Video coming soon
Martin will be touring North America with his brother Finbar in 2018 and beyond.
Since the late 1980’s Martin Furey has taken his style of music to delighted audiences all over the world.
Martin is the eldest son of Ireland’s ‘Prince of Pipers’ Finbar Furey, and it is only natural that he would take up music from an early age, growing up in a household soaked in Irish Musical tradition and witnessing first-hand the power of well-crafted Irish music on an audience.
He is a highly talented musician in his own right, a masterful guitarist and a Uilleann pipes player of amazing ability. Along with his emotive voice, Martin puts all his talents to good use both on his self-penned songs and the traditional Irish music his family is so steeped in. He combines deep knowledge of the Irish traveller tradition with an original and contemporary take on his singer/songwriter material. At 25, his song composition “Lord Gresham” was inducted into the Traditional Music Archives by Queens University Belfast.
Martin has been on the music scene for long enough to have established the kind of reputation that makes him stand out; he is a gifted singer/songwriter and spellbinding multi-instrumentalist, Martin brings it all home by showcasing songs in their purest form. His vocal style has the resonance and ornamentation of the 19th century, yet the melodies and instrumentation are timely and refreshing.
Martin has a unique brand of contemporary singer/songwriter folk music which takes traditional rhythms and instruments, and adds an oblique twist to produce an exhilarating sound that’s been wowing audiences for over 10 years. Alone with his guitar Martin Furey is an exemplary singer/songwriter with a voice like an Irish Aaron Neville, which is a good thing (Time Out), and song writing skills which are inherently natural …. a songwriter of some might. (Folk Roots)
He is also the co-inventor of the VARICHORD “spare hand” Capo. The Varichord is a revolutionary guitar accessory and a must for all serious guitarists seeking originality in chord structure and open tuning. This highly versatile piece of equipment is easy to use and capable of holding any standard chord shape plus 100s of configurations not normally attainable. Varichord is currently used by Porl Thompson (ex The Cure), David Rhodes (Peter Gabriel band) & Andy Partridge (XTC) amongst others.
“I recently saw a prototype Capo from the Furey family – which is well worth waiting for – it’s called a vari chord and allows you to set up each individual string to a range of notes. And you can play above and below the capo.” Sean L. (A Tuning A Day, Jan 2010)
In addition to the banjo and bouzouki, Martin is also a master of:
Martin was in his own words “forcibly inducted into the pipes fraternity aged 7”! With his father Finbar being a 3 time All Ireland champion it was almost inevitable that the pipes would come to play a major role in Martin’s life and music. He did try and avoid being “strapped in” but still learnt extensively from his father and another pipes legend Tommy Kearney. The hard work paid off and despite being one of the hardest instruments in the world to play, Martin is one of its finest exponents. You need to use both hands, both wrists, one elbow and a knee just to produce a note as the instrument is actually made up of 3 separate parts. The chanter is the business end as it plays the melody, the drones play a steady note in unison and the regulators play a harmonic accompaniment. Martin’s set of pipes has a 100-year-old chanter from the Dublin workshop of Leo Rowsome.
For as long as he can remember Martin has had a guitar, breaking his first one aged 4! The first electric one came along for him, when he was 17 and with it he “made a hell of a noise in the garage”. His Dad passed on many fingerpicking and chord styles, through both grandparents, Ted and Nora Furey, who came from an ancient line of travelling or gypsy musicians and music, indigenous to Ireland. This knowledge was passed along to Martin.
Martin plays the most widely used and successful whistle in Pan-Celtic Traditional music, the Overton Style whistle. This whistle was invented by his father, Finbar Furey and Bernard Overton. However, the latter, at the development stages, was unable to tune the prototype due to concentrating on the finger hole placement, which was repeatedly erratic. Whether by luck or judgement, Martin removed the prototype from the workshop and hammered the top of the whistle into the unique shape it still has today, resolving the problem. He was 5 years old. This is a matter of record in the book “The Low Whistle”. There are many low whistle books but this is the only one which documents the correct and original history.
Martin began his studies at Dublin’s historical, Trinity College and later moved to Prince’s University, Edinburgh to study English and American Literature, Scots and American history, Linguistics, Philosophy and Law. It was in Scotland where his band Sam Harlet was formed with fellow guitarist Robin Hurt, Al Denholm (of Hobotalk) and Greg Stewart(Guillemots) The band was hugely innovative and recognised as such and immediately welcomed by the vibrant Edinburgh scene of the time. With a massive following, they played almost every venue in the highlands and the lowlands of Scotland.
