The Alt: September 2022 Artists of the Month

 

DAY IS COME

The Alt

Under the Arch Records 

 

 

 

The Alt is an Irish/pan-Celtic band that spotlights guitar virtuoso John Doyle, flautist Nuala Kennedy, and bouzouki/harmonium artist Eamon O’Leary. All three were sired and raised on the Emerald Isle, but have lived in the United States for many years. You might know them from other lineups: Doyle as a sideman for fiddler extraordinaire Liz Carroll, as a member of Solas, and as solo performer; Kennedy with Anam, Harem Scarem, and numerous other solo and guest projects; O’Leary with The Murphy Beds and scores of guest appearances. In other words, The Alt is a trio whose musical cred is as unimpeachable as it is impeccable.

 

I recently purchased their latest recording, Day is Come, after catching them in a live show at a nearly full house at The Drake in Amherst. (Apparently, their reputation preceded them.) The album spotlights ten songs, many of which they performed that night. It’s a pleasant recording but if you’re one of those people who wonder if what you hear can be duplicated on stage, worry not; The Alt is many times more dynamic live. By necessity, a good collection of songs interprets melodies and lyrics. That’s a good way to judge whether artists are singers or just showoffs who could be belting out a grocery list.

 

They signal their interpreter’s approach early on. The title song–whose Irish title is “Tá’na Lá”, though it’s sung in English–is an a cappella version of a drinking song with a dirge-like mood. That’s a bold opening gambit, but The Alt prefer to let songs speak for themselves. Doyle takes the vocal lead on “Falkirk Fair,” a well-known traditional song you can hear from numerous others, though maybe not with this melody. (If you hear a song sung to many tunes, that’s generally a signifier it’s either a trad or older composition.) O’Leary sings another well-traveled song, “Willow Tree,” which also spotlights the trio’s superb complementary harmony singing. Collectively, the opening three tracks establish the mellow, calming intent of the album.

 

If you like traditional music, other gems include the Child ballad “Flower of Northumberland,” “Paddy’s Land,” and “The Blackbird and the Thrush.” Kennedy steps up to the mic for Éiníní (“Little Birds”), an old song to which she gives a lullaby treatment in honor of two children. Frankly, I prefer Kennedy’s harmony singing, but she gives this one a sensitive treatment. If you want to hear some fancy picking by Doyle and O’Leary, check out “Lohans” and “The Donegal Tinker,” both of which are part of a longer set. Kennedy also airs it out on these. 

 

The latter is one thing I missed on Day is Come, namely the trio’s amazing musicianship. The only prolonged instrumental interludes are the above selection and the “Stolen Butler” set. In it we hear Doyle’s precise finger picking (DADGAG tuning, I believe), Kennedy’s swooping flute with its seamless transitions into “Biddy Early’s Reel,” and O’Leary’s subtle texturing bouzouki. (Irish music legend Kevin Burke guests on fiddle.) I can’t emphasize enough that these are three skilled musicians who cook with gas when they wield their instruments of choice. They haven’t yet produced videos from the new album, but if you want to experience what I mean about their dynamism, try the videos of older material on their website: http://www.thealtmusic.com/watch Watch Kennedy blow magic through a metal tube and O’Leary establish grounding structures for Doyle’s heroic acoustic guitar work. (In case you can’t tell, John has long been a favorite of mine.) Scroll down to “The Geese and the Bog” set, and you’ll see some of what I mean about Doyle. O’Leary picks out crystalline notes on his capoed bouzouki and Kennedy weaves to the flute, but Doyle, without making a fuss, attacks his guitar–it’s scarred surface a testament to that; no need for theatrics. (You’ll also notice that Doyle is left-handed, which is still relatively rare among fretted artists.)

 

All of this is to say that if you get a chance to see The Alt, do so. Their studio recordings are lovely reminders, but there’s fluidity, synergy, and brio in their stage presence that make them special. It looks effortless, but it’s not!

 

Rob Weir