Having a twin means you always have a best friend! You have someone that understands you and supports you in everything you do.
When I heard Carli and Julie Kennedy, the initial impression was the amazing vocal harmonies they create. They have beautiful voices and are so talented with instruments and songwriting. On top of that they are also young and pretty-the kind that reminds of Rossetti’s Pre-Raphaelite angels. Their EP SMALL TOWN STORIES is out since late last year and are gaining converts from all over with their brand of Celtic and Country fusion. It was fun doing this Interview because the sisters took turns answering. It’s twin power all over!
1. What was the earliest musical memory you both can remember?
The earliest memory I have is of Carli and I playing in a band with our friends at about 5 years old. We made our instruments out of cardboard boxes and tupperware containers and we felt really cool! We have amazingly supportive parents – very soon after, they went to the music store and bought us real guitars and a piano! We wouldn’t be where we are today if it wasn’t for their support and love!
-Julie
2. Cite the biggest influence in your musical career.
The biggest influence by far in my musical career is Julie. She is my twin sister, my best friend, my musical other half, and my partner in crime! Julie always has my back in the rehearsal room and on stage, and I could not do it without her! -Carli
3.Of all the songs in your album, what are your favorite ones and why.
My personal favourite song on our album is the title track, “Small Town Stories.” We wrote this song about all of the great memories we have from growing up in our hometown of Powell River. To me, it is the song that best represents who we are and where we come from! -Julie
“Front Row” will always be a special song to Julie and I because we wrote it for our dad. Dad taught me my first chords on guitar, and he has been such a huge support for Julie and I since we were playing concerts for him in our living room at five years old! -Carli
4. What are you planning to accomplish this year?
Julie and I have a lot of goals for this year. We are songwriting for our next album, which we plan to release in 2013. We also have plans to tour throughout Canada in the summer and the fall of this year. We look forward to releasing a couple new music videos as well!
-Carli
5.Talking about twins,my friend Jimmy who introduced your music to me is a proud daddy of twins. What are advantages of growing up as twins?
Having a twin means you always have a best friend! You have someone that understands you and supports you in everything you do. Carli and I have an amazing connection when it comes to music as well – in many ways we can read each others minds! For example, if I forget the words to a song, Carli takes over without anyone knowing! (Very handy!) We also interpret songs in similar musical ways, which makes playing and songwriting together really fun! -Julie
6.Already Miss you is a personal favorite. I know I am such a sucker for sad songs. It’s in my Filipino blood. What inspired you to write this tune?
Thanks so much! “Already Miss You” was inspired by long distance relationships. Our mom and dad started new jobs in the last few years that require them to do a lot of traveling. They are apart from each other a lot more than they have ever been before, which is hard for them! My mom says this song is very close to her heart! -Carli
7.Are you both keen about the ordering of songs in the album and also the whole packaging thing.
We love the entire process of creating an album! We definitely put a lot of thought and energy into the order of songs because, to me, it affects the way you experience the music. We also love the design process of creating the cd packaging. We had a vision for the project, and we worked with an incredible designer to create our EP “Small Town Stories” – it was such an fun process! – Julie
8. Your music is described as a fusion of country, folk, jazz, and Celtic music. What is the general reception towards Celtic music these days?
We grew up playing and listening to Celtic music. We love to include Celtic fiddle tunes in our show, and they always seem to be crowd favourites! -Carli
9.Thanks for your time Carli and Julie.What are your messages to your readers?
It is our absolute pleasure! We are so happy that you enjoy our music. To our readers and fans, we just want to say thank you so much for your constant support! We love hearing from you, and we hope we can continue to make music that moves you and makes you smile!
Press contact Media & Industry: i see. Irene Carroll Et Associates Public and Media Relations. Irene Carroll, Strategist 416.366.5473 irene@iseeassociates.ca — Touring & Information: Kit Watson, kit@toolkitmusic.com, 778.995.7311
Elva MacGowan’s emotive soprano shines in this Mexican folk song. My research told me that she is well versed in classical singing, guitar and piano. Her repertoire is both fresh and original ranging from arias to jazz standards to Irish ballads to bluegrass to international folk ballads, drawn from a love of diverse musical traditions which have enchanted discerning audiences since the beginning of her singing career. She is the other half of Keepsake with Donall Donelly who is heavily involved in this project.