Other career highlights include performing at London’s Trafalgar Square St. Patrick’s Celebration to an estimated 15,000 people.
Martin was honoured above all else to be asked to play at Áras an Uachtaráin, twice at The White House itself by President Obama and also, The Pentagon by Chairman of the Joint Chiefs of Staff, Gen. Martin E Dempsey (ret.), who asked specifically for Martin to be present, as his one concession for his many years’ service, upon his retirement. Martin performed with the General and 5 members of the President’s own band and was deeply honoured to be brought into the Archive Room and shown the original manuscript of Taps and other crucial pieces of historic music.
Martin has re-established a traditional style of Irish singing, which was on the verge of extinction, and made it both hugely popular and easily accessible. The result of reformatting the ancient tunes in this context was massive worldwide sales of historically important music which catalogued graphically the migrations of peoples across Europe to the USA and Canada. The music speaks of their feelings, aspirations and experiences to form a uniquely shared history. This reformatted folk music also incorporated melody sequences and chordal queues, that are truly ancient with no way of telling how ancient some of the strands of melody and rhythm might be, but Martin has successfully managed to repopulate an impressive amount of airwaves with these notions through pure effort, skill and passion.
BOHINTA – “Bohinta”
Credits: Performer\Primary Artist, Composer, Guitar, Pipe, Whistle and Vocals
In 1992 Martin and his sister Aine Furey, joined together to form their acclaimed band Bohinta, touring UK & Europe, playing every major folk festival including the world renowned Glastonbury Festival.
Martin and Aine were an immediate hit with audiences all over Europe and their album Excalibur (featuring Jean Reno as Merlin) went straight to number one in the French Album charts.
“Singer/songwriter Martin and younger sister Aine are a new generation of a long-respected Celtic folk-singing family, along the lines of Clannad or an Irish version of the Copper Family.”
Their debut as Bohinta (Sessions) was recorded in bits and pieces over more than half a decade, but it doesn’t sound piecemeal or slapped together.
He wrote all of the songs, many of which are reminiscent of Ashley Hutchings’ post-Fairport Convention work, when the bassist was setting traditional-sounding folk tunes and lyrics in a rock & roll context. As a result, the haunting and extremely traditional-sounding ballad “Bonnie Winds” fits perfectly next to the nervous, percussive art-folk “Fortsong” simply by virtue of the two superficially dissimilar songs being rooted in the same traditions.
Martin’s fine singing compliments Aine’s rich, mellifluous voice which recalls both June Tabor and Linda Thompson at points.
Highlights when touring solo and with ‘Bohinta’ include playing the iconic Glastonbury Festival, recording at Peter Gabriel’s Real World Studios, two tours of Australia, being involved with soundtracks for Independent films and BBC documentaries (Rannoch), as well as being included on numerous compilations and projects. (All Angels, Young Voices)
“Bohinta have travelled a bumpy path since their early days. The band’s origins began with an Edinburgh-based quartet, Sam Harlet, formed by singer, guitarist and uilleann piper, Martin Furey, and fellow guitarist, mandolin-player, Robin Hurt. By 1992, the pair had moved to Dublin and became Bohinta, playing residencies at Slattery’s and The Baggot and being courted by record companies, some of whom wanted Martin to achieve the impossible feat of becoming his illustrious father. Martin and his sister Áine moved to England the following year and have been based there ever since, touring and recording and their only album to date, Sessions (1996) – originally released as Bohinta in Ireland – compiles music spanning their career at that time. All eleven songs are either solely or co-written by Martin and demonstrate a fine line in melodic construction.”-THE ROUGH GUIDE TO IRISH MUSIC SUPPLEMENT
Bohinta’s 2nd album Belladonna was released in 2002 to the same enthusiastic reviews as Sessions and Bohinta played at The Fleadh in London, Glastonbury, the Dranouter Festival in Belgium, and the Big Green Gathering. Belladonna was made at Peter Gabriel’s Real World Studios in Bath, England and was produced by Stuart Bruce (Bob Marley, Nik Kershaw)
Although the making of the album proved a huge learning curve, it resulted in a definitive progressive album. Martin studied Stuart Bruce’s engineering practises, with a view to engineering a solo album of his own.
