“There were various rumors circulating. “He’s at Eamonn Doran’s with Huey from the Fun Lovin’ Criminals. They’ve been partying for three days straight and they’re still going…”
Daragh Lynch from the Irish band Lankum is reflecting on his adolescence and pondering Shane MacGowan’s whereabouts in Dublin. MacGowan, a rebellious figure and influential musician in Celtic music, encapsulated centuries of unique talent in his 65 years. As the current year draws to a close, which has been particularly noteworthy for Irish music, Lynch is just one of many folk music legends paying tribute to MacGowan for paving the way for the genre.
“He was completely genuine in every aspect,” he states, referring to Shane. “He didn’t put on any facades and never tried to conform to any molds. From the beginning to the end, he remained a true artist, creating from a place of authenticity. This quality is more rare than one might imagine.”
MacGowan’s dislike for artificiality was influenced by his exposure to Irish music, despite being born in Kent. He spent six years of his early life surrounded by traditional folk songs in his mother’s rural home in County Tipperary, which instilled in him a strong appreciation for the musical heritage that he and the Pogues would later skillfully reinterpret with their albums Rum, Sodomy & the Lash and If I Should Fall from Grace With God, about two decades later.
Among the young Irish folk upsetters who consider MacGowan’s verse in songs such as A Rainy Night in Soho and A Pair of Brown Eyes akin to holy writ is Andrew Hendy of Dundalk balladeers the Mary Wallopers. While teenage Lynch mainly relied on Dublin whispers on his whereabouts, Hendy and his brother, and fellow Mary Wallopers’ member Charles, got a little more up close and personal with the man behind the lore.
Andrew recalls how they used to visit Shane’s house and help him roll joints. They would also spend time watching Netflix, often with Shane watching Ancient Aliens and finding humor in the conspiracy theories. Despite this, their hangouts were very typical and enjoyable. Andrew believes that Shane was used to being surrounded by people who constantly flattered him, which he found annoying. However, their friendship was characterized by honest exchanges and occasional arguments, which is considered normal in Ireland.
It is uncertain whether Lisa O’Neill shares a mutual admiration for Ancient Aliens, but she is another musician who has spent significant time with MacGowan. She titled her album Heard a Long Gone Song after a line from one of her favorite Pogues songs, Lullaby of London. It is difficult to find another Irish folk artist who has incorporated the imagery and precise skill of MacGowan’s work as much as O’Neill has in recent years.
O’Neill believes that the late songwriter was among the greatest of all time. He was a brilliant and genuine wordsmith, unafraid to explore the realities of life. His emotional intelligence and social awareness were evident in his work, which often spoke for the marginalized and downtrodden. He was not self-centered in his writing, instead choosing to portray the perspectives of others, including those in poverty, homelessness, and various struggling groups. Shane’s perspective encompassed a broad range of experiences and he fearlessly expressed it all.
In addition to O’Neill, John Francis Flynn – whose brilliantly unconventional second album Look Over the Wall, See the Sky is receiving widespread praise – is another singer-songwriter who draws from a deep understanding of Irish musical heritage. He believes that MacGowan’s influence comes from a sense of defiance.
Flynn comments, “A lot of Irish music is artificially presented. There is often a tendency to exaggerate and misrepresent, but Shane always stayed truthful. That was crucial. He belonged to a prestigious tradition that also included the Dubliners. Both artists were innovative but remained aware that the heart of their music lay in the original material and the spirit behind it. The true essence of Ireland can be found within.”
At Shane MacGowan’s 60th birthday celebration in 2018 at the National Concert Hall in Dublin, there was a palpable energy in the air. It felt almost like an unofficial canonization, as famous musicians such as Bono, Nick Cave, Sinéad O’Connor, and Irish president Michael Higgins came together for a star-studded musical event. O’Neill was one of the fortunate performers chosen to entertain MacGowan and the sold-out audience. Alongside Glen Hansard and members of the Pogues, O’Neill delivered a mesmerizing rendition of Fairytale of New York.
“I couldn’t believe it,” O’Neill recalls. “I had the biggest smile on my face that I can’t remember ever having before. The room was filled with so much love for Shane. Every person who performed his songs that night poured their heart and soul into it. It hit me that he wrote all of those incredible songs. And yet, we were only able to cover a small portion of them. I’m grateful he was able to experience and feel that love that night.”
