Releases > Releases April 2026

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WOMEN OF ÉIRE
Ireland’s Call
Own Label, Single, 3 Minutes
www.sinatheil.com
Led by award-winning singer-songwriter Sina Theil, this is a song encompassing unity and representing a landmark moment in Irish music.
Alongside Theil are Caitríona O’Sullivan, Chantelle Padden, Laura Colgan, Tara Howley, The O’Neill Sisters, Caitríona Sherlock, Elle Marie O’Dwyer, Ciara Fox and dancer Róisín Lyons. Uniting the four provinces, these ladies are celebrating sisterhood, creativity, and passion for the anthem that is Ireland’s Call. Adopted by the all-Ireland Rugby Football Union as their unifying anthem, it is not without its critics.
Opening to the sound of the flute, we are immediately reunited with the original songwriter of the anthem, Phil Coulter. But this is an authentic and a very much stand-alone version of the iconic melody. The ladies bring a unique sound to this famous song and sweep you away from the onset. The harmonies carry you along, and it becomes a new, contemporary journey through one of Ireland’s most debated anthems. And yet this unites through sisterhood.
Sina Theil leads this amazing group of women to musical heights with harmonies to connect, to lift, and to inspire.
With the woodwind from the beginning, it’s a haunting song, and always has been. But the ‘Women of Éire’ bring this to a whole new level. Initially intended to overcome adversity and promote unity, this new version brings it to an ‘all inclusive’ level. The Women of Éire have sung it, and there’s no going back.
Gráinne McCool

JOHN & JACINTA McEVOY
The Boyne Mist
Own Label, 15 Tracks, 51 Minutes
www.johnandjacintamcevoy.bandcamp.com
Fiddle and concertina from County Meath. This album is top class traditional playing with the intuitive interplay of musicians who have shared music for many years. Information about the tracks here is in short supply online, but I’m guessing that more than half of the tunes here are new compositions by McEvoy family members and friends.
Set alongside classics such as The Coalminer’s and Paddy Cronin’s, many of John’s compositions are featured, some recorded for the first time on The Boyne Mist. There’s plenty of variety with hornpipes and slipjigs, compositions by Kimmel from early 20th century America and Billy McComiskey from more recently, a glorious fiddle slow air Croibhriste and an Eddie Kelly jig on solo (or is it duet?) concertina. Most of the material here is reels, with some very fine ones composed by John McEvoy as well as favourites such as The Heather Breeze and Ownie Davey’s.
Among the older tunes, I particularly enjoyed Michael Gorman’s Slipjig and The Bull Feast which has strong hints of American oldtime. The newer pieces take time to settle in the soul, but I was impressed by the title track and The Trip to Tara - just a brief jaunt from the McEvoy family home - as well as The Journey Home. John McEvoy has a fondness for flat keys, tuning his fiddle up a semitone on many occasions, and Jacinta seems to have a Bb/Eb concertina to hand on a few tracks, so be warned if you want to play along. These exotic keys pose no problems for accompanists Paddy McEvoy (piano) and Ruairí McGorman (Greek bouzouki), who add their musical touches to produce a very fine sound throughout The Boyne Mist.
Alex Monaghan

FIANA NÍ CHONAILL
Something Old, Something New
Own Label, 12 Tracks, 47 Minutes www.fianaharpmusic.com
Fiana Ní Chonaill’s album does exactly what it says on the cover, with her own newly composed work perched comfortably beside well known, old ones. With vigorous and authoritative playing, she unfurls her finely wrought tunes, with sparse yet very effective accompaniment.
The album is dedicated to her husband Anthony. Love’s Fortune, a bridal gift to him, is an endearing tune, with sweet violin and piano, great phrasing, texture and varied tempo. Ellie’s Hornpipe and Sophie’s Stance, enchanting tunes, with sophisticated percussion, tasteful. The Wedding Waltz, a beautiful piece and there’s no hurry with her version of the May Morning Dew, a superb rendition.
The opening track Inis Cluain inspired by a 13th century monastic settlement close to where she grew up in Castleconnell, Limerick, a catchy, relevant tune, remoteness, turbulent waters meeting silent prayer with strings and gentle percussion, earning its place. Stephen’s Dream has intricacies, driving intensity but elegant, bursts of dextrous, innovative arrangements, the viola bringing depth and a touch of an uaigneas, béidir.
Guest musicians are Alan Reid, Denise Kennedy, Malcolm Bushby and Una Heaney. Recorded, mixed and mastered by Jack Talty, Raelach Studios. An aesthetically pleasing package, by  littlebirddesign, and cover art by Meadhbh Ní Eidhin. She also responds on canvas to all of the original tracks in this collaboration between a harper/composer and contemporary Irish artist. The physical CD, of old and new music and collectible art is available to order on fianaharpmusic.com, where details of launches and touring will also be posted.
On Something Old Something New, the soundscape is polished and reflective, delicate arrangements that showcase the primary instrument, richly hewn material, the contemporary and past pulled expertly together, a hypnotic fusion where the lines are beautifully blurred.
Anne Marie Kennedy