Bohinta – “Belladonna” (Celtic Collections)
Bohinta, formed some twelve years ago by Martin Furey, is a curious beast; in the past it’s seemed to be an outfit in search of an identity. Currently, the band’s centred round the distinctive talents of Martin and sister Aine (Martin, who now writes all of the band’s material, is one hell of a songwriter, whereas both take a highly effective share in the vocal duties), with added instrumental support from (mostly) Martin Swan, Robin Hurt, Creig Stewart (CAS) and Garry Low.
Bohinta’s never been an easy band to pin down though; apparently, their earliest recorded efforts embodied a kind of melancholic grunge ethic, following which there was a period (somewhat confusingly represented on the intriguing Sessions album that came out in 1996) where they embraced a certain amount of acoustic-Celtic experimentation. All seemed to have gone quiet since then, but now Belladonna has appeared out of nowhere; it presents a portrait of a creative and healthily evolving unit, getting round to forging its own identity at long last through the vehicle of Martin’s songs, moving beyond both the grunge and acoustic-Celtic vibes into a more consistent, largely pop-folk-ambient groove. Even so, there are specific moments which hark back – the mournful, mesmeric Colour’s Bride for certain, as well as What Makes You Dream, with its typically plaintive, sinuous vocals from Martin, which has a celtified backing that comes closest to the Sessions. The opening (title) track brings to your speakers a powerfully spooky atmosphere that’s at once chilling and warm.
Other songs such as Wedding Song and Beauty inhabit their own weirdly entrancing musical universe, ambivalent yet distinctly organic, extremely compelling and definitely deserving of repeated hearings to get the maximum from their complex structures. Aine’s amazing vocal stylings, mysterious and often ethereal, prove an integral element in forging the Bohinta sound nowadays, and it’s the heady combination of voices (hers and Martin’s) and the concomitant majestic musical textures (with their unerringly intelligent use of individual acoustic – string – or electric – guitar – strands resounding, given their full weight amongst the denser sonic backdrops) that imprint the music on your consciousness and insinuate, nay, insist you to come back for more. Belladonna is an unusual and highly inspirational release. – David Kidman (Netrhythms)
Other credits (as Bohinta)
Alan Simon–Excalibur (La Légende Des Celtes)
Credits: Composed by, Lead Vocals, Low Whistle, Bagpipes [Uillean], Acoustic Guitar on “Camlann”
Mouth Music is a Scottish-inspired musical project founded in 1988, whose combination of traditional Gaelic songs and music with contemporary instrumental and technological settings led them to international fame in the early 1990s. The name “Mouth Music” is an English translation of the Gaelic term puirt a beul – the vocalisation of instrumental music.
Mouth Music has featured a variety of musicians over the years, with songwriter, multi-instrumentalist and producer Martin Swan as the only consistent member (and de facto leader). Other musicians who have passed through the project include singers Talitha MacKenzie, Jackie Joyce (aka Helicopter Girl), Martin Furey, Mairi McInnes, Ishbel MacAskill and Michaela Rowan, plus fiddler Alison Crawford, Capercaillie/Shooglenifty drummer James Mackintosh, and pipe/flute/fiddle player Martyn Bennett.
Swan has commented “I’ve never seen Mouth Music as a group. It’s always been me with different people joining to play live.”
Seafaring Man album (2001)
Credits: Uillean Pipes, Vocals on “Whaling Ship” and “Month of July”
Mouth Music returned in 2001 with the Seafaring Man album which featured a firm return to Gaelic traditional music and a more acoustic approach (although maintaining African rhythms and electronic dance grooves underneath the traditional instrumentation) It featured Swan on the majority of instruments, Other contributions were made by Ishbel MacAskill (vocals), Bohinta’s Martin Furey (vocals, uillean pipes), Martyn Bennett (shehnai) and Jim Sutherland (bodhran). In an interview with World Beat Planet, Swan paid particular tribute to his Seafaring Man vocal collaborators, saying “I think I’ve now found exactly the sort of voices I’d always been searching for but had despaired of finding.”
