Friday, 27 October 2023

John Murry /Whelan's - July 19th, 2023

Desmond Traynor                                     John Murry / Whelan’s, July 16th, 2023

It’s a decade since the release of John Murry’s breakthrough album, The Graceless Age, and the 10th anniversary is being celebrated with three band dates in Ireland – Galway, Limerick, and now Dublin (with a solo stop-off in Galway again, for the Film Fleadh – where Sarah Share’s film The Ballad of John Murry has just bagged the Best Documentary Award).

    With backing from three young, crack musicians, unsurprisingly the set features every song from that classic album, although not in the original running order. Murry can be an intimidating stage presence, and his between song patter isn’t always coherent, but he achieves many moments of intensity over the course of the evening. Not least among them is the record’s 10-minute+ centrepiece, ‘Little Coloured Balloons’. Like any artist required to play the same song every night, especially one as harrowingly autobiographical as this, Murry is not unaware of the freak show element of a piece in which he opens up and bleeds. Rather, he is conscious of the multiple ironies involved in re-enacting his own near-death experience – due to a drug overdose – and resuscitation, giving a performative display of his own internalised trauma time after time. Also, he has to keep it interesting for himself.  To this end, he fairly deconstructs the song with an ongoing commentary while singing it (at one point he throws in a reference to its ‘emotional pornography’), without diminishing any of its inherent weight. Indeed, he brings it home with all its requisite heartrending power intact. There is even an improvisatory lyric change from ‘I took an ambulance ride/They said I nearly died’ to ‘I wish I’d died.’

    The encore sees an airing of ‘I Refuse To Believe You Could Love Me’, from most recent album The Stars Are God’s Bullet Holes, plus a raucous rendition of Hank Williams’ ‘I Saw The Light’.

    As The Life Partner remarked to me afterwards, it’s like watching a beautiful car crash. Playing to an audience of devotees in Whelan’s on a Sunday night, it is interesting to speculate how many are there for the beauty, and how many for the car crash. But that is a risk any edgily spontaneous performer always takes. Besides, maybe the car crash is part of the beauty. Anyway you look at it, what a show – with entertaining support from Longford-based band Cronin.

Steve Earle / Vicar Street

Desmond Traynor                                        Steve Earle / Vicar Street, June 29th, 2023

After an engaging supporting set from Edinburgh’s Roseanne Reid, the Hardcore Troubadour strolls out on to the Vicar Street stage for the concluding show of the European leg of his Alone Again Tour, kicking things off with a cover of The Pogues’ ‘If I Should Fall From Grace With God’, because ‘Shane McGowan is one of the best songwriters around.’ From then on it’s mostly a judicious selection of crowd favourites from his back catalogue, such as ‘The Devil’s Right Hand’, 

‘My Old Friend The Blues’, ‘Guitar Town’ and ‘I Ain’t Ever Satisfied.’ The evening reaches an emotional crescendo with covers of Jerry Jeff Walker’s ‘Mr. Bojangles’, and his own deceased son Justin’s ‘Harlem River Blues’. Big hitters ‘Galway Girl’ and ‘Copperhead Road’ are saved until the end. It is hard to do the solo acoustic thing, and what you realise watch Earle is that you are in the hands of a master, who can read the room.

    The otherwise excellent set concludes on a somewhat jarring note, as during the encore Earle takes a rather gratuitous pop at Roger Waters for his promotion of the BDS campaign against apartheid Israel, while introducing his own plea for peace in the region, 2003’s ‘Jerusalem’. Earle visited Israel in 2013 to take part in David Broza’s ‘East Jerusalem, West Jerusalem’ bridge-building project. While one should respect the fact that Earle was acting in good faith, it is not unreasonable to ask, ‘Would you have played Sun City in apartheid South Africa, Steve, because you ‘don’t believe in hopeless cases or lost causes’?’ If not, why go against the wishes of the majority of the Palestinian people now? 

    Otherwise, the veteran sails on, a consummate professional who, at this stage of the game, knows exactly what he’s doing, and how to do it. 

Bad photos:





Monday, 22 May 2023

Martin Amis R.I.P.

So, Martin Amis… 

Can’t say he was my favourite of the British batch which came to prominence in the 1980s: I’d rate Rushdie, Barnes, McEwan all higher. He certainly wasn’t in the same league as his avowed heroes and influences, Nabokov and Bellow. That was just trying to establish greatness by association. Literature isn’t just about knowing and deploying dictionary words, although it can help. But it was his snobby public schoolboy attitudes that marred much of his work, and was really off-putting. Working class characters (e.g. Keith Talent) exist only as figures of fun and the butt of jokes. Football fans at a match he attends ‘look like crisps’. Granted, aspirational middle class characters are satirised too – but with them, it’s an inside job, talking across rather than talking down, much less condescending and more 'empathetic' - as they say nowadays. But that’s the English class system for you. Time’s Arrow is the best of his novels of those I’ve read. However, as with many novelists, I much prefer reading his journalism and essays rather than his fiction. It is as a social commentator, and as an explorer of his own consciousness, that I would suggest he will be best remembered. R.I.P.



