(Part II)
Now if you haven’t dozed off yet, permit me to give a brief commentary of each song. There may be a couple of omissions (simply because I lack both the time and creative energy to do the entire show justice), but I’ll do my best.
Níl Sé'n Lá: Awesome way to open the show. This was one of the few songs I had to hear before attending the show, and the live version was even better. The opening arrangement was particularly good—that softer, more subtle beginning offered the perfect table-setter for what was to come. Beautiful, fast-paced and above all, captivating—if this number doesn’t get your blood flowing faster, then you’re at the wrong event.
Fields of Gold: What a difference a year makes. As amazing of a job as Lisa did with this number last season, she took it to a whole different level this time around. The depth in her voice was richer, and the emotion was more tangible. It takes a great deal of talent to do this song justice, but she most definitely pulls it off.
The Coast Of Galiçia: Perhaps the only complaint I have about this show……is that you barely get a chance to collect your thoughts before something else commands your full attention. This piece is a prime example of just that. Máiréad was once again at her vintage best, just squeezing every ounce of life out of her fiddle, and amplifying it a hundred times over.
Galway Bay: If no one has done so already, let me just add public speaker to the list of Chloë’s ever abundant career options. There is absolutely no tentativeness in this young lady—the stage is her domain, and woe be upon anyone who tries to outshine her on it. As for the song itself, I’m still not sure if it was meant as a musical triumph or a four-minute promotional spot for the Irish board of tourism, because it would have succeeded on both fronts. This might have been Chloë’s coming out party—you can stop talking about her potential, and start talking about the fact there are only a handful of present-day singers who can hold a candle to her majestic voice. (Thankfully, this show is fortunate enough to have three of them.)
Orinoco Flow: I can never seem to tire of this number. Not that David would ever let it happen—again, another great example of his ability to make just a few small changes to the arrangements. In so doing, he pumped new life into the song; and as you’d expect, the girls were flawless on their end.
My Lagan Love: Wednesday night marked the first time I had ever heard this song, and wow……just……wow! It hammers home the point that David fully understands the individual strengths of his artists, and then gives them the best material to showcase those strengths. Lynn is phenomenal in this number—rarely does a voice so delicate pierce your soul with such force. Like I said earlier, it was one of (if not the) surprise performances of the night for me.
The New Ground / Isle of Hope, Isle of Tears: The name of the intro is very appropriate, because this song—along with ‘The Call’ and ‘O, America’—really helped usher in the new era of Celtic Woman. Since we’ve only ever heard these particular five perform it, there are no previous versions with which to compare it. I particularly love how this number simultaneously elicits two very deep and genuine responses from the listener: 1 ) the longing one has to hold on to his/her heritage and what’s familiar, and 2 ) the anticipation that comes with beginning a new chapter in one’s life. Bottom line: when you put Brendan Graham and David Downes together, good things are bound to happen.
My Heart Was Home Again: Great addition to the show! When I heard Alex sing this, one word kept coming to mind: Broadway. This song was tailor-made for her—she absolutely nailed it. Leila told me afterward that one could see her stage training in full bloom, and I couldn’t agree more.
Granuaile's Dance: Máiréad can keep playing this on tour indefinitely, because I don’t see myself tiring of this one any time in the near future. This is a prime example of music that I have on my “Going to Work” playlist, because it’s every bit as effective as a Red Bull in jump-starting your morning, without the messy crash that inevitably follows.
Goodnight My Angel: Simple song, yet so moving when placed in such capable hands as these three. I love the placement of this song right after ‘Granuaile's Dance’—after taking an exhilarating ride on the space shuttle, all you want is just a smooth, soft landing.
Danny Boy: I almost feel as if I’m getting spoiled on this song. The textbook precision they display every time they perform this number almost makes it feel (dare I say it) routine. Yet there is nothing even remotely routine about the raw emotions they trigger when singing this evocative piece. Unquestionably one of the best a capella performances I’ve ever had the privilege to enjoy.
Mo Ghile Mear: What’s the old saying, “If it aint broke, don’t fix it?” My sentiments exactly. U2 has been playing ‘With or Without You’ for better than 2 decades worth of concerts, and people still want to hear it. ‘Mo Ghile Mear’ is such an integral part of the show—both acts 1 AND 2—that it’s hard to imagine the day that they ultimately retire it. ‘Nuff said.
(And for the record Leila, I did catch Lisa’s wink out of the corner of my eye, but I wasn’t completely sure it was meant for me. Whether or not it was, I’ll defer to your judgement.)
The Call: As I mentioned before with ‘Isle of Hope, Isle of Tears’, the best aspect of this number is that it’s exclusive to this particular group of five. I recall last year’s show in which they had gorgeous aerial shots (I’m assuming they were of Ireland?) on the screen as the song opened. While there were no videos this time around, there was really no need for them, because this piece—like most every other in the program—is incredibly atmospheric, so it painted that vivid imagery in your mind by itself. Also, the arrangements were tweaked just enough to add a little extra flavor to the song without compromising any of its original charm.