In his review of the album in Songlines, Nigel Williamson called it “[Swan’s] most confident take yet on the Gaelic tradition which continues to lie at the core of the sound. There are subtle beats and grooves dropped into the mix, but Swan has mostly chosen to rely on acoustic instruments (rather than samples or programmes) to create his increasingly stripped-down musical textures. He has also employed a flurry of fine vocalists…[Swan] has reached a perfect synthesis in what he does, so that it’s well-nigh impossible to tell which are contemporary compositions, and which carry the weight of tradition. Which is what makes this such a special release.”
The Scrape album (2003)
Credits: Cornemuse, Flute, Group Member, Horn, Pipe, Uillean Pipes
A fifth album, The Scrape, followed in 2003. At this point the group was predominantly instrumental The album focussed heavily on fiddle playing and drew on source material from Scottish fiddler Alasdair Fraser, legendary Bulgarian singer Georgi Chilingirov and Irish-American fiddler Liz Carroll. It was also the first Mouth Music album not to feature any synthesizers (with Swan restricting his playing to fiddle, guitar, accordion and assorted percussion).
Order Of Things album (2005)
Credits: voice on Roisin Dubh, voice and whistle on Quiet Land of Erin (Ard Tí Chuain), uilleann pipes/whistle on The Dae Doers
Mouth Music’s sixth album, Order Of Things, was released in 2005 in both CD and download format. For this album the band formally consisted of a trio of Swan, Martin Furey (vocals, uilleann pipes, whistle) and a returning Michaela Rowan (vocals).
The album contained a version of “Roisin Dubh” (the notorious Irish republican love song to Ireland) and a version of the song “The Dae Doers”, which is the oldest known written Scottish music extant. The album was another predominantly acoustic recording, but with “moments of high distorted drama”
NetRhythms called the album “another supremely hypnotic, quietly haunting set”, and praising “the thoughtful and imaginative touches” found throughout the album.
MARTIN FUREY “HOWL” (solo) 2003
Credits: Performer\Primary Artist, Whistle (Human), Uillean Pipes, Vox Organ, Composer
February 2003 saw the release of Martin’s debut solo album …Howl… which was described by Mojo Magazine as …. haunting song arrangements that get under your skin… Produced by Martin Swan (of Mouthmusic) and recorded at his Scottish studios, the album features 11 new self-penned songs.
Howl also features Martin’s invention the Vari Chord “spare hand” capo.
Although Martin Furey is best known for his work in the fairly traditional Celtic folk groups Bohinta and Mouth Music, his solo album Howl is something else entirely, a skeletal singer/songwriter album in the Richard Thompson/John Martyn tradition, with the hushed intimacy of the former and the jazz and blues explorations of the latter to go along with the songs’ roots in Irish folk. Though Furey is primarily a guitarist, most of the songs on Howl are based on his organ and electric piano playing, giving the album a low-key, mellow feel that fits the largely minor-key ballads perfectly, even though it also means that the few more up-tempo tunes bear a certain resemblance to Gerry Rafferty’s work circa “Baker Street.” Not necessarily a bad thing, but it may make some Celtic purists nervous. Which is a shame, because then they’d miss stunners like the Nick Drake-like spooky ballad “Strange Bird.” – AllMusic Review by Stewart Mason
Martin Furey – Howl (Skitteesh)
This debut solo album from Bohinta’s front man and Mouth Music collaborator at first seems too low-key for comfort, but it’s worth persevering beyond the first couple of minutes of the opener Never Weep, for its mournful and unprepossessingly unfocused start heralds a more powerfully characterised 50 or so minutes. Howl’s 11 tracks (all songs written by Martin himself) inhabit an unusual sound-world that’s evocative and inviting, strange yet familiar, abstract yet descriptive, pure yet complex. Full of apparent contradictions, yet intelligent and highly satisfying. Textures are really intriguing, with an acute emphasis on melody and melodic line that you might not expect given Martin’s pedigree. Martin’s vocals display a real command of technique; they tumble through the tracks in an almost stream-of-consciousness manner, as often blending with the sometimes exotic instrumental textures as standing out in sharp relief and penetrating with their mercurial poetic insights. The musical melting-pot incorporates all manner of world influences, yet in a manner that’s both mesmerising and challenging. Paint Girl has overtones of Lucy In The Sky-psychedelia filtered through a delicate oriental mirror; Strange Bird uncannily echoes the ISB’s own White Bird, Cool Thief recalls Spirit Beautiful, while some other tracks bring vocal ululations more akin to Robin Williamson; the captivating melody of Falling recalls the luscious splendour of Banoffi; Aula and Speaker Of Evil both rumble along strongly, counterpointing modern beats with eastern hand percussion; but truth to tell, each track has its own ingeniously controlled yet fluid ambience, with a surprise or two round every corner. Uillean pipes, low whistles, fiddles and other acoustic instruments cut through the denser ambient sound patterns to telling effect, without a hint of artifice within the overall conception. It’s worth noting too that Martin’s collaborator on this record is Mouth Music’s Martin Swan, who plays instruments too numerous to name including guitars utilising Mr Furey’s revolutionary Varichord capo device; his contributions aren’t to be underestimated. This is a brave, creative and impressively accomplished record, full of the spirit of adventure, which sustains your interest throughout and actually grows in stature on each subsequent play. NetRythms- David Kidman
Transglobal Underground (sometimes written as Trans-Global Underground or simply as TGU) is a London-based music collective who specialize in a fusion of western, Asian and African music styles (sometimes labelled world fusion and ethno techno).
