The High Kings raised the roof and the temperature of the Fork with their traditional and contemporary Irish folk songs. Several times their great vocals were almost matched by the descendants of the Emerald Isles who were packed into this show.
Fork me! All our shows have been sold out Down Under! They exclaimed right at the start.
The High Kings have been together fifteen years. Their high calibre of craftmanship comes from fine pedigrees. From the moment of kick-off, or hurl-off, they generate genuine heart-felt passion.
Finbarr Clancy comes from the legendary Clancy Brothers Irish folk music royalty. Obviously a younger member, as they were active from the Fifties onward. As dynastic as the Isley Brothers.
Brian Dunphy has performed in professional Riverdance productions. He was also a member of the Three Irish Tenors. Darren Holden has served time in Riverdance shows too, as well as playing the role of Billy Joel in the Broadway musical, Movin’ Out.
Newest member is Paul O’Brien, who stands out on the tin-whistle and flute.
They launch the rowdy festive night with Irish Rover. Strings predominate. There are acoustic guitars, unusual mandolins and a banjo. The bodhran is close-miked and has the authority of drummers in a traditional Highland marching band. There is an accordion and various pipes. The only concession to non-traditional being a keyboard.
Poor Maggie. With the accordion and Irish banjo featuring, this takes traditional Folk into Pop. You can hear the influence that Springsteen takes in his bellowing style of vocals. He is of Irish and Italian stock, of course.
A wonderful traditional tune is Will Ye Go, Lassie, Go, also known as Wild Mountain Thyme. Take your pick as to your favourite. From the Byrds to Joan Baez to Rod Stewart. The band do this as a solo vocal. By yon clear crystal fountain/ and on it I will pile/ All the flowers of the mountain.
Lonesome Boatman is a chance for O’Brien to shine on an extended workout on flute, accompanied by a drone melody on keyboards in the latter half of the song.
Traditional Irish music contains a lot of social activism and politics. It reflects centuries of persecution by the English, and the fierce determination to be independent.
Like many other European nations, they escaped by mass migration to the Promised Land of America. Their music was at the bedrock of roots Country and Americana. They were the foundation pillar of the police force, as well as the Catholic church.
Their treatment in Australia as convicts and political prisoners can be likened to a genocide. Watch The Nightingale, a harrowing take on this neglected history.
Grace documents this. The time of the Easter Rising in 1916, when the Irish Rebels were suppressed and sentenced to execution by the British judiciary. The song documents the Rebel leader, who married his sweetheart Grace in prison before submitting to his fate. The version tonight bears some melodic resemblance to Bob Dylan’s I Don’t Believe You.
Dylan/Zimmerman is a descendent of Russian Jews, who fled the pogroms of the early twentieth century to America.
Folk music has long served as the broadsheet for freedom of speech. What cannot be discussed openly for fear of retribution. The more things change, the more they stay the same. Or you could say that music is the currency of the human soul.
This quartet carries on this tradition in magnificent form. They have played the iconic festivals of Isle of Wight and Glastonbury. They are the equal of the long-departed Pogues in style and passion.
They cover Ewan MacColl’s Dirty Old Town which features a nice accordion drone. Their version taps a little on the shoulders of Funky Broadway, as in dirty filthy Broadway.
Step It Out and Rocky Road to Dublin are closer to Irish Folk Punk ravers ideal for a mosh pit.
They are superb singers, and a couple are performed acapella. 1845 is one written by them. A call and response tune which starts with me mother hangin’ washin’ on the line / all us brother beggin’ to stay alive. I think the bass voice is Clancy.
One song which stood out from the many highlights was And the Band Played Waltzing Matilda, written by legendary Folkie Eric Bogle. He’s a Scotsman who has resided in Australia for many years, and I got to see him perform in Auckland late last year.
A tale of the First World War, and the waste and tragedy of it all. A Turkish shell turned me arse over tit/ Never knew there were worse things than dying.
Whiskey in the Jar and Caledonia are familiar and get enthusiastic cheers from the well-lubricated audience.
They end the night with The Parting Glass. Acapella vocals and a soulful song of good cheer and goodbye.
This being an Irish show, if they had carried on any longer, a fight would have broken out.
The High Kings had a wildly successful tour down here, and deservedly so. They made a promise to be back next year.
Rev Orange Peel
Photos by Leonie Moreland