This song is one of the tracks in the album Tremolo by Donal Donelly and his band also known as Tremolo. Members are: Donall Donnelly (fiddle), Donncha Moynihan (guitar), Karl Nesbitt (flute/bouzouki) and Stijn Van Beek (uileann pipes). I am really impressed with this song due to its interesting arrangement, haunting nature and Elva’s soaring vocals that I am sure can make angels want to dive down from heaven weeping.
Micheal Curran talks about Cavan Fleadh, playing traditional Irish music and the over all joy of gigging!
A stereotype would have been created around the old fleadhs and festivals, suggesting that it was only old people who used to go to them, and that there was very little to do but play music. But modern festivals have evolved and now include events for people of all ages and interests.
Today’s interview is unique. Not only that it highlights the musical culture of the Irish youth but it also gives us the in depth observation of what happens to music festivals from someone who has been playing in these events for years. Between college dissertations, teaching at workshops, Celtic Connections -wow talk about being busy, Michael was able to work with me in these questions. His responses are veryinformative and he is a fine writer himself.
1. How does it feel to share the space with other talented musicians in the field of traditional Irish music?
Playing Irish music has totally shaped more or less everything I do; it is like a religion, a way of life. I suppose if you were to ask the same question to any young ‘trad head’ like myself, they would give you the exact same response. I feel that playing music has developed me personally and nurtured me into the lad I am today, but if you were to ask any of my non-musical friends they would just say I am absolutely crazy, and they are probably right! Music has been a great outlet for me ever since I started playing when I was around 10 years of age; it is a fantastic pastime, hobby or whatever you would like to call it.
But apart from all of that, I think the most rewarding part of playing Irish Music with others is the friendships that I have built up over the years. Playing music has opened many doors and introduced me to so many wonderful people; having created countless friendships that last a lifetime. Music has given me loads of brilliant opportunities to travel all over Ireland and further afield, bringing my box and my music wherever I go.
In a way the space shared with other talented musicians is quite a small knit one, like a little community all with the same shared passion and interest. Music can break barriers for people and is like a language, many people from different nationalities from all over the world can play together as one. With thanks to modern technology, the internet and in particular social networks, the small knit community of Irish trad can develop on a global scale; we can stay in regular contact with musical friends all around the world, and music online is available at our fingertips. It is without a doubt, an interesting and enjoyable scene to be part of.
2. You aren’t part of a band yet and you aren’t working on an album right now. But what do you have in mind this year?
Even though I am not working on an album right now, it is something that I have not ruled out, and I would hope that in the not too distant future I will get the opportunity to put some tracks down to record. I personally feel that I am not ready to record just yet, within the last few years I feel my style of box playing has changed and developed into a more distinctive and personal style, but then again I feel it can develop even more in the next few years, so there is always room for improvement!!
When it comes to recording, I think patience is very important. Money and financial gain should not be a motivator and one should take the time to play and record music they are happy with. Time and time again I have heard other musicians who have recorded albums say that on hindsight they would have did things differently, such as not rush into recording, do more research and gather more knowledge. I will not rush into a recording studio just yet, I will when I feel the time is right, but most importantly, when I feel my music is right.
I am currently in my final year of civil engineering in Queen’s University, Belfast, so recording has not even entered the equation at the moment. Because of a hectic and intense study schedule, I find I do not have as much time to play as I would like, but fortunately at the weekends I teach at home in my spare time and go to local concerts and sessions when they are on. Also in the coming months before the Fleadh season kicks off in the summer, I have been asked to play and take workshops at various different festivals throughout the country, including the James Morrison Festival in Riverstown, Co. Sligo, and the Trad in the West Festival in Clifden, Co. Galway to name but a few.
3. Tell us about your big involvement with the Cavan Fleadh, and if possible give us an in depth look at the scene and the things that happen during these gatherings.
Being from the North, and only a short forty minute drive from Cavan Town, I have been very fortunate to meet and befriend many great people from that area within the last ten years. One such person is the widely known Martin Donohoe, virtuoso button accordion player, and a big influence on my own playing. I remember going to his house with my father when I was around 14 for a one off lesson, and I suppose it was a turning point for me, in the sense that he opened my eyes to the big bad world of trad, as it made me recognise the huge scene that is out there and one that I could get involved in.