ISHNA
Slí Amach – Way Out
Own Label, 11 Tracks, 55 Minutes www.ishnamusic.com
Here’s an album that will re-kindle musical memories for readers of a certain generation. Let me tempt you with some of the track names, Cúnla, Tippin’ It Up to Nancy, The Foggy Dew, Whiskey in the Jar, all very much standards of the ballad tradition, here given a new lease of life. They avoid the usual  raucous bar-room clichés by taking subtle tasteful avenues in each song.
Ciarán Nagle opens the album with Tippin It Up to Nancy, his diction and timing finds a perfect foil against a pizzicato fiddle, the band comes in and segues the tune into a few stanzas of Raggle Taggle Gypsies (surely a nod to Planxty). Tara Novak’s fiddle playing adds long nyah notes against a staccato whistle.
Tara sings Cucanandy, a dandling song, collected from the singing of Elizabeth Cronin in 1951. The set opens with a piano building tension as Tara sings the song in Irish, slowly at first, the piano giving way to the flute as the rhythm picks up, steady never hurried. Tara comes back, this time acapella and in English before the ensemble joins in with bodhrán and resonant piano chords.
Ishna are no slouches when it comes to traditional tunes; the whistle shines on their Ishna reels, the pipes revisit The Blarney Pilgrim which begins with a rasping rhythm from the strings. The whole tune gets a Bothy Band style treatment, the bodhrán adding a bass beat as Tara’s fiddle expands the canvas. Tara sing Chris Leslie’s My Love is in America; you may know it from the Fairport Convention recording. Tara makes this her own and it could become the definitive version West of the Shannon.
Great songs, some stirring tunes sets, perfectly crafted arrangements, deep respect for the tradition and a playful way with its interpretation. Find a way to get Slí Amach into your collection.
Seán Laffey

NICOLAS BROWN
Not So Good as the Flute
Own Label, 15 Tracks, 47 Minutes www.nicolasbrownmusic.com
A flute player and uilleann piper originally from Illinois, Nicolas Brown is largely self-taught. He has a previous piping album released in 2020, which inspired the title of this CD: it seems Sir James Turner wrote, “The Bag-pipe is good enough Musick for them who love it; but sure it is not so good as the [flute]” in a 1683 publication. I couldn’t possibly comment, except to say that this was written before the development of uilleann pipes. There are several flutes in play here, in keys from B to F, but no other instruments make an appearance. Brown’s playing reminds me of the rushing style of Kevin Henry, although it is much less ornamented. There’s a lovely tone from his flutes, with a breathy quality which adds warmth and authenticity to a sound that is natural and not at all over-produced.
In a selection of almost three dozen tunes, Nicolas Brown presents a couple of flings and a handful of slides as well as one slow air and the usual rake of reels and jigs of various types. The Volunteer is a clear highlight for me, a delight on the low B flute and a fine example of the fling genre. Other notable tracks are the slides ending with Cock of the North reversed in the North American fashion, and a fine pair of slipjigs starting with a version of I Hae a Wife of my Ain which opens this album. I also enjoyed the jig Jerry’s Beaver Hat and the reel Don’t Bother Me - a handy title for sessions, but more often known as The Moving Bog.
There are comprehensive notes on sources and influences, and a few good stories here too, making Not So Good as the Flute an interesting multi-media entertainment.
Alex Monaghan

