A look at the scene built on the music of Ireland and beyond
One in five of all New Hampshire residents have Irish heritage, more than in any other state. Fittingly, there’s a robust Celtic music scene here. Irish Sessiuns — circles of players calling tunes, quaffing pints and finding a melodic flow — gather together regularly at pubs in Concord, Manchester, Greenland and elsewhere.
As St. Patrick’s Day nears, Irish songs are everywhere. Irish music has the highest profile of the Celtic Nations — Ireland, Scotland, Wales, Isle of Man, and Cornwall, in the southwest corner of England, as well as Brittany in northwest France and Galicia in northwest Spain.
The Granite State is home to many great Celtic musicians, and March 17 is their busiest day of the year. But the music is for every season. Regina Delaney, creator and leader of the New England Irish Harp Orchestra, pointed out that her ensemble gets especially busy on the last day of October.
“All the origins of everything that we do at Halloween are from Pagan Celtic rituals,” Delaney said recently from her home in Rochester. “We have so many great ghost songs and stories and things like that. So we do a bunch of Halloween shows.”
New Hampshire will prove its Irish bona fides with long St. Patrick’s Day queues soon enough, but it’s worth thinking of ways to keep the spirit going after.
Some leading purveyors shared their thoughts on Celtic music in New Hampshire. As befits a genre with a catalog of songs dating back hundreds of years, all the musicians made sure to mention the many performers who’d come before them and helped to light their paths.
One name that came up frequently was David Surette, who taught at Concord Community Music School for 30 years, spearheading the development of the folk program there. Surette succumbed to cancer in 2021. He was a gifted arranger of Celtic tunes, as demonstrated on albums like Back Roads and Trip to Kemper.
When Audrey Budington was 9 and taking violin lessons, Surette changed her musical path from classical to Celtic.
“I heard some different music that I’d never heard before coming from two studios down,” she said by Zoom recently. “I didn’t know at the time, but it was Celtic. I kind of peeked in and it was David Surette.”
Surette wasn’t a fiddler, but that didn’t deter her. “I was so enamored of the music that my mom contacted him and was like, ‘Hey, I know you don’t teach fiddle, but could you please at least give her an understanding of that style of music? She’s really into it.’ He started working with me. I learned a bunch of tunes.”
Budington teaches violin and fiddle at CCMS, as does folk department chair Liz Faiella. Liz performs in a duo with her brother Dan, also a teacher and guitarist specializing in Celtic music. “When I was in my early teens I studied a lot of that music with David Surette at the music school,” Dan said in a Zoom meeting with Liz.
Dan pointed out other Celtic greats who lived here.
“Tommy Makem was in New Hampshire for a bunch of years, and Winifred Horan from Solas [at Portsmouth’s Music Hall on March 12],” he said. “There are a lot of really cool people who wanted a lower-key environment, and they wound up in New Hampshire.”
Another musician mentioned by many was Paddy Keenan, who spent several years here before moving back to Ireland.
“He’s probably the most well-known Irish piper in the world; he lived in Loudon,” Jim Prendergast, a guitarist and Celtic music producer who hosts Irish Matinee on Sundays at Stone Church, said recently.
Uilleann piper Anthony Santoro, who leads the weekly sessiun at Salt hill Pub in Lebanon, remembers Keenan performing at the home of Charlie Clarke and his wife, Mary Lou Philbin-Clarke, who sold Irish music books, CDs, videos and cassettes at their Loudon store, Ossian USA.
“They were called the Loft Concerts,” Santoro said by phone. “Whoever was touring through the area would stay with them, and anybody in New Hampshire, or anywhere willing to travel that distance, could come and see whoever was there. There were great players, and Paddy was one of them.”
Santoro is now a partner in Ossian USA with Ruarri Serpa, who took over and runs the now web-based store from his home in Kennebunkport, Maine, but has Granite State roots. “I’ve been playing Irish Traditional Music since I was a kid in rural New Hampshire,” Serpa writes on Ossian’s website.
The thread continues with Roger Burridge, who was a fixture at Salt hill and led a sessiun at Manchester’s Shaskeen Pub before he passed away during Covid. Burridge was beloved throughout the state. “One of the finest fiddle players anywhere, not just New England,” Salt hill owner Josh Tuohy said in 2023.
Liz Faiella was studying at Dartmouth, with no plans for a music career, when she joined Burridge, Santoro and players like Roger Kahle and Randy Miller at Salt hill. “I just learned so much through that experience,” she recalled. “The sessiun scene is very often where you’re going to learn the most as an Irish musician.”