Currently Cavan have hosted the last two All-Ireland Fleadhs and we will be back there for the third year in a row for Fleadh Cheoil na hÉireann 2012. The Fleadh is one of the biggest music festivals in Ireland, and one of the biggest Irish Music festivals in the world. Basically the Fleadh is a week long plethora of music, song and dance, with concerts, workshops and numerous impromptu sessions happening on a regular basis. Thousands of people descend onto the Fleadh’s chosen venue every year to meet old friends, make new ones and just generally have a good time.
Although probably for a lot of musicians and seasoned listeners of music, the Fleadh is about the competitions. Every year a new All Ireland Champion in different age groups are crowned, depending on their instrument. To compete at the All-Ireland, one must firstly gain qualification through their local County Fleadh, and then do likewise at their Provincial Fleadh, before they perform on the big stage. In August 2011 in Cavan, I was fortunate to gain 2nd place in the Senior Button Accordion competition. It was a great achievement which I was delighted with, and I suppose that is where my involvement lies!
4. You were in the Glasgow Comhaltas two weekends ago. Now you are back in Scotland. What are your schedules?
Yes, before Christmas I was asked over to teach the box at the Glasgow CCÉ Winter School of Irish Music, along with some other musicians and friends from around the country. The organisers always have the workshops in January as it coincides with the world famous Celtic Connections festival, Scotland’s premier music festival, spanning a period of three weeks. I had just finished some of my college exams days before I was due to fly out so I thought the weekend would be a nice break. The workshops took place on the first weekend of the festival, and we were given the opportunity to attend some of the major concerts and also to the famous ‘festival club’, which had a range of different genres playing until the wee hours, accompanied by a late bar…music and beer, ‘What more can a man ask for?!!’. This was my first time at the festival; I loved the atmosphere and enjoyed it that much that when I got back home to Ireland late on the Sunday night, I immediately booked flights back to Glasgow for the finale weekend….a decision I did not regret!
I have no set schedule when it comes to playing music. I have a simple motto, ‘If I can go, I will go’. There are always sessions and concerts on regularly around my area and I like to try and get to as many as I can, although as I mentioned earlier there are a few festivals and workshops that I have been attending for the past few years, so there are always set around the same time annually.
5. You mentioned about Civil Engineering as your course. I noticed that most Irish musicians have double careers, one that is musical and then otherwise. It seems like music doesn’t have to get in the way of your other career path as the case of most musicians I read about. Is this a common thing over there?
Yes I suppose it does seem quite common in a sense. However I feel that being a student has massive advantages. If you look at some of the savage up and coming young bands on the scene at the minute, Éalu, Goitse, JPTrio to name but a few, most of those guys are around my own age and are still studying, in particular music related courses. A lot of these bands were formed through music projects; maybe they got the opportunity to record and put a show/tour on the road as part of an assignment, and of course the main luxury for students is the extensive time off, meaning that they can afford the time to partake in such events.
As for the well known bands and musicians who have been on the road for years and who hold down a full time professional career away from the music, they probably have managed to establish a system that works both ways, so they have the times/tour dates etc set months in advance to accommodate their full time jobs.
I know from my own personal experiences that time management is very important when planning to play music and studying/working. For me I try to treat playing music as a hobby but there are times I have found myself travelling and gigging quite extensively and it sometimes feels like a job in itself! I try to find the right balance between the two so the enjoyment always remains. There have been times when I have had to miss out on some gigs and turn down invitations due my studies, but I suppose that cannot be helped. On the plus side any time I am away on a long weekend playing, I do not have a boss to answer to on a Monday morning if a few lectures are missed!!!
6. What do you think are the things responsible these days in bringing people to get into these musical events?
There is no doubt that Irish Music has had something of a revamp over the last 15-20 years. It is cool for young people to play music nowadays, and with so many festivals, fleadhs and other regular gigs on they are spoilt for choice. Modern technology has also played a huge part in this change. Long before televisions and computers tunes would have been swapped with older musicians at house parties and ceilis, passed on from one generation to the other. Nowadays all a young learner has to do is go onto websites such as YouTube and TheSession.org in order to get tunes, as well as online tutorials and tune books etc.
