Return to London Town Festival, October 2022: Alex Monaghan braved the weather and wildness of North London for a weekend of world class Irish music and dance.
The Crown Hotel in Cricklewood was once again the hub for this hugely successful annual festival, in its 24th year under the stewardship of London Irish fiddler Karen Ryan. Relocated from its original home in Camden, the festival fits well with the vibrant atmosphere of Cricklewood High Street. Mayor of Barnet Alison Moore, and Deputy Mayor of Camden Nazma Rahman, added their own colourful costumes to the opening event on Friday: unusually for dignitaries at official openings, they insisted on staying to the bitter end because they were thoroughly enjoying the music. Other audience members were mainly from the local Irish community, dressed in everything from haute couture to hurling jerseys, with all ages and inclinations represented.
The concerts were magnificent this year, but that's only the tip of the iceberg. Return to London Town is about the whole experience, a shared celebration, commemorating and indeed continuing the historic links between London and Ireland with sessions, ceilis, set dances, music and dance workshops, children's events, and outreach to the whole London Irish community. Many people had come over from Ireland just for a weekend of music and chat, and there were faces from pretty much everywhere across Great Britain too, as well as visitors from the wider Irish diaspora. Sessions were packed, workshops were sold out, and concerts were almost full every day. The hotel was buzzing, from late breakfast to early morning, and I didn't hear a cross word all weekend.
The list of 2022 performers is long, so I'll stick to the concert highlights. Friday night featured Sliabh Luachra legends Jackie Daly and Matt Cranitch playing grand old tunes, ably supported by Sorcha Costello and Elaine Reilly representing the younger generation on fiddle and banjo, with Bróna McVittie providing a box of home-baked and handed-down songs. Saturday afternoon saw the appearance of more young stars: Diarmuid Ó Meachair, James Carty and Jonas Fromseier focusing on Irish music from 1920s New York, Tommy Fitzharris and Dónal McCague concentrating on a traditional repertoire of tunes currently popular in Ireland including some of their own compositions on flute and fiddle, plus a group of some twenty female musicians from the London Irish community playing pieces written by women over the past hundred years or so. Going by the name In Good Company, this group spans several generations and is another of the redoutable Karen Ryan's projects: it draws on over eighty members for performances.
Saturday night's openers could have been the headline act for many festivals: Liz and Yvonne Kane raised the roof with their on-stage antics, quite apart from their superb fiddle duets accompanied by the ubiquitous John Blake. Their heartfelt renditions of Paddy Fahey reels, Paddy Fahey jigs, and more Paddy Fahey reels were a beautiful tribute to the man whose music typifies the East Galway fiddle tradition. A few tunes from Leitrim composer Joe Liddy, and several of their own compositions, provided a magical and memorable concert with the best of banter. Ottawa Valley stepdancer Nathan Pilatzke battered the boards in dramatic style, his tweed setting off the ladies' black leather outfits.
That was only the first of three acts. Máire Ní Chathasaigh and Chris Newman brought their harp and guitar on stage for a fabulous selection of music spanning almost 400 years of Irish tradition - everything from 17th century harp airs to 21st century guitar solos. Carolan and Connellan pieces, Scott Skinner reels, new compositions and old were given virtuoso arrangements with Máire and Chris taking turns at melody and accompaniment, a master class in modern Irish music. Then came the headline act, two Donegal musicians introduced by MC Andy Martyn as offering "the synergistic benefits" of their local style: Bríd Harper on fiddle and Dermot Byrne on button accordion, both hugely respected players, accompanied by Jim F Murray on guitar who provided discreet backing despite struggling with his nylons all evening. There was a fitting theme of precious metals - The Golden Keyboard, The Silver Spire, The Golden Eagle - as Bríd and Dermot treated us to a 24-carat set of traditional tunes in diamond-studded duets and solos. The concert wrapped up before the witching hour, but sessions continued through the night, taking full advantage of the clocks changing around 2am. Breakfast the following day bore witness to several younger musicians who had not managed to find their own bed before morning.
Sunday was largely given over to workshops and sessions, with an album launch concert featuring the Kane sisters again with a spot of Mr Pilatzke, Cork concertina master Paddy Egan, and outstanding young musician Diarmuid Ó Meachair on melodeon and button accordion. Festivities continued into Monday, it being Hallowe'en which is a holiday in Ireland. Although several performers had departed for greener pastures from Castleisland to Killybegs, there was strong representation from London icons Mick O'Connor and Mick Bailey as well as repeat performances by some of the visiting artists.
The Crown Hotel was recently taken over by new owners, but they were as committed and as accommodating to the festival as ever. The spaces for music, dance and socialising were excellent, food and accommodation was good value, and the standard of service was exemplary. The only criticism I have was that there was no black pudding available - it seems Brexit had struck it off the menu. Apart from that sad lack, the 2022 festival enjoyed a perfect venue which I hope will see it return in 2023.
Photo Credits:
(1) Return to London Town Festival
(unknown/website);
(2) Liz & Yvonne Kane,
(3) Diarmuid Ó Meachair,
(4) Tommy Fitzharris, Dónal McCague & John Blake,
(5) Matt Cranitch & Jackie Daly,
(6) Bríd Harper, Dermot Byrne & Jim Murray
(by Caitlín Mannion).
