Artist Bio (Short)
Dylan Walshe is an Irish musician from the southeastern, working class, coastal suburbs of Dublin. He is known for his engaging impassioned live performances, lyrical songwriting & unique vocal style.
"His voice is so strong and expressive, at once so holy and damned, it could shake heaven and hell simultaneously. This suggests the old soul of a true roots artist" - No Depression, US. "Dylan Walshe has taken up the reins from the likes of Bob Dylan and Townes Van Zandt, with poignant, poetic lyrics and memorable tunes" - The Irish Edition, US.
Typically touring internationally as a solo acoustic performer, Dylan's music is steeped in the traditions of Folk, Irish, Blues, Singer-songwriter, One-man band & Roots Music, but never bound by those traditions. An experienced, "passionate & beguiling performer whether he's rocking out or turning up the introspection" - R2 Magazine, UK, Dylan has a recent history of pushing boundaries as a solo acoustic performer, appearing on bills & touring with a wide range of bands & genres such as Punk, Hardcore Ska & even Heavy Metal. Armed with his own soulful originals, Dylan also sings traditional songs of the working classes & reinterprets a wide spectrum of songs in his own inimitable style. After spending his 20s splitting his time between London & Ireland, Dylan now resides in Nashville, Tennessee. Most recently, as well as headlining tours throughout much of Europe & the U.S., Dylan toured Canada & the U.S. with Flogging Molly & The White Buffalo in 2017. In 2018, Dylan opened for Billy Bob Thornton & The Boxmasters on their Maine dates. Dylan also recorded with James Fearnley of The Pogues in 2018 & in 2019, Dylan toured the UK & Europe with the Swedish Heavy Metal band Avatar & the Canadian Celtic Punk band The Mahones.
"Dylan gets nods from the likes of Christy Moore, gifted & talented, he's the real deal" - RTE Radio 1, IE
*For Further Reading See Below*
'All Manner Of Ways' Album
'All Manner Of Ways', Dylan's debut studio record, was self-released on Oct 26th of 2018 on Stirring Foot Records (Dylan's own label). The album of original songs features guests & friends such as James Fearnley of The Pogues & Andy Gibson of Hank III. Co-produced by Dylan, the record was independently funded & released with DIY PR. Paddy Rock (US) made 'All Manner Of Ways' '2018 Roots Album Of The Year'. Shakenstir (UK) included 'All Manner Of Ways' in their best albums of 2018. Fatea Magazine (UK) nominated the track 'At Sea' for song of the year. The Alternate Root Magazine (US) also listed 'All Manner Of Ways' in their best albums of 2018. Irish Folk legend, Christy Moore, put the album forward to be considered by the Irish national Folk Awards board in 2019, saying "Dylan is a true Irish ballad singer, I admire his work."
*Got To Bottom Of Page For Album Press & Reviews*
2017 Tour Footage w/ Flogging Molly
Click Image For Wiki Page
Tour Footage 2019 w/Avatar & The Mahones
Artist Bio (Expanded)
The Formative Years
Many musicians are born from a musical family, some are born with connections to the entertainment world or with connections to the music industry itself, but that wouldn't be true of Dylan's story. Far from it, Dylan was the only musician, writer or performer within his council estate family home in Loughlinstown Wood, Co. Dublin, Ireland. At 14, while still in school, Dylan had his first paying job working at the local pub serving drinks & clearing tables. At 15, when Dylan's school day ended, he would cycle to his uncle's garage where he earned the money for his first guitar by filling cars with petrol, sweeping the garage floor & assisting the mechanics. Loughlinstown Wood itself, where Dylan was born & raised, didn't have any kind of a musical community either, in fact, putting a sensitive or a creative side of yourself on show, at that time, would've attracted the wrong kind of attention from fellow locals. A scrap was more of a likely outcome than a sing song was. Over time, that turned around for Dylan when he found a few select neighbourhood & school friends who also wanted to explore music as a first hand experience. The basics of a band was formed almost in secret, first at school, then at home. The responsibility of rehearsal space typically fell to the drummer, as compact terraced housing presented its fair share of problems when it came to noise making. Eventually, a cheap rehearsal space was found in a newly built community prefab room. That was a turning point for all involved. The new space allowed for the band to let loose, invite their friends over, have drinking sessions & feel the full energy of what playing music had to offer. From then on, locals began to take an interest & show their support, even the ruffians expressed camaraderie for what was happening, as they tried their hand at singing, while joining in on a drinking session at rehearsals. The band became a centre point for the community in some regards. The gigs were many & well attended, while the band went through several name changes & saw different members come & go. To have experienced music in this way, within a community, had a lasting effect on the band members themselves too. A highlight was opening for the Irish rock group Aslan on more than one occasion. The average age of band members, at that time, was 16. Dylan wasn't a singer over this period, not publicly anyway. Dylan alternated between playing the drums & rhythm guitar throughout his mid to late teens, before moving onto performing as a solo singer-songwriter. After some years of performing at home in Ireland, Walshe lived out most of his 20s in London.