Sunday, 19 March 2023

Pelé, and the World’s Best Dad

On March 5th last, I had a piece on RTE Radio 1's Sunday Miscellany. Here's a slightly fuller version of the text I read then. You can listen to the original broadcast by following the link below. 

Pelé, and the World’s Best Dad By Desmond Traynor 

On February 26th, 1972, Edson Arantes do Nascimento, better known to the footballing world – and far beyond it – as Pelé, came to Dalymount Park in Phibsboro. He lined out in an exhibition match for his club side Santos against a combined Bohemians-Drumcondra XI Selection. This was quite a media event, as the Brazilian legend was then widely regarded as the greatest footballer the world had ever seen. In many circles in the game, despite tough contemporary competition, he remains so. But what makes this occasion resonant for me is that, aged eleven, I was there, brought by my often unavailable father. 

    My Da worked long, unsociable hours as a bus conductor to keep us in the relatively frugal comforts his efforts had encouraged us – my mother and myself – to feel we were entitled, mainly through copious amounts of overtime. The Ma – often irritated by the last minute phone calls to inform her that he was doing a double day – complained that we never saw him, little realising that in his mind he was just keeping the show on the road. Providing for us was his way of showing his love. As he used to say, “I reared two gentlemen, and a lady” – these being my elder brother, my elder sister, and myself.

    Pelé, from equally humble origins, through three marriages and several affairs, fathered seven children. Santos were a club of modest means and, realising they had a prize asset on their hands, began gruelling tours all over the world, arranging friendlies against any local team that would do a deal with them, in order to milk their cash cow. Santos rejected all transfer offers for their superstar, and the Brazilian government of the time even passed a bill declaring Pelé ‘a national treasure’, effectively blocking him from ever departing The Land of the Holy Cross for a more remunerative top-flight European side. Thus, his appearance with his teammates at Dalymount.

    As an indentured workhorse with an exhausting schedule, Pelé did not have a lot of spare time for family life with his kids. A son by his first marriage, Edinho, was jailed for thirty-three years in 2014 for laundering money from drug trafficking, reduced to twelve years on appeal (although his famous father always maintained that this was a miscarriage of justice). For most of his life, Pelé never acknowledged his eldest daughter, Sandra Machado, even after her death in 2006, nor her two children, Octavio and Gabriel. She was born of an affair the star player had in 1964 with a housemaid, Anizia Machado. However, shortly before he died, he requested to meet his grandsons, and he recognised all seven children in his will. Another of his affairs, from 1981 to 1986, was with Brazilian TV host Xuxa Meneghel, twenty-three years his junior, whom he began dating when he was forty and she was seventeen.

    My father did not go in for multiple marriages or, to the best of my knowledge, affairs – extramarital or otherwise. His staunch Roman Catholicism – which led to a growing distance between us during my teenage years – would have forbidden him from doing so. However Pelé, too, was a practicing Catholic, albeit evidently of the à la carte variety: he never let his religious beliefs stop him from getting around. He finally left Santos at the age of thirty-four, past his competitive prime, signing for the New York Cosmos, where he played from 1975 to 1977. In New York he enjoyed the high life, becoming a regular at Studio 54, and earning more during his three years with the Cosmos than he had in his entire career at Santos. My Dad, in contrast, didn’t get to kick back until he retired aged sixty-five, claiming the statutory old age pension, and a small annuity from C.I.E.

    The Dalymount match itself was, according to contemporaneous newspaper reports, no great spectacle, with the Sunday Independent headline dubbing the star attraction ‘the Phibsboro flop.’ The lethargic performance was due, no doubt, to Pelé and Co.’s fatigue from constant touring. My eleven-year-old self remembers it rather differently. The fulltime score was 3-2 to Santos, but two incidents stand out in my memory. The first was when a Santos defender, facing his own goal, chose to head the ball against the post, before turning to clear the rebound away. This was true exhibition stuff, worthy of the Harlem Globetrotters. No player would be trying such a move in a match with anything at stake. The other was when a shot wide wound up in our area of the stand behind the goal, and a dozen hands stretched out to touch the ball that Pelé had touched. Mine was one of them.