Amazing Grace: There’s simply no way for me not to be biased when talking about this piece, because it’s probably my favorite hymn of all time. It’s a simple yet beautiful melody, and when coupled with the sheer power of its message—we are talking about the greatest of our Lord’s gifts—it can humble even the proudest of men. Heck, I teared up before Anthony’s bagpipe solo had wrapped, and the girls had yet to sing a single note. (But oh how glorious was the sound when they did!) Brilliantly arranged and stunningly executed, I can say without hesitation that this was the high point of any show I’ve attended.
Dulaman: I must confess that Meav’s version of this song has been so firmly engrained in my consciousness (easily one of my favorite numbers from ANJ), that for quite some time it somewhat compromised my enjoyment of Lynn’s rendition. That’s no longer the case now, and it’s a huge credit to Lynn’s talent that she has firmly placed her own stamp on the song. From her endearing intro to the rousing finale, it was nothing short of brilliant.
You'll Be In My Heart: This song has really grown on me, and it’s entirely Alex’s doing. The original Phil Collins version was good, but it was never something I would put on my iPod playlist per se. Alex, however, gives the song her trademark burst of energy and in so doing, elevates it to greater heights.
Songs from the Heart (All Parts): Regrettably, I am unable to review this piece in detail for two reasons: 1 ) up until now, I’ve only listened to it once, and 2 ) I waited too long to put my thoughts to paper (when you work 70 hours a week and your short term memory is weak at best, that tends to happen). Fortunately, I will be attending two more shows in the next 6 weeks, so that won’t be a problem for long. Having said that, I only needed to hear it once to know that I REALLY liked it. Great job with the Alex/Lynn & Chloë/Lisa pairings, and of course when they all came together for the second part, it was just as phenomenal as you’d expect it to be.
The Moon’s a Harsh Mistress: As I said earlier, the live performance adds that little extra ‘something’ emotionally that you simply can’t get in a studio recording. Maybe it’s just because Lisa steps up her intensity on-stage (as do all of the soloists), and perhaps the simple use of a hand-held mic played a contributing factor. In the end, one fact remains immutable:
Lisa + Máiréad + Piano = Great Music
Non C'è Più: If ‘Amazing Grace’ was the toughest song for me to get through without choking up, then this came in a close second. Like so many of the works they’ve performed over the past five years, it tells a moving story to which people of all generations can relate at some point in their lives. I particularly loved the steady yet dramatic manner in which the song ascended until it reached its crescendo—simply breathtaking. (In that brief moment of silence, I swear you could hear everyone in the arena exhale.) You have to believe that if Dvorak had lived to hear this, he would have been very pleased.
When You Believe: Maybe it was result of her having a year’s worth of experience under her belt, and maybe it was the result of using the hand-held mic. Either way, Chloë absolutely NAILED this. (I wonder if either Whitney or Mariah had her ‘game’ when they were the same age.)
At the Ceili: It’s perhaps the single-most FUN number in the show (with ‘Spanish Lady’ running a very close second). What makes it great is that the girls essentially get to ‘act’ in this piece, and that in itself is sheer delight. The playful interaction amongst everyone on stage puts it over the top—it comes across as very natural and makes the viewers feel as if they’re truly invited guests at the party. (So why don’t we have more ceilis on this side of the pond?)
Last Rose Fantasia / The Mason’s Apron: The first part might be my favorite piece that Máiréad performs on a regular basis. ‘Galacia’ and ‘Contradiction’ may be more technically demanding numbers, but this one allows her to strike a chord much deeper in the soul (to me at least). She’s been playing it on tour now for over three years, and I still get chills hearing it live. Part 2, meanwhile, is exactly what you’d come to expect—Máiréad, Nick and Rae scorching the stage like only they can. Love the interaction amongst the three—the epitome of joy.
You Raise Me Up / Mo Ghile Mear (Reprise) / Spanish Lady: Apart from some changes in the arrangements, this segment was left largely untouched—and that’s more than OK by me. From start to finish, this segment rivals any finale by any other musical act. What made it even better was the fact that a good portion of the audience (at least everyone in our general vicinity) kept standing throughout the final five-plus minutes of the show (at prior shows, they would typically sit down as ‘Spanish Lady’ started, but not this time). What more could you ask for!
To those of you who didn’t fall asleep while reading this, you have my utmost appreciation. My efforts to express the broad spectrum of emotions evoked by this magnificent production are pedestrian at best. But at the very least, I hope that you enjoyed this commentary for the sincerity with which it was written. I’ve been very blessed to have had the chance to enjoy this extraordinary brand of music, but perhaps even more rewarding are the genuine friendships I have been allowed to forge with fellow concert-goers. For these reasons, I earnestly hope to continue my patronage of Celtic Woman for as long as possible. It’s the most effective way I know how to thank all of you who have brought me much joy over the last 3-plus years.
In closing, I would like to address the individual who told me that I always say “it was the best concert I’ve attended”:
Lisa, no matter how many times I go to meet & greets, I always manage to fumble my words a bit when attempting to express my appreciation. (Ironic when you consider that I make my living in sales) Hopefully what I’ve written here will convince you that I meant exactly what I said. To you and everyone else whose efforts made the show a rousing success, I wish you the very best in all of your endeavors.
Take Care & God Bless,
Ryan R. Scheffer
Salado, TX
PS: See you all again April 9th in Chicago!