Any short list of New Hampshire’s top Celtic players includes Jordan Tirrell-Wysocki. The fiddler was making his mark here before he was a teenager. Liz Faiella calls him an inspiration. “There was this wonderful fiddle contest at Eagle Square in Concord, and Jordan was the big kid who was always winning,” she recalled.
“I began when I was 8, and by the time I was 10 or 11 I was calling myself an Irish or Celtic fiddler,” Tirrell-Wysocki, who’s also a CCMS faculty member, said in a recent Zoom call. “Of all the New England-style dance music that I was learning, it was the Celtic tunes in particular that I was most interested in.”
Jordan T-W, as he’s known, has played in jam bands and lent his fiddle sound to a range of studio recordings, including the blistering “Devil Went Down to Boston” with Adam Ezra Band a few years back. On St. Patrick’s Day his trio performs at Salt hill Pub in Newport in the morning and does an evening showcase at BNH Stage.
His view of the Celtic music world reaches across the pond to include Nova Scotia and fiddlers like Buddy & Natalie MacMaster and Ashley MacIsaac. “Those are technically the traditions,” he said. “It was heavily influenced by Scottish settlers, so that’s why there’s a lot of shared tunes and shared style.”
Mike Green leads Rebel Collective, a rock-leaning Celtic band in the vein of Dropkick Murphys or the Pogues that includes Audrey Budington on fiddle. His definition of the music is more spiritual.
“To me, it’s the songs and the stories of our people,” Green said, along with their struggles.
“The history books are written by the victors, but the songs, music and the arts are written by the suppressed and oppressed,” he continued. “Often when people were singing these songs to tell their truth and freedoms, the musicians, the harpers, and the bards were killed as an effective way to shut it down.”
An oral tradition kept these songs from vanishing.
“They weren’t written down,” he said. “We keep them alive and bring them to new audiences and new listeners. We get to play our role in the continuum of these stories of our people. For me, it has that deep connection to it, and that’s why I just love doing it.”
For Rebel Collective — Green, cofounder Brian Waldron, Ross Ketchum, Connor Veazey, Wayne Summerford and Budington — March 17 lasts all month. Their Rebel Call Stumble includes St. Patrick’s Day appearances at all three Salt hill Pubs, a stop at Manchester’s Shaskeen and a showcase at BNH Stage on March 20.
As they’ve done many times before, the band will play in the first pint at Salt hill Lebanon, and they’ll close out Shaskeen Pub’s annual bash. That gig grew out of a show by Derek Warfield and the Young Wolfe Tones in 2015 at the storied Manchester bar, which was co-founded by a member of the Chieftains.
Green cites Warfield as his biggest influence. When he learned of the show he cold-called Shaskeen owner Josh Ames to offer his band’s services.
“If you need an opener for Derek Warfield, it would be an honor of my life, we’ll do it for free,” he told him. “We took a chance, and we started playing there at least once a year.”
On the other hand, JD & the Stonemasons, a band that will share the stage with Rebel Collective in Concord on March 20, was born by taking a risk. The Newport trio went to check out their local pub, and brought their instruments, just in case — on a Friday night.
“We kind of knew what that meant,” the band’s flute, whistle, banjo and guitar player David Counts said in an interview that included JD Nadeau, who plays fiddle, mandolin and bass. “What are the odds they’re going to actually let a bunch of random people start playing on a Friday night? But to give them credit, they said yes.”
Pub owner Joe Tuohy was impressed enough to bring them back for an encore, and the group, which includes James Potvin on bodhran, harmonica player David Gainer and Hendrik Mahling on bouzouki and mandolin, is now a St. Patrick’s regular at Salt hill, playing all three pubs on the big day.
They’re careful to keep the three-bar circuit from becoming, in Nadeau’s words, the Salt hill Death March. “We’ve been relatively good about behaving ourselves with a drink; that’s the dragon in the cave,” he said. “You’ve definitely got to pace yourself, particularly if you’re going to play a late gig too.”
When it comes to sessiuns, almost everyone has a favorite. For Nadeau and Counts, it’s Waterhorse Tavern in Franklin.
“It’s a great way to learn new songs, and it’s a challenge, too,” Nadeau said. “You meet someone that’s really good and you’re like, ‘Oh, man, I want to play. I’ve got to pick up my guitar.’”
The Faiella siblings and Budington are part of an unofficial house band at Epsom microbrewery Blasty Bough, a tiny pub with a living room vibe. There’s also Pete Van Berkum on button concertina, bodhran player Chris Murphy, Charles Siletti on Irish flute and bouzouki player Anders Larson, who was taught by Dan Faiella.
Larson was playing folk music with his dad and brother when he enrolled at CCMS.