    My father did bring me other places when I was a child: to Tora, Tora, Tora, an epic war film about the Japanese attack on Pearl Harbour; and on an annual busmen’s pilgrimage to Knock Shrine which he organised (that fervent Catholic devotion again!), where I was the only boy among a coachful of middle-aged men. My grandfatherly father was forty-six years old when I was born, causing a school friend to remark, “Your old man really is an old man”. However, when I challenged him much later – during my disaffected adolescence – about not seeing enough of him when I was growing up, his immediate response was, “Didn’t I bring you to see Pelé?”

    Perhaps Pelé was and, arguably, remains the best footballer the world has ever seen, even if he was not always the World’s Best Dad. Maybe my father was the World’s Best Dad, despite his enforced absences, and even if there are millions of drinking mugs which proclaim this slogan for countless numbers of men. Like Pelé, my father worked hard and did his best. Within the boundaries of one’s allotted talents and the opportunities that present themselves, isn’t that all anyone can do, for their children?

    Thanks Dad, for everything. Most of all, thanks for bringing me to see Pelé.




Wednesday, 1 March 2023

Song of the Faithful Departed

I recorded two versions of 'Song of the Faithful Departed' by Phil Chevron of The Radiators during lockdown, for a podcast Stefan Murphy was doing. The first song which 'got' post-independence in a nutshell, and the best. Slow one: Fast one: Thanks.

Friday, 27 January 2023

The Banshees of Inisherin - The Debate Rages

A debate seems to be brewing about the merits of Martin McDonagh's The Banshees of Inisherin. I got into a bit of a spat with someone on old codgers' FaceBook, who is insistent that Banshees is a masterpiece, and that anyone who thinks otherwise is ignorant of film studies. Here's an extract of my opinion, in response to that individual (who, let it be said, I otherwise admire).

'Accolades and nominations mean very little, or mean precisely as much as people are prepared to invest in them. You, more than many people, should know how the PR machine works. I have worked as a film critic - not that I think that's what qualifies me to have an opinion on any film I see. I wrote on this forum at the time I saw Banshees: 'I enjoyed this, for the most part. Sparkling dialogue and great actorly performances. However, I prefer Martin McDonagh's non-Irish set movies - Three Billboards and In Bruges - to his typically 2nd generation London-Irish stage Irishry plays and films. To echo John Coltrane's remark to Miles Davis, I don't think he knew how to end it.' I've never fully bought into McDonagh's Western Gothic (the west of Ireland, that is), which lacks an emotional core. 'Let's laugh at the grotesques and their tragic lives.' Banshees will play well in the U.S. - thus the 'accolades and nominations'. Some Americans probably think that's exactly what Ireland was like. Like lots of films and TV shows I see now, production values and performances are impeccably high. It's the writing that leaves something to be desired.'

Saturday, 17 December 2022

Pussy Riot: Riot Days / Cruel Sister - Opium Rooms - 15/11/2022

Everyone is by now familiar with the history of punk activist collective Pussy Riot, formed in March 2011, whose most famous guerrilla socio-political intervention was their performance of ‘A Punk Prayer’ inside Moscow's Cathedral of Christ the Saviour in August 2012. For their trouble, Nadezhda Tolokonnikova and Maria Alyokhina were convicted of ‘hooliganism motivated by religious hatred’, and sentenced to two years’ imprisonment, a portion of which was served in a Mordovian penal colony. This experience was recounted in Aloykhina’s memoir Riot Days (2018), and it forms the basis of this touring theatrical show. The fact that Nadezhda and Maria (Masha) now live on opposite sides of the Atlantic and perform separately – while both retain the original group name and accommodate a revolving door membership – only testifies to the truth of their slogan: ‘Anyone can be Pussy Riot.’  
  This is a confrontational evening of well-choreographed, visceral physicality, underpinned by the throbbing electronica and percussion of Diana Burkot. Unfortunately, the video element was absent due to technical difficulties, but the English subtitles of the Russian text projected onscreen helped keep track of the protest poetry declaimed by Alyokhina, flautist Taso Pletner and documentarian Olga Borisova, which culminated in a vagina-baring pissing on a portrait of Vladimir Putin – a gesture guaranteeing that the participants won’t be going home to Russia anytime soon. 
  The encore, an ode to the bombing of Mariupol, brings us right up-to-date, and makes you realise how long these women have been campaigning against Putin’s authoritarian regime, with its brutality to dissidents and the LGBTQ+ community. You can’t say you weren’t warned. 
  A shout out too for appropriately chosen (she’s got the right attitude) support act Cruel Sister, who played material from the excellent Girls My Age EP. Faith Millar’s immaculately executed, hard-edged shoegaze recalls a young Kristin Hersh’s angular endeavours with Throwing Muses.