A stereotype would have been created around the old fleadhs and festivals, suggesting that it was only old people who used to go to them, and that there was very little to do but play music. But modern festivals have evolved and now include events for people of all ages and interests.
Personally I have always enjoyed going to these events to meet new people, as well as the many old friends that were made in previous years. The swapping of stories, playing of new tunes and just the general craic element is hard to beat. The people who go to these festivals are kindred spirits; they have the same interest as I do for the music and craic, and that is what I think are some of the things responsible for getting people involved.
7. What actually happens behind the scenes at these festivals? And what are your preparations whenever you are attending these events? How do you get along with other musicians and also deal with curious Celtic music enthusiasts?
As I mentioned earlier, the main emphasis at a Fleadh would be the competitions. Held over a weekend, they normally take during the day on a Saturday and Sunday in specific venues and locations chosen by the organisers. In the evening time sessions would take place in the local pubs of the town including local and visiting musicians, as well as some of the competitors who want to relax and join in. Some fleadhs also run concerts, dancing or singing sessions as well.
Festivals I feel are more relaxed particularly as there is no competition element to worry about. Most of the festivals I have been to have to have similar structure, again taking place over a weekend period. Usually there is an opening concert on the Friday night, with local and visiting musicians, and afterwards everyone descends on the pubs in the town for music sessions. On the Saturday afternoon workshops take place with all the different instruments, giving young musicians a great opportunity to learn from master players in a close proximity. The Saturday night and Sunday afternoon usually concludes with more sessions, which give all the local and visiting musicians to swap tunes and have fun in a relaxed atmosphere. If I am playing at a concert or taking a workshop I usually like to prepare by having a set list of tunes made out prior to the performance, and also have recordings and photocopies of music notes ready for the workshops.
It is very easy to deal with other musicians and enthusiasts as we all have the same shared interest, and possess the same affection for the music and song. The love of the music is what brings the people together; you will hardly ever meet a ‘bad’ person in the Irish Music scene. For those interested in the music, my advice would be to go and experience it first hand; head to a fleadh or festival and soak up the atmosphere, listen, play, make friends and most importantly have fun!!!
For Michael’s next scedules, refer to the post below:
Fans of Celtic music will find something to enjoy in the following facebook links that I am posting below. We aren’t small anymore. There are events and venues being set up all over the world especially in the United States, Canada and Europe. All we need to do is to be resourceful in finding these networks and be a member. I also discover new artists from them.
Pan Celtic Festival-Cornish artist Matthew Clarke made me join this group and it is all about the love for Celtic fusion. There are 217 members comprising of musicians and fans of the music. https://www.facebook.com/groups/110876723848/
The Celtic Link-A very informative site dedicated to musicians, bloggers and fans of Celtic music. If you want to know what’s new , then this is the place to hangout. https://www.facebook.com/groups/thecelticlink/
Aberfest-An even that celebrates the musical relationship between Cornwall and Brittany.April is the month of events. You don’t want to be late! https://www.facebook.com/groups/8079694323/
East London Comhaltas-This is a network dedicated to any Celtic music related activities in the east of London. Musicians who jam with other musicians post here often. You will know about latest gigs in this are in London. https://www.facebook.com/groups/8079694323/
Celtic Music Fan’s Weblog-A facebook page I created. Please join and share your thoughts. This is all about music and the good stuff about it. I currently appointed 4 administrators including my friend Christi who comments here often. https://www.facebook.com/pages/Celticmusicfans-Weblog/105906649451348
My new solo record is out! A New Shade of Green is across the board, truly. Think traditional Irish music + Foo Fighters + Genesis + Incubus + Iron Maiden + a dash of Bill Withers. Yep, all over the place, but it all comes together in this project and manages to make sense. The goal was to make a record that was still “one of my records,” but pose some big challenges along the way. I hope you dig it as much as I do. -Brian
Brian FITZY Fitzgerald is a wonder. He does both- playing a challenging instrument and also singing tunes that require vocal acrobats. He also does remix tweaking and manning the gears in a recording studio. People react to his playing with amazement. It is a music that has that haunting quality to be pop yet groovy enough to make it accessible to fans of Hip Hop and Jazz. The free-spirited energy of his music is reflected in his stage persona.
I really enjoyed this interview with Brian. It’s one of those rare moments that I let an artist decide what font color to choose in the article layout.