MICHAEL BANAHAN
Broken Heart
Own Label, 11 Tracks, 34 Minutes michaelbanahan.ie
Michael Banahan is a well-known figure in music circles in the midlands of Ireland, both as a gigging musician, and also as a manager and promoter who has worked with many well-known artists, including Christy Moore, Sharon Shannon, Paul Brady and Eleanor Shanley.
Originally a solo performer, he was a founder member of the acclaimed band Rig The Jig. He has also recorded a number of solo albums, but his latest release Broken Heart is comprised entirely of his own compositions.
The album reflects his personal life experience, and the authenticity of the themes shines through – The Tango was released as a single last year with a reflection on unrequited love, while the title track explores the impact of a failed romance on someone else. These emotional subjects are treated with an honesty and candour that is reflected in the country-tinged music, which is delivered under the stewardship of Bill Shanley, who co-produced the album with Michael, and plays a variety of instruments along with Andrew Holdsworth.
His empathy with those less fortunate is reflected in songs such as Ballad of Mikey Carthy and The Busker, showing a deep understanding of the challenges they face. His vocal style has echoes of some of our great Irish male singers, and he colours his delivery with some tasteful harmonica work. It’s hardly a surprise that this album has been feted by such luminaries as Charlie McGettigan, Mick Hanly, Mike Hanrahan and Eleanor Shanley.
Bill Shanley’s contribution to the music and arrangements will only enhance his stellar reputation as a first-class producer – the songs are placed in settings which allow the lyrics to shine through, with themes that will strike a chord with many of us.
Michael Banahan has clearly established himself as a fine songwriter on this album and performs throughout with aplomb.
Mark Lysaght

THE FOREIGN LANDERS
Made to Wonder
Own Label, 10 Tracks,  40 Minutes theforeignlanders.com
The Foreign Landers are an acoustic duo consisting of Tabitha Agnew Benedict on vocals, guitar and banjo, and David Benedict on vocals, mandolin, and octave mandolin. They are also husband and wife, and they have co-written the bulk of the songs on this album, which displays their close musical and personal bond. Tabitha is originally from Northern Ireland, while David is from South Carolina, where they are now based, and their songs reflect the reality of their shared lives, building on their acclaimed debut Travelers Rest. This follow-up reflects on time, impermanence and the fragile beauty of everyday life, including their transition to parenthood.
The opening track When The Morning Comes is joyously upbeat and showcases their harmony vocals (augmented by Beth and Emilie Key), with Tabitha’s engaging voice taking the lead, and a nice mandolin break from David. Throughout the recording, the couple are
joined by Julian Pinelli on fiddle and Nate Sabat on bass. Smell The Rose is a more upbeat bluegrass-influenced number, while the title track Made To Wonder highlights their keen sense of dynamics and rhythmic tightness, adding to the excitement of the piece, carefully constructed and perfectly executed.
David takes the lead vocal on Pictures, the lyrics celebrating their shared experiences in various settings, and his virtuosity on mandolin is again to the fore – he has an engaging lightness of touch which brings the melodies to life, and the interplay with Julian’s fiddle is delightful. Shoes Off has a lyrical honesty about the joys of cohabitation, delivered with a much-needed sense of humour! They also cover a traditional song I Am A Youth Inclined To Ramble, which becomes endearingly autobiographical as sung by Tabitha, with lovely guitar accompaniment, with guest Brian Finegan on whistles.
Finally, hats off to Tabitha and David for the excellent sound production throughout.
Mark Lysaght

CHARLIE WHEATLEY
Ratcliffe Cross
Own Label, 7 Tracks, 30 Minutes www.charliewheatley.com
This is the debut album from London based multi-instrumentalist Charlie Wheatley; he plays guitars, banjos, viola and cello da spalla. The album’s name comes from an area of the East End of London where the sandstone cliffs gave way to the Wapping marches.
Ratcliffe is old Saxon for red-cliff, an area frequented by sailors and their doxies 200 years ago. It was once the home to Jamrach’s, the world’s largest pet shop. Sailors would deposit exotic species in the shop when they came ashore. This album has that same curious quality, exotic sounds are corralled into familiar spaces, where old tunes rescued from dog-eared manuscripts share the album with Charlie’s original minimalist compositions.
There are tunes here, but riffs predominate. The melodies are ephemera, like passing cloud-shadows on a sunlit wall. Sometimes they appear almost Irish, in for example When I Was a Lady (I hear snatches of the Frieze Britches), at other times, might that be a suggestion of an English tune? Blue Sheep is a three minute repetition over a drone, only occasionality straying beyond the octave. Imagine, if you will, stripped right back to basics Zulu Maskandi music and you’d be walking in the right meadow. Sheila’s begins with single notes over a deep drone, it takes a while before a melody stands free. It is a short lived moment in the spotlight, as a bow draws out a dark drone to end the piece.
One incredibly interesting instrument in Charlie’s arsenal is the Cello Da Spalla, and it can be heard to the fore on two of the closing tracks: Veni Spiritus/ Rowlands and Tune for Eadie, the former grows into a jaunty Irish style pseudo-jig, the latter is another simple repeated passage over the rumble of the Cello Da Spalla: a five string, shoulder hung bowed short-scale bass instrument. It is well worth searching YouTube for a sample. It looks like a fiddle on steroids, and is played violin style. A Jamrach curiosity if ever there was one. It has the potential for being something new in Celtic music.
A walk down Ratcliffe Cross with Charlie Wheatley is definitely an audio experience on the left bank of folk music.
Seán Laffey

