócaire, a Chríost, déan trócaire. A Thiarna, déan trócaire, a Chríost, déan trócaire!”

Buachaill O'n Eirne - Damian wowed audiences as a 14-year-old with his clear-voiced rendition of this classic, then titled Come By the Hills. At that time, he sang one verse in Gaelic and the others in English. Here, it’s all Gaelic, and he sounds significantly different now that he’s gone from having the highest voice in the group to the lowest. I love the strong presence of the harp in this one and the close-ups on Damian’s crystal-blue eyes and expressive eyebrows as he sings under that mop of hobbity hair, not to mention the brief shot of an adorable toddler gracefully dancing to the music, glowstick in hand.

The Dutchman - One of my favorite songs on the DVD and possibly my favorite of Keith’s Celtic Thunder solos, it’s a wonderful showcase for his delicate guitar work as well as his sensitive line readings. Keith excels at these folksy songs about enduring love, often with rambly, potentially tongue-twistery lyrics. The song structure here reflects the state of mind of the title character who speaks for himself in the refrain. Aged and often unaware of his own surroundings, he wanders through life in a haze, but he remains content because of the care lavished upon him by his true love. Reminiscent of the Nicholas Sparks weeper The Notebook, it’s a tender song exquisitely performed, with the gentle percussion adding to the sense of enchantment in the chorus. “He’s mad as he can be, but Margaret only sees that sometimes. Sometimes she sees her unborn children in his eyes. ‘Let us go to the banks of the ocean where the walls rise above the Zuider Zee. Long ago, I used to be a young man, but dear Margaret remembers that for me.”

Black is the Colour - This is one of the oldest songs in the program, but Ryan spices it up with a modern twist, giving it all the fiery flair he brought to Ride On in the first special. As in that song, the instrumentation has a Western flavor to it, and it’s easy to imagine horses galloping across the prairie as he proceeds. He sounds like a scoundrel, but he’s not; the lyrics are a total sapfest. It’s just fun to watch him as he sings the praises of his beloved while stalking the stage and belting everything out with a throaty growl. The most entertaining portion comes toward the end when he pumps his fists in time to the drums and the spotlights change color each time. Violinist Nicole Hudson also stands out here as a primary instrumentalist and the object of Ryan’s flirtation. “Black is the colour of my true love’s hair. Her lips are like some roses fair. She’s got the sweetest smile and the gentlest hands, and I love the ground whereon she stands.”

Working Man - This Rita MacNeil ballad originated with Take Me Home, but it fits so perfectly here that I doubt anyone minds the repeat much. George had a flourishing career as a balladeer before joining Celtic Thunder, and none of the lads has a greater gift for consistently connecting with the audience and getting to the emotional core of a song. The oldest member of the group by nearly a decade, George’s rumbling voice and hairless head give him added gravitas that make him the ideal instrument for this tale of a man worn from decades of hard labor in the coal mines. The addition of the rest of the group on the final chorus adds to a sense of defiant jubilation. “It’s a working man I am, and I’ve been down underground, but I swear to God if I ever see the sun or, for any length of time, I can hold it in my mind, Lord, I never again will go down underground.”

Home from the Sea - This Phil Coulter ensemble number, written as a tribute to those who risk their lives to save those adrift at sea, includes Neil pulling double duty as guitarist and solo vocalist. Each member gets half a verse to himself, while they all sing together on the chorus. When I saw this in concert, there was a bit of roughhousing at this point, and it was one of the songs that allowed the most personality to shine through. They’re more sedate here, but you can tell they’re enjoying each other’s company. This song is similar in many ways to Heartland, though it’s entirely in English and has more of a bouncy quality to it as opposed to the reverent tone of the first. Both are prayers for deliverance by wayward sailors, but in this case, they receive their rescue at the hands of a lifeboat crew. A hearty, exuberant song, with the standout line George’s bellowed “All survivors on board!” “Carry us home, home, home from the sea. Angels of mercy, answer our plea…”

Just a Song at Twilight - I confess I find this song a bit too slow and snoozy for my liking, though it’s great to see Paul and Damian singing together, and it’s a nice song of reminiscent brotherhood that feels especially fitting given Paul’s then-impending departure. The chorus upon which they harmonize is quite lovely, I’m just not as enthralled by the verses. Still, this mellow, piano-backed song is certainly soothing. “Just a song at twilight when the lights are low and the flick’ring shadows softly come and go. Though the heart be weary, sad the day and long, still to us at twilight comes love’s old song.”

Belfast Polka - This is another repeat, a chance for the band to show off their stuff while the vocalists get a break. Of course, Neil on guitar duty again, so no break for him, though he’s not really highlighted here. The violinists stand out in this fun tune that gets the audience clapping, but the most entertaining instrumentalists are flutist Brendan Monaghan and keyboardist Dave Cooke, who demonstrates his ability to boogie when he stands up to shake things up with some hand-held percussion.