Towards the end of 2009 Transglobal Underground took a break from their live schedule to work on a new project which was released as an album entitled ‘A Gathering of Strangers’ under the name U.N.I.T.E. (an acronym of Urban Native Integrated Traditions of Europe). Drawing traditional sources from all across Europe, the album contains performances by artists from the UK, Poland, Bulgaria, the Czech Republic, Ireland, Hungary, France and Denmark. Amongst the featured vocalists are Yanka Rupkina, Stuart A Staples of Tindersticks, Jim Moray, and Martin Furey of the High Kings.
Taking stock of their group of collaborators and co-conspirators across Europe, they were looking to create something that reflected both that network and the growth of the contacts and movements that have taken place over the time that Trans-Global Underground has moved back and forth across the continent. Most of the music here is some sort of journey; a journey of emigration, transportation, across land or sea and sometimes a journey of the original songwriters themselves.
‘A GATHERING OF STRANGERS’
Credits: Vocals, Guitar, Bouzouki, Whistle, Bodhrán on Van Dieman’s Land
Released in 2010, ‘A Gathering of Strangers’ was a one-off Transglobal Underground project creating a virtual network of artists across Europe working separately and together on traditional songs of separation and togetherness. Not folk, not electronica, not folktronica, ‘A Gathering of Strangers’ didn’t so much straddle genres as bypass them altogether in true TGU style. The result is an unrepeatable work that’s gained cult status over the last few years. It’s a collection of songs of emigration and exile from across the continent, reworked and re-imagined by artists from Ireland to Bulgaria and back again.
The album was toured under the name UNITE, the line-up including TGU, Martin Furey (Ireland) Jim Moray (UK) the Perunkia Trio (Bulgaria/UK) and members of Balkan Fanatik (Hungary)
‘Multi-faceted and often gorgeous…a Pan-European journey you’ll want to embark on at length.’ SONGLINES
‘Entertaining and inventive…a bold experiment that actually works’ THE GUARDIAN
‘This is music we have to feel, understand and respect, in terms of maturity and what it represents’ GENERATION BASS
‘An album of hidden depths, attractive musical turns and conceptual intelligence’ ROOTS
“Entertaining and inventive…a bold experiment that actually works” THE GUARDIAN
“At a time when immigration and emigrating are hot political issues, ‘A Gathering of Strangers’ takes things back to a basic inclusiveness… ” SONGLINES
“An album of hidden depths, attractive musical turns and conceptual intelligence” fROOTS
The Fureys & Davey Arthur – The First Leaves Of Autumn (1986) Credits: composer “Sitting Alone”
The Fureys & Davey Arthur – Red Rose Cafe (7″, Single) (1987) Credits: composer “Sitting Alone”
Various Artists- Celtic Invasion: The Very Best of New Irish Rock & Song (1997) Credits: composer “Bonnie Winds” and “Home”, performer\primary artist as Bohinta
Various Artists- Folk N Hell: Fiery New Music from Scotland (1997) Credits: composer “Grandmother’s Eyes”
Various Artists- Celtic Woman, Vol. 1 (1998) Credits: composer “13 Wishes” and “Hand in Hand”
Finbar Furey – Love Letters (1990) Credits: composer “Railway Square”
Various Artists- Celtic Woman, Vol. 2 (2000) Credits: composer “Vanities’ Child”
Various – Huks Music Sampler 2000, Vol. 1 (2000, South Korea) Áine Furey “Life Is Just That Way” and “Sweetest Summer Rain” Credits: Producer
Pooka- Fools Give Birth to Angels (2001) Credits: Irish flute on “Spring Song”, Irish pipes on “Gypsy Rose Lee”