ROBERTA SMITH
Textile Lemonade
Own Label, 11 Tracks, 49 Minutes www.robertasmithsongs.com
Roberta is a singer songwriter who hails from Leeds in the North of England and is now based in London. Her speciality is composing songs accompanied by finger style guitar. Add to that mix her double tracking on piano and violin and slide guitar. The recording was made in Cambridge at Saltwell Studios Cambridge by Chris Pepper with the late Aeron Z Jones adding a sensitive electric guitar to many of the songs here. Roberta pays a lovely tribute to him on her Bandcamp page.
Roberta has a crystal clear voice which works charmingly on the song. Is this about a lover left alone while a voyager explores the distant heavens? She sings: “I am alone with the window and the flowers. And I’m wond’ring at what altitude you are.” She adds her own harmony of the repeated echo “I am alone”. It sets the tone for the album.
All but one of these songs is composed by Roberta, the exception is Howling at The Moon a co-write with Boo Hewerdine. Her voice becomes emotionally fragile here as she paints an image of a lonely girl sitting by a frozen lake: “No one hears what she hears. Just the same old tune. We’re singing songs of yesterday She’s howling at the moon.” The technical production on this song is impeccable, the accompaniment is vivid and her voice meshes with the music without compromising its timbre or volume.
If one song sums up the album then it is Old Clothes: pitch perfect harmonies, rich guitar and a high voice that is never strident. Her lyrics coalesce into a belief in the comfort of the ordinary, it happens when she sings Old clothes are: “Easy on the frame; Different yet the same; Strong but gently right; Tailored but not tight.”
Four phrases that pin the essence of this album down, new music that could have come straight out of the classic singer songwriter genre of 50 years ago. Roberta has a way with words that is sparse and hits the bullseye on track after track.
Seán Laffey

CALICELTIC
West of Shannon
Own Label, 7 Tracks, 27 Minutes www.caliceltic.com
From the ashes of West Coast Celtic bands like Plastic Paddy and others comes CaliCeltic. They’ve been around since 2017, ripping up the pub and festival scene in Northern California. With five studio albums under their belt, their current 7-track EP West of Shannon features some energetic, rip-roaring, Pogues-inspired trash blessed with some charmingly melodic nuances, including cheery flute from Robin DeMartini.
The opener, Pub With No Tunes, captures the raucous abandon with a lament for missed tunes with a clever recasting of The Fields of Athenry. Slea Head conjures up images of the wind-lashed Kerry coast with balanced yet powerful flute and pipes upfront with mildly rocking rhythms. Leaving Athlone mixes country rock and winsome balladry, the tang of longing for home compared to newly settled emigrants’ domesticity.
Cool jazzy bass runs and brushed drums usher in the after-hours strains of Living Over a Bar. The Tom Waits-styled vocals have the required grit and stubble while the cosy flute break adds to the backroom atmosphere in one of the standout tracks. Whiskey Kisses, a melodic, forlorn, bittersweet romantic ballad again cruises along in a West Coast singer-songwriter vein, and Home for A Rest ups the Pogues/Gaelic Storm ante of rollicking balladry and an appropriate blast of the Glass of Beer/Sligo Maid add to the revelry. Finally, an updated lyrical take on Joseph Lunn’s 1825 The Humours of Whiskey - Stick to the Crater closes with stripped-down intimacy highlighting the narrative’s verbosity and closes the account with a nod to their traditional roots.
What CaliCeltic does is twist up the strands of West coast melodicism and Poguesque punk with traditional Irish roots in a rocked-up bundle. Theirs is a multi-faceted musical brew that demands attention.
John O’Regan