Dylan's Music Today
While Dylan has received no major press & little main stream radio airplay, many international publications & independent radio stations are lauding Dylan's work as a recording artist & as a live performer. Respected names in music are too. The general consensus is that it's only a matter of time before a larger audience catches up...
Although Dylan has arguably never been exposed to any large potential core audience, his listeners are a varied, wide & far reaching lot. It's a Muddy Roots person in Belgium, a Metal head in France, a Country music lover in Sweden, an Americana listener in the UK, a Squoodge Records supporter in Germany, a Voodoo Rhythm Records supporter in Switzerland, a Folky in Ireland, a songwriter in the U.S., a Celtic Punk fan in Japan, a Rockabilly in Denmark, a Punk in Canada, a One-Man-Band collector in the Netherlands, a Blues lover in Austria, a listener of Irish music in the Czech Republic & on & on it goes. Here's why...
Following a near fatal accident in 2012, Dylan began to release records & tour internationally in 2013. Walshe released his first record (7" limited edition vinyl) on Squoodge Records of Berlin that year. Although Dylan has been performing for over two decades, very few recordings were made prior to that 2013 record release. While living in London, Dylan was in a band with Sterling Roswell of the seminal alternative rock group Spacemen 3. During that time, Roswell also recorded some of Dylan's first recordings. Two of those recordings are on the Squoodge Records 7" vinyl release. Dylan had arranged the release of that record from the hospital ward in London where he had been recovering from his accident in 2012. The title track of that record, 'Blind Is Blind', was recorded by the BBC award winning Folk artist, Ben Walker.
Muddy Roots Records
While attending Muddy Roots Europe Festival 2013 in Belgium, Dylan was singing songs in the camping ground, when he was asked to take to the stage to replace a band who had to cancel their performance. That performance led to an invite from Muddy Roots Records to begin working with them in Nashville. In 2014 Muddy Roots Records flew Dylan over to Nashville to do some recording & to attend Folk Alliance International in Kansas City. On this trip, Dylan met his now wife Kristin Bargmann. In 2015, Dylan released the live record 'Soul Hell Cafe' on Muddy Roots Records. The album was recorded at the Soul Hell Cafe in Essen, Germany while Dylan was on a European headline tour in 2014. Dylan continued to perform at Muddy Roots events in the United States & Europe, from 2013 - 2018, being billed alongside such artists as Ralph Stanley, Ramblin' Jack Elliott, Peter Rowan, Del McCoury, Bonnie Prince Billy, Ricky Skaggs, The Sonics, The Blasters & The Melvins.
Dylan moved to Nashville in 2016. Following some busking on Broadway, his first Nashville show was with Spider Stacy of The Pogues, The Lost Bayou Ramblers & The Secret Commonwealth on St. Patrick's Day at the Nashville Palace. On meeting Flogging Molly in Nashville that same year, Dylan was invited to perform on the 2017 punk rock Flogging Molly Cruise through the Bahamas & was billed alongside Flogging Molly, The Skatalites, NOFX, Less Than Jake, DeVotchKa, The English Beat, Zander Schloss & others.
Voodoo Rhythm Records
Also in 2016, Dylan released 'And Then You Cry' on The Monsters tribute album for Reverend Beat-Man's Swiss label Voodoo Rhythm Records. The record celebrates the 30th anniversary of the Swiss Garage Trash band The Monsters. Over the years, Dylan has been on numerous bills alongside The Monsters & Reverend Beat-Man too.