Various – Huks Music Sampler 2001 (2001, South Korea) Áine Furey “Life Is Just That Way” Credits: Producer, Keyboards, Arranged By
Various – Lady Sings The World (2004, South Korea) Áine Furey “Life Is Just That Way” and “Sweetest Summer Rain” Credits: Producer, Keyboards, Arranged By
All Angels – All Angels (2006) Credits: low whistle on “Angels”
Finbar Furey – No Farewells, No Goodbyes (2007) Credits: Guitar, Vocals
Karan Casey – Ships In The Forest (2008) Credits: composer”Town Of Athlone”
“…gorgeous Martin Furey song, “Town of Athlone,” which holds its own against any traditional ballad…”Billboard.com, Chris Nickson, All Music Guide
“But on this brand new cd of hers, it is unlikely anyone will ever surpass her ladyship’s rendering of Martin Furey’s superb song, “The Town of Athlone.” That song, by the way, sounds like it has been around for hundreds of years and more power to Martin Furey, for writing such a moving song of love and travellers.” www.irishcultureandcustoms.com, William Ramoutar
“With a more upbeat musical setting featuring guitar is The Town of Athlone, one of several songs about war and its consequences. In this case, it’s the story of a young mother, the widow of a soldier killed in war. Though it sounds traditional, it’s actually a contemporary song written by Martin Furey. “- As broadcast on WVIA-FM 4/9/2008, George Graham (c) Copyright 2008 George D. Graham. All rights reserved.
Áine Furey- Cross My Palm (2009) Credits: composer “Water’s Edge” and “Walk Gently”
“Martin has a couple of delicate and harmonious compositions here.” Finbar Furey in an interview for Irishcentral.com
Finbar Furey- Finbar Furey (2009) Credits: composer “Railway Square” Guitar, Guitars, Main Personnel
Various Artists- Rough Guide to Irish Folk  Credits: composer “Town of Athlone”
Claire Brown- “Live 4 today” (2012) Credits: Vocals & guitars
Don Baker- My Songs My Friends (2013) Credits: featured on “Inner City”
Hennesea ‘Light above the sea’ (2014) Credits: Vocals & whistles
Luna Geckos- Slowlier (2015) Credits: featured on voice & whistle on “Own Image”
Ályth McCormack- Homelands (2015) Credits: composer “Grandmother’s Eyes”
“One new song on the album ‘My Grandmother’s Eyes’ which is written by Martin Furey, is striking a chord with listeners. It’s a fresh take on a known theme of separation, and listeners are responding to the original take on this.” Posted by TradConnect on August 12, 2015
Screaming Orphans – Ballads Rule OK (2015) Credits: Vocals, Bouzouki, Whistles, Uillean Pipes on Rocky Road to Dublin, Óg In Éireann, Sweet Dublin Bay and The West’s Awake
“Ballads Rule OK, is our latest full length Irish album. We had our great friend Martin Furey (a son of Finbar Furey from the legendary Furey Brothers) guest on some tracks. In this album we took some old and well known ballads and gave them a new twist. Our version of the Rocky Road To Dublin stands out as a very unique take on the song.” – The Screaming Orphans – These Donegal Girls Are Celtic Rock Super Stars, by Emmett McIntyre on March 16, 2016 Transceltic.com
Mary’s Lane- The Furey Sessions EP (2015) Credits: Vocals, Modern Low Whistle, Banjo on “Wait Awake” and “Sleep When I’m Dead”
“Their newest release is “The Furey Sessions” – a crash course recording featuring a member of one of Irish music’s most legendary and beloved families, Martin Furey. After a friendship blossomed while performing at a summer Irish Festival, Martin and Mary’s Lane hit the studio Monday morning for an impromptu recording session over tea and coffee. The end result are two brand new Mary’s Lane original songs – the ever enchanting “Wait Awake” and wildly rambunctious “Sleep When I’m Dead”. (John O’Brien Jr. – Ohio Irish American News)