The legendary party remains a vivid memory for everyone who was there, whether they were invited or not, like John Francis Flynn who snuck in with his friend through the back door. Lankum surprised the audience with their rendition of The Pogues’ timeless song about emptiness and consciousness, The Old Main Drag.
Lynch remembers, “We arrived behind schedule, which caused some disruption. At a large dinner, my brother Ian and I were the last to sit at the round table. Shane sat across from us and couldn’t seem to look away the entire time we were eating. His gaze felt like it was piercing through our souls.”
This was just another aspect of MacGowan being, as Flynn puts it in perfect Irish, “a gas [or funny] character”. At the beating heart of that temperament was a warmth that Lisa O’Neill had first-hand experience of in recent years.
She recalls that the previous Christmas was the final occasion she saw him. They were performing to collect donations for the Simon Community, a charity for the homeless, which Shane had been involved with every year. She had also been a part of it for the past few years, so they would always see each other during Christmas time. Afterwards, they would typically have a get-together and sing some songs. They had a good rapport and she always felt privileged to be in his presence. Those who had the chance to meet him could attest to his kind and amiable nature.
As various end-of-year lists will likely no doubt soon reveal, Irish folk music has been blossoming since that fabled night at the National Concert Hall in Dublin five years ago. Firmly at the fore is Flynn, whose recent album includes Kitty, a Pogues album closer and folk standard that MacGowan saved from obscurity back in Tipperary.
“I recently spoke with Spider Stacy at a Lankum concert,” recalls Flynn. “He shared that Shane’s sister, Siobhan, had informed him about the origins of the song. It has passed through time and impacted countless lives. When you sing traditional songs, you are linked to individuals from the past. These songs were sung by many, but their original writers remain unknown, so by singing them, you are connecting with all those who have sung them before. This was also Shane’s intention.”
MacGowan’s most notable pieces combined sorrow and celebration in a manner akin to a traditional Irish wake, and frequently reflected a strong sense of social responsibility. As an insightful artist who eschewed artifice, he recognized that the experiences of ordinary individuals, particularly those living outside of their homeland, were far from mundane. Revisiting Pogues’ tunes such as Thousands are Sailing (“In every place we go, we honor / The land that has made us displaced persons”), each second verse serves as a voice for the marginalized.
President Higgins recently brought attention to a significant aspect of MacGowan’s legacy. In a post on social media, he reflected on how MacGowan’s music was able to capture the essence of our aspirations, particularly in regards to the difficulties faced by emigrants. This tribute perfectly showcased MacGowan’s stance that national pride should never be an excuse for prejudice or discrimination.
Hendy, from the musical group Mary Wallopers, recognizes the importance of celebrating the human experience, whether in Ireland or elsewhere, in a deeply poetic way. He believes this is a crucial aspect of the band’s enchanting performances. According to Hendy, Shane was able to carry on the Irish folk tradition because he spent a significant amount of time away from Ireland. He grew up listening to incredible traditional music and then moved to London, where he wrote songs like “Streams of Whiskey” that reflect his desire to meet renowned writer and Republican activist, Brendan Behan. Shane had a unique ability to view things from both an insider and outsider perspective.
Lynch supports the idea that being physically apart can serve as inspiration. When Lynch’s sibling Ian relocated to London and began living in rundown buildings, the similarities became apparent. “As an Irish individual in London, he felt homesick and started gravitating towards musicians such as the Pogues, Christy Moore, and the Dubliners,” Lynch explains. “I believe that’s also what influenced Shane in his songwriting.”
As we approach Christmas Day, which would have been MacGowan’s 66th birthday, there is the issue of the inevitable increase in popularity of Fairytale of New York. While she gave an outstanding performance in 2018, O’Neill sees this as a unique chance to acknowledge the greatness of the overall situation.
“The song is considered one of the best ever written, but according to her, Shane has written even better songs. Along with this established and amazing track, there are other notable ones such as Rainy Night in Soho, Lullaby of London, and Streets of Sorrow/Birmingham Six. She expresses the hope that the media will take the time to appreciate Shane’s life’s work in the days to come, showcasing the intelligence behind it. His work is truly unique and will serve as a valuable lesson for future songwriters and poets.”
Source: theguardian.com