Gold & Silver Days - When I saw the Heritage tour, this Coulter original was the one that excited me most, partly because its nostalgic flavor resonated so deeply with me but mostly because it was a long-awaited duet between paternal George and Ryan, who may play the bad boy role but who cuts most deeply in songs of loyalty and loss. Their two voices complement each other gorgeously as they sing of bygone childhood days, and while the verses are heartfelt, it’s on the harmonized choruses that we really feel the sweet ache for those long-ago years. The warm smiles and the contrast between George’s deep voice and Ryan’s higher, husky tones add to the beauty of this reflection, as do the harp and the lonely sounds of the flute. “Sing me the songs of our gold and silver days, days filled with innocence and light. Not a penny to our name, we were happy just the same in our gold and silver days.”

Noreen - Of all the songs here, I think this is the one that benefits most from the visual experience. Another Coulter original, he wrote it as a wedding gift for his friends Liam Neeson and Natasha Richardson. At the time, it was only instrumental, and it was entitled Natasha. After her untimely death in a skiing accident, he added words, hoping to convey a searing sense of separation without specifically referencing the event that precipitated it. Neil’s performance here is nothing short of heartbreaking, and the emotional impact increases significantly when you are able to see the tears that linger in his eyes until that high, long-sustained final note dies out and he blinks them away. When I first heard it in October, it touched me, but in the months since, this song of exile and impossible distance gradually surpassed all others from this collection to become my favorite. Tragic but tinted with a shining thread of optimism, this is the moment that banished any lingering doubts that might have remained as to Neil’s rightful place as a full-fledged member of the group. “When I dream, I’ll be dreaming of Noreen and the love that I’m leaving behind me, and the twilight will always remind me of my Noirin, mo Stoirin, my love.”

Steal Away - Another Coulter song, and another repeat, this is the closest we get to pure a cappella, with little more than some simple guitar accompaniment, some of it provided by George. A big part of Celtic Thunder’s appeal comes from these deeply harmonic moments, so it’s another song that bears repeating. “Steal away, let’s steal away, no reason left to stay. For me and you, let’s start anew, and darlin’, steal away.”

Skye Boat Song - This traditional tune is the only one that is not featured on any of the CDs to date. George’s Scottish heritage comes to the forefront here, and the theme of protecting a child feels very much in keeping with his repertoire within the group. Adding to the rich Scottish flavor is Brendan’s bagpipe accompaniment toward the end. “Speed, bonny boat, like a bird on the wing. ‘Onward!’ the sailors cry. Carry the lad that’s born to be king over the sea to Skye.”

Whiskey in the Jar - Probably the most rockin’ song in the set, this arrangement of the old folk song seems to be taking a page out of Metallica’s book with the emphasis on the electric guitars. It’s not as heavy as theirs, but it’s still pretty modern-sounding in comparison with everything else here. Neil and Keith both sing and play together here, and they seem to be having a lot of fun. This is one of those songs in which the lyrics seem to be slightly different in each version, and I’m not crazy about some of the choices here, especially changing the woman’s name to Molly, which lacks the satisfying rhyme that Jenny provides. Still, an entertaining performance. “As I was goin’ over Cork and Kerry Mountains, I saw Captain Farrell, and his money he was countin’. I first produced my pistols, then produced my rapier. I said, ‘Stand there or deliver, or the devil, he may take you.’”

My Love Is Like a Red Red Rose - From the liveliest song in the special, we go to the quietest and slowest. Written by legendary Scottish poet Robert Burns, it’s a fervent proclamation of love sung by Paul. Muted and lovely, but it seems a shame that on what is most likely his last DVD with Celtic Thunder, he doesn’t get something a little more dynamic. A nice lullaby, though. “Till all the seas can dry, my dear, and rocks melt with the sun, and I will love thee still my dear, while sands of life shall run.”

Ireland's Call - This Coulter ensemble number that celebrates the pastime of football is perhaps the one song most associated with the group and the one most likely to get crowds on their feet. It’s the original quintet here, doing their same borderline corny choreography in their matching gray kilted suits, but boy does it get the blood pumping. Lots of whooping from the audience on this one, as well as flashing of Irish banners and waving of green glowsticks. Always a good time. “Ireland, Ireland, together, standing tall. Shoulder to shoulder, we’ll answer Ireland’s call.”

A Place in the Choir - This Bill Staines ditty is a Sunday school classic, and it makes a vivacious end to the concert. The lads are back in their earth tones and vests, all set to do some downright goofy choreography that is hysterical to watch. They look like they’re having a blast, the audience clearly is. The banjo and the fiddle add to the fun hoe-down feel, and the sense of camaraderie is deeply evident here, especially when Damian sings the bass line and the other four fall down in mock shock at the idea that such a voice could come out of little Damo. A joyous conclusion. “All God’s creatures got a place in the choir. Some sing low, some sing higher, some sing out loud from the telephone wire and some just clap their hands or paws or anything they got now.”

I do still kick myself a bit that I didn’t try harder to make it to this; the thought of actually being a part of such a landmark moment in the life of my favorite contemporary group is pretty appealing. But even though I didn’t see it filmed and can’t pick myself out in the audience, I can have the pleasure of watching it whenever I want. This DVD that goes back to the folky sound so many Thunderheads crave may be the strongest release yet, so if you’ve never encountered these talented vocalists and musicians, Heritage is a great place to start.