Dylan performed multiple times during the 2017 Flogging Molly Punk Rock Cruise. For his last solo performance, Dylan took to the stage at 11pm to follow the Californian Hardcore Punk Ska band Voodoo Glow Skulls. At the end of Dylan's set, in front of an audience which had been fast growing for Dylan over the course of the cruise, Dave King of Flogging Molly joined Dylan on stage saying, "This is what music is all about, the future of songwriting is safe in the hands of this man". Flogging Molly then invited Dylan on their 23 date U.S./Canadian Spring tour of 2017. Throughout that tour, Dylan delivered his solo performance to 1000 - 5000 capacity venues, often filled with a Punk Rock audience. The White Buffalo was also on that tour & the opening night was at the Fox Theatre in Oakland, California on the 5th of May 2017. Prior to that Spring tour, Dylan & James Fearnley of The Pogues met in LA, California. This meeting led to James Fearnley recording on Dylan's album 'All Manner Of Ways' in 2018.
In 2019, Dylan opened for the Swedish Heavy Metal group Avatar on a 32 date U.K./European tour. Canadian Celtic Punk band The Mahones were also on that tour. Dylan often joined The Mahones onstage to perform with them during that time too. Dylan finished out the last leg of the tour in direct support to Avatar as their only opening act, a stripped down solo acoustic performance (sometimes A cappella) in front of a large Heavy Metal audience waiting on a Hard Rock show.
Many saw that tour as a bold move on Dylan's part & a somewhat confusing move by Avatar. The tour received an enormous amount of press & as a result, Dylan was featured in many Heavy Metal & Hard Rock publications throughout much of Europe & the UK. Some Metal fans weren't open to the eclectic tour bill, others scratched their head in confusion, while others wholly embraced it.
"Opening the whole night up was a single act called Dylan Walshe, he captured the crowd immediately. The whole time, the room felt like it was moving because of how many people were stomping & clapping along to his songs. I would never have put the two of them together because of their musical difference, but it was definitely worth doing & it paid off" - Uber Rock, UK. "Dylan is armed with a simpler set up, but what he lacks in wattage & loudness, he makes up for it in emotional intensity. His sounds have a timeless traditional Irish vibe, & his voice is hauntingly cinematic, somewhere in between a young Tom Waits & Shane MacGowan" - Folk N Rock. "How beautifully music can bring cultures together! Dylan Walshe has hypnotized an audience, which he knows is not there for him... ...the chills do not come from the snow anymore. They arise from the emotion emitted & sent by Dylan Walshe" - RocknFool, FR. "One thing was for sure this evening: sometimes you don't need a lot of equipment for impressing an audience. Dylan Walshe came on stage with just a guitar & a harmonica & left the crowd speechless... ...the audience gave him a lot of love & applause" - Metal & High Heels, UK. "I must say that the presentation of Dylan Walshe has been the best I've seen in a while. It's not an apotheosis presentation, but one that is very close to the people & very full of charisma" - Rockatuestilo, DE. "Dylan Walshe, who manages to captivate the milling crowd still filing in. His heady mix of Irish tinged folk infused with a deep rooted twanging, sounding as if ripped right out of the deep south, has those already down front nodding along intently. Delicate melodies interlaced with short, sharp harmonica blasts is the heaviest part of the troubadour's set, & his closing number has everybody clapping along. Although Walshe seems like an odd choice to be opening a Metal show, he proves to be an eclectic addition to the evening's revelry nonetheless" - Distorted Sound Magazine, UK
Since 2013, Dylan has headlined tours throughout much of Europe & The US. Dylan has also performed at Irish Festivals & multi genre festivals both big & small & has appeared on bills or toured throughout much of the UK, Europe, Canada & the US with artists such as Flogging Molly, The White Buffalo, Avatar, The Mahones, Del McCoury, Dr. Ralph Stanley, Ricky Skaggs, Peter Rowan, Ramblin' Jack Elliott, The Skatalites, DeVotchKa, NOFX, Jimmy "Duck" Holmes, Chris Bailey of The Saints, The English Beat, The Bouncing Souls, Spider Stacy of The Pogues, Bonnie Prince Billy, The Blasters, Scott H. Biram, Lost Bayou Ramblers, Possessed by Paul James, Donovan, The Legendary Shack Shakers, Bobby Bare, The Sonics, Tír na nÓg, The Melvins, Ray Wylie Hubbard, Scullion, L. C. Ulmer, Billy Bob Thornton & The Boxmasters, The Black Lillies & many more.