“From there, a few of my teachers introduced me to Irish music,” he said in a phone call the day after the Blasty Bough sessiun. Along with bouzouki, he plays concertina and guitar. “My newest addition is bass; that’s all another music world.”
Weekly Shaskeen sessiuns at age 12 were seminal for him.
“Chris Stevens, an accordion player up in Maine, would drive down,” he said. “One or two times, his buddy Owen Marshall would come down as well. Those two, along with Alden Robinson, were a band called The Press Gang. They are by far my biggest influence.”
Delaney travels to Somerville for sessiuns at the Burren and McCarthy’s, but also occasionally hits the Barley Pub in Concord’s Tuesday get-together, one of the longest-running in the state. “That was the second sessiun that I spent a lot of time at,” she said. “My first band that I was with, we all met there.”
Green hosts Sea Shanty Singalongs twice a month at Canterbury AleWorks and at the Forum Pub in Concord in the afternoon on the final Saturday of every month. Although Green allows the genre isn’t strictly Celtic, it’s an excuse to gather, and many of the selections come from the Irish canon.
“I actually added a song that’s sung in Irish, about the pirate queen, Grace O’Malley,” Green said, noting that he’s mainly focused on sharing these centuries-old songs. “The oldest one we do is from the 1600s … some crazy old sailor happened to live long enough to have it documented and pass it on down.”
Interestingly, a guitar is in many ways a secondary instrument in Celtic music. A good guitarist must know when to pick a lane and merge into the music at a sessiun.
“It’s a completely different approach to playing guitar than any other kind of music,” Jim Prendergast said. “That’s a really big deal.”
Even for a guy like Prendergast who spent years as a go-to guitarist in Nashville studios because he was such a flexible player, adjustment was hard. He had to completely re-learn his instrument for the special tunings and modal structures of Irish music, which is not made for a guitar strumming along.
“It doesn’t need any kind of chordal accompaniment from a piano or a guitar; you’re there to shine different kinds of light on the melody … almost like a theatrical role,” he said. However, “It’s really fun to have the kind of freedom it allows…. You can choose to play a lot, a few, or no chords.”
Almost all the musicians sharing their thoughts have Irish blood, from a little to a lot. Larson is the exception; he’s primarily German and Norwegian. However, all agree that Celtic lineage isn’t required to play the music from the Seven Nations (or six, or eight, or maybe even nine, the number is often disputed).
Jordan Tirrell-Wysocki believes it’s less about heritage and more about personality and attitude.
“Make yourself aware of why this music exists, what historical circumstances helped create it, and where all the powerful emotions … are coming from,” he said. “You become a much more authentic [and] effective performer of the music if you’re taking the time to connect to [its] historical time and place.”
Green sees an advantage in his bloodline.
“It can help draw you in, and you can learn a little bit more about your history and your ancestry and feel a deeper connection,” he said. “But anybody with a background of people that have been oppressed, or had to deal with that, can automatically tap into this kind of feeling.”
Celtic music is universal, Dan Faiella noted, and can be found in all sorts of unlikely locales.
“Italy, Japan, some places in Germany … Russia has some Irish music fans and people play there. I’ve heard from people who tour in those areas that they’ll go to a session and there’s all these people who’ve maybe never been to Ireland and have spent a lot of time studying the music, and the sessions are amazing.”
Finally, Liz Faiella encouraged even newcomers to consider attending a sessiun.
“Even if you’ve learned three tunes, you can join in and play along,” she said. “People who’ve been playing for years will enjoy the same songs that they learned right at the outset. It’s a great way to do something creative and also connect with other people through that.”
Attend an Irish sessiun
Salt hill Pub
2 W. Park St., Lebanon, 448-4532
Tuesdays at 6 p.m.
Waterhorse Irish Pub
361 Central St., Franklin, 671-7118
Fridays at 7 p.m.
Shaskeen Pub
909 Elm St., Manchester, 625-0246
Saturdays at 3 p.m.
The Barley House
132 N. Main St., Concord, 228-6363
Tuesdays at 6 p.m.
Blasty Bough Brewing Co.
3 Griffin Road, Epsom, 738-4717
Thursdays at 6 p.m.
Canterbury Aleworks
305 Baptist Hill Road, Canterbury, canterburyaleworks.com
Second Thursdays at 7 p.m. (Shanty Singalong)
Parish Hall at Community Congregational Church
4 Church Lane, Greenland, 436-8336
Fridays at 4 p.m.
Forum Pub
15 Village St., Concord, 565-3100
Last Saturday of the month at 4 p.m.(Shanty Singalong)