A New Shade of Green is a combination of traditional Irish sounds and urban funk. What are you trying to accomplish musically by releasing this recording?
My goal is always to try to do something different, and I really enjoy the concept of ‘mash-ups’ — as long as they make sense. The idea of “make it your own” was instilled in me at a pretty young age, so that’s what I set out to do.
Have you met musicians who are into Celtic music around PA?
Actually, a tremendous number. I spent the better part of a year touring in the US, and overseas to Ireland, with a band called Ceann. At many of the festivals we played, I heard quite a few groups blend in progressive rock and hip hop elements. Music, art…culture; a total melting pot.
Why the electric violin?
I hear that one a lot; usually preceded by “what is that thing,” haha. My background and formal training is of course centered on the traditional acoustic violin, but I started experimenting with pickups early on. The further I went, the more I realized the technical limitations of that setup, like feedback, and made the switch. I still perform and record with an acoustic violin often, but the majority of the time I stick with the electric. Just a lot more control over what ultimately reaches the ears of the audience.
The song writing process, I want to know how you create each song.
It’s always different for me. Sometimes I’ll start with lyrics or the head (the recognizable main melody) and construct around that, then go back in with a knife, rearrange all of it and re-record everything. Perhaps more often than that, I’ll start with a rhythm section groove and build upwards. Groove and feel is everything to me. I prefer density to sparsity in a mix, when it’s warranted, so I usually reach a point where I listen and think about what’s “missing.” As a multi-instrumentalist, I’m able to plug most things in on my own, be it a Fender Rhodes, Hammond B4, a 20-piece string section, or horn stabs. I love the writing process, and the production work that’s entwined is just icing on the cake for me.
Are you a night person or a day person.
Night, all the way. I perform mainly at night, so my day doesn’t end until around 5am. “Morning” starts around 12 noon. Doing 280+ dates a year forces that I stay nocturnal, but it’s useful when I’m not performing as well. The better part of my “day” can be spent working with little interruption while the rest of the world sleeps.
Note your greatest musical influences.
I credit Jean-Luc Ponty and Philly jazz violin legend John Blake for planting the bug to “get out of the box.” I got to sit in with Blake’s quartet in front of my school only a year after I started violin, around 9 years old. That was a huge defining moment. My mother played Ponty for me starting at a very early age, way before I started violin. I got a healthy education of George Benson, Yes, The Police, Al Jarreau, Genesis, EWF, Huey Lewis etc. from them, too. As a teenager I got heavy into Rage Against The Machine, Led Zep, Foo Fighters.. I have an equal love of raw rock, huge production with horn sections, and thick 13 chords.
Engineer,producer and musician. How do you reconcile these facets and how is it like being 1, 2 and 3?
Usually very frustrating, haha. It’s been a real learning experience to learn to step back from what I’m doing and axe something I love if it doesn’t really work. Another really big problem is my obsessive perfectionism. I have a hard time knowing when to say “it’s done.” I’ve done 100 takes of the same bar before, all of them solid and usable, but couldn’t stop going back in. On REDEFINITION and New Shade, I set somewhat ridiculous time constraints to force completion. REDEF’ was written, recorded, and out of post production in 36 hours over 3 days. A New Shade of Green was about a week from start to finish. I function better under pressure, but if I can bring in another pair of ears I can alleviate a lot of the stress that goes with that pressure.
Weirdest/funniest experience on the road.
Played a 2-night run in Virginia a couple summers back shortly after stink bugs infested the state. We had to use wet/dry vacs to suck them off the walls..by the hundreds. It was like an indoor camping trip. I’m sure there have been other times to top the oddness of that one, but man..
I also did a gig opening up for Snoop Dogg. Literally 30 seconds before he’s supposed to be on stage, the backstage loading doors of the venue open and he comes jettin through. There’s a dude standing there off to the side holding his mic..he had been there for a while. Snoop grabs it, runs out on stage, rocks the joint, finishes up and runs back off handing the mic back to the dude like a baton in a relay race. Right back out the door he came in and that was that. I laughed pretty hard.
Memorable experience?
Working with John Paul Jones and the Foo Fighters for a week…wow. Walking down a hallway with Stevie Wonder. People paying to see me perform. What purpose does art have without an audience? Hard to beat that!
Celtic Music Fan 