Blind Is Blind 7" Vinyl - Squoodge Records (2013)
Muddy Folkin' Roots (Compilation/VA) CD & Digital - Muddy Roots (2014)
Muddy Roots Record Artists (Compilation/VA) CD & Digital - Muddy Roots (2014)
Soul Hell Cafe (Live Album) CD & Digital - Muddy Roots Records (2015)
Blind Is Blind (Re-release) Digital only - Muddy Roots (2016)
Eamonn Karran - Celtic Skies (Contains 'Boy Buries Mother' written by Dylan Walshe) CD & Digital - Real Music (2016)
Tribute to The Monsters (Compilation/VA featuring 'And Then You Cry' By Dylan Walshe) Vinyl, CD & Digital - Voodoo Rhythm Records (2016)
It's A Dark Holler! (Compilation/VA) CD - Mofo Music (2018)
All Manner Of Ways (Album) CD & Digital - Stirring Foot Records (Oct 26th 2018/Vinyl March 2019)
All Manner Of Ways Press
Irish Edition (US)
Dylan Walshe, from Dublin and now based in Nashville, is a powerful singer-songwriter. This album, recorded in Nashville, features 10 songs, plus two alternative versions, for 40 minutes of thought provoking, excellent entertainment. There's great maturity in his lyrics and a distinct catchiness in his melodies, which leaves you hanging on his words as you are enveloped in the tunes.
Helping create the atmosphere is a handful of musicians: Walshe plays guitar and harmonica and he is joined by Evan Penza, Stephen Harms, Jake Stargel, John Mailander, Andy Gibson, James Fearnley, Chris Compton, Micah Hulscher and Cody Martin. Arrangements are built around Walshe's powerful voice, a baritone with great warmth and emotion in his sound.
At times, things are laid back, as on "The Trickle-Down Effect," with just his voice, finger-picked guitar and a bass. The effect is hypnotic. But one has to be careful - this is not a gentle song, as the lyrics talk about politics and what is going on in society. He can also really rock and take you out of your comfort zone, such as the desperate "Cut It Down" (Listen to the wild fiddle and guitar on this!) And I just love the intimacy of a track like "Lady Lee".
For me, Dylan Walshe has taken up the reins from the likes of Bob Dylan and Townes Van Zandt, with poignant, poetic lyrics and memorable tunes set on fitting accompaniments. I really look forward to hearing more from him.
Over the years many things have attained mythical status, an honest politician, £350 million a week for the NHS, Excalibur, dragons and a full Dylan Walshe studio album to name but a few. Fortunately, that last one has moved from mythical status into a list marked legendary.
I first met Dylan through the late lamented Bob's Folk Show, even sharing a studio with him on one occasion. That lead to me putting out a track "Your Belly Not Mine" on the Spring 12 Fatea Showcase Session:Walking, which I think I'm right in saying was his first release.
A near fatal accident that same year put recording plans at that time on hold, before a single, "Blind Is Blind" emerged on Squoodge Records in 2013. Since then there have been occasional tracks on compilations and a well-received live album "Soul Hell Café" back in 2015.
So who is Dylan Walshe? We'll that's a difficult one, the facts are easy, Dublin born singer-songwriter, troubadour, poet. He's a musical traveller that has attracted a genuine cult following that have ensured his sporadic releases have always reached an audience, arguably not the one that a talent of his size deserves, but there has been many a literary legend that have had that litany only to be feted by the mainstream when the mainstream catches up.
As a writer and performer, Walshe has a way with words that is difficult to under estimate. If James Joyce had also been a guitar picker, it's possible "Ulysses" would have been condensed into a single album. Fortunately, Joyce wasn't an axe man, to my knowledge and that has left the path open for Dylan Walshe to deliver an opus that, may or may not be up there with "Ulysses", but is definitely the portrait of an artist.
"All Manner Of Ways" is ten tracks, twelve if you count a couple of remixes at the end, that are pure poetry, both in the lyric and delivery. I had expected this to be a stripped back album of man and guitar, but was pleasantly surprised to discover that Walshe had made the decision to add additional musicians to the album, a choice that was right on the mark as John Mailander's fiddle contribution shows on "Where Dublin Meets Wicklow".
These are living and breathing songs, some of which were on the previous live album, all with their own character. A listen to "The Trickle-Down Effect", quickly reveals an impact that twelve thousand marchers might not, but both have a time and place.
And, so far, I've not really mentioned Dylan Walshe the guitarist. He doesn't waste a word or even a vowel in his lyrics, similarly not a note or chord goes astray in his playing. It may not be the most dynamic playing you'll hear, but you can feel the quality as it rolls off the strings.
When Christy Moore, describes you as a wordsmith, it sets a very high bar, lesser performers may be intimidated by that, for Dylan Walshe it doesn't seem like false praise. I wasn't under selling it when I said that "All Manner Of Ways" makes the move from mythical to legendary..
FOLK & TUMBLE (Northern Ireland)
'All Manner Of Ways’ is the new album from Dublin-born, Nashville-based singer-songwriter Dylan Walshe. Christy Moore holds him in high esteem. He recently opened for Billy Bob Thornton and the Boxmmasters. Guests on the album include James Fearnley of The Pogues, and Andy Gibson of Hank Williams III – indicators that he is swiftly curating kudos among contemporaries.
"Dylan’s a fine wordsmith and a fair chanter. It does my heart good to hear him sing. Love his voice and the way he’s using it." Christy Moore
Recorded in East Nashville, where he currently resides, this is the sound of Dylan’s journey, from Dublin to Tennessee, “a record and artist steeped in tradition, but with a mind of its own”.
I am reminded of our own Northern singer-songwriters Matt McGinn and Ben Glover; the latter also Nashville based, drawing on the theme of the Irishman making waves across the sea, but with the imprint of “home” on his soul.
Interestingly, it is the sea that takes form and becomes a feature. I am reminded at times of The Waterboys, with the lilting, moodiness of instrumental melody; its ebb and flow.
The opening track ‘Blind is Blind’ may or may not be a tribute to the sea, but is a robust song, and with a rough charm we hear the Dublin brogue come through.
‘At Sea’ is simply a beautiful song. It’s the lyrics on the CD booklet that reveal this to be a laid bare dialogue between father and son (an intriguing discovery which doesn’t come across on first hearing), seeking answers to the big metaphysical, existential questions.
In fact, the lyrics booklet is a work of art in itself, with stunning, dramatic black and white photography all taken by the artist – another of Dylan’s talents clearly.
The full gamut of the human condition is explored in one way or another in ‘All Manner Of Ways’, which didn’t come across at first. However after several listens themes emerge, poetically expressed.
‘Luck Is A Beggar, Luck Is A King’ addresses gambling, alcohol, addiction; expressed as “elastic honesty” in the covert search for our own truth.
Dylan Walshe has a great voice – deep, textured, multi-layered – and its richness comes across nowhere better than in ‘Ruined’, combined with harmonica and fiddle.
Reminiscent of a life full-lived on the edge, close to ruination but salvation is always an option. Skilled and beautiful.
Two songs on this album of ten original tracks offer up alternative versions – ‘Same Old Prayer’ and ‘Where Dublin Meets Wicklow’. The latter, in particular, deserves special mention, for both versions.
It’s one of those songs that resonates, gets under your skin. It is a love song laid bare, through subtle poetry, torn between the only place that’s home, and the next best place, Tennessee.
Amidst the alcohol, the side-effects of a life on the road and the musician’s Achilles, there is a deep-grained nod to being brought up quaintly among the rosary beads and blind faith of what was Catholic Ireland.
Possibly the most important song on this album is ‘ The Trickle-Down Effect’. It’s political in terms of the hate and fear being perpetuated across continents, an ill wind that blows.
And the trickle-down effect is truly here. They said it would be money, but its just hate and fear.
Here, here! Well said.
Finally, ‘Death Dance’ is lively, fluid, remotely morbid, maybe apocalyptic – a sort of shamanistic nod to the ancient and the tribal, with dreams, curses, ravens and bone rattles in tune.
Albie Arts & Music Media (UK)
Why have I not heard of this guy before?!
From the first few notes of the first track Blind is Blind, I was smiling and settling into my folky comfort zone usually reserved for the likes of The Waterboys or The Chieftains (yes the musicianship is that good) and then the vocals started… and this is NOT the voice I was expecting but, by God, it works. What I was expecting was a light, bright, heavily brogued Irish voice that skipped around the tune while never quite hitting the mark. Think about how Bushmill’s Irish Whiskey would sound if it could sing. That. Instead, what I got is a deep, dark, velvety, proper Irish draft Guinness of a voice. Rich, rounded, complex and ever so smooth but still with a hint of a bite. Imagine Hozier singing time-honoured Irish folk songs with a Nashville country band and you have it. It just absolutely blew me away.
Once I got over the shock of the unexpected and had adjusted my musical tastebuds, so to speak, I went back to the album. And there’s not a bad track on here. I find it amazing that these are all new and original compositions because they have the weight of tradition behind them. You could easily imagine them being sung somewhere in Ireland, in an impromptu bar jam session, since time immemorial because everybody should already know the words and tunes. The Nashville country edge does creep through now and again, especially in Luck is a Beggar, Luck is a King, but that is no bad thing at all. There are up-tempo tracks and melancholy ballads, all filled to the brim with meaningful lyrics; The Trickle-Down Effect gives Pete Seeger a run for his money as far as protest songs go. And, as I said at the start, the musicianship is also wonderful, combining country steel guitar with Irish fiddles is just a sublime noise. I loved the harmonica on Ruined too, which gave it a bluesy tone.
My absolute favourite track on the album has to be Death Dance, though with Cut It Down running a close second. The fiddles on both reminded me so much of The Devil Went Down to Georgia (in a good way) and the use of minor grace-notes gave me shivers (also in a good way).
So, in among the barrage of generic, festive gift shopping suggestions, here is my special recommendation. Buy Dylan Walshe’s music for everyone. They’ll thank you for it, in All Manner of Ways.
RnR Magazine (UK)
I've watched and listened as Dylan Walshe has developed over the last few years. He learned his trade at home in the Dublin area before settling in London for a while and now has found a new life and love in Nashville, and honed his trade, taking his roots-based singer-songwriter sound to large audiences as opening act for Flogging Molly in the U.S.
'All Manner Of Ways' is his long-awaited debut studio album, which reflects the bumps and burns along the road. Engrossing opener 'Blind Is Blind' is a universal tale of love gone awry, perfectly paced and with fiddle and banjo adding colour though never overwhelming.
The fact that he has Pogues accordion player James Fearnley guesting speaks volumes for Walshe's reputation as a songwriter of style and substance. And when the two combine, on arguably the album's stand-out track, the autobiographical love song 'Where Dublin Meets Wicklow', alongside a superb core recording unit including John Mailander on fiddle, Evan Penza on electric guitar and bass and Chris Compton on drums, it's particularly special.
Elsewhere, 'Same Old Prayer' combines elements of the Celtic soul of Van Morrison and the gritty blue-collar rock of Springsteen, while 'The Trickle-Down Effect' channels 60's folk and contemporary protest, and 'Luck Is A Beggar, Luck Is A King' is the nearest he gets to Americana, though nailing it with a mighty swagger.
A not-so-everyday story of Country (and) Folk …
Country music’s roots lie in part in European folk music, so who better to explore those connections than Irish-born, Nashville-resident Dylan Walshe. All Manner Of Ways’ ten original tracks use a mix of instrumentation to interweave both threads: melancholic lilting fiddle overlays twangsome guitar in Blind Is Blind, the atmospheric Ruined features low cello rumbles, eerie violin chords and harmonica underpinned by loose bodhran-like kick drum, while the foot-stomping mountain (Mourne or Blue Ridge) music of Death Dance is a fluid fiddle-led reel with celtic-flavoured electric guitar and mandolin.
More Appalachia-via-Kerry flavours come in At Sea’s multi-guitar filigree finger-picking while Where Dublin Meets Wicklow blends airy fiddle-laced folk rock with a squeezebox and Telecaster Tex-Mex vibe, and more squeezebox adds a borderline feel to the more conventional chiming tele, walking bass and rim-shots of Same Old Prayer. Luck Is Beggar, Luck Is King sees lush pedal steel sweeps and trills over an off-kilter beat evoke Fire On The Mountain covered by The Chieftains.
Dylan’s idiosyncratic stentorian vocal ranges from folk-meets-new wave plaints to It’s Too Late To Stop Now soul (particularly in Same Old Prayer and Where Dublin Meets Wicklow) and even John Martynesque tones in the protest of The Trickle-Down Effect and in Cut It Down, where Dylan’s striking call-to-arms vocal tops an unexpected-progression Western ballad with intertwining multi-layered fiddle and guitar textures. The final track returns to folkier fare with vox and finger-picked guitar joined just by spare fiddle lines for a simple heartfelt close.
Having a foot in both camps could have been an uncomfortable stretch but Dylan manages to straddle the genres with ease, creating his own.
Old Style Music Nights (Belgium)
HEAR YE, HEAR YE!!! It has finally arrived!!!
The debut studio album by Dylan Walshe sure took some time to be unleashed onto the world. Was it worth the long wait? Yes! Yes it was!
Most of our readers know who Dylan is and what his songs sound like and what emotions they trigger. If you have not heard any of the songs on this album you are in for a surprise. Dylan being a solo artist, we were all used to hearing or seeing just him, his guitar and stompbox on stage. For this album he worked together with very talented friends to give the songs a more full sound and body. Drums, bass, fiddle… It’s all there. And my dear readers, each and every song sounds beautiful.
For this debut album Dylan re-recorded some of his older songs, crowd favorites so to say. And to be honest, “Blind is Blind” has never sounded so good. Did the style change that much you may ask? Yes and no, I think with this album Dylan steps away a little from the bluesy folk sound we know him for and adopts a more mature singer-songwriter style. If you take a listen to “Luck is a beggar..”, with it’s wonderful slide-guitar parts you will understand what I’m trying to say.
Like any good singer-songwriter or folk album, this one has a protest song. With “The Trickle-Down Effect” the wordsmith that is Dylan Walshe shines in all his glory. No this is not a “fist in the air” protest song, this is a “sit down, think, plan your next move” kinda protest song. The music is slow, simple and effective, Dylan’s voice is the main instrument here and what a powerful voice it is.
The album will be released next week, on October 26th, by Dylan himself. Follow the link below to pre-order your copy. For the vinyl snobs like myself, there will be a release on wax later on.
It angers me a little that an artist with his quality can not get the support of a label while there is so much crap being released each day… But we’ll leave that conversation for the pub, while getting shitfaced…
The Alternate Root (USA)
Dylan Walshe (from the album All Manner of Ways)
The bitterness of Guiness Stout that gives the liquid thickness, the words of Dylan Walshe bear a heartiness of tone, providing a deep soul-search for both author and listener. The ale and the songman share a point of origin, both starting out in Dublin, Ireland, each leaving home to take on the world, Dylan Walshe landing in Tennessee, recording his recent release 'All Manner of Ways' in his new base of East Nashville. Dylan finds himself ‘close to blind faith’ as he grips the story with the same determination as the steadily rising sonics of “Cut It Down” while he views both sides of the coin in “Luck is the Beggar, Luck is a King”. 'All Manner of Ways' lives darker days in “Same Old Prayer” joined by James Fearnley of The Pogues, the accordion player returning when Dylan Walshe nostalgically hints at home with a wistful Irish lilt to the melody that glides through “Where Dublin Meets Wicklow”.
A brotherhood of Irish music gathers around Dylan Walshe. He played his first gig in his new home of Nashville with Spider Stacy of The Pogues on St. Patrick’s Day at Music City’s Nashville Palace, meeting Flogging Molly and joining the band on the Irish Punk band’s music cruise through the Bahamas as well their 2017 tour alongside The White Buffalo. Lush strings and heavy drumbeats lap at the thick bass rhythm that flows underneath “At Sea” as 'All Manner of Ways' moodily points a finger in “Blind is Blind”, sinking deeper into somber confessions for “Ruined” as Dylan Walshe twirls strings and beats around “Death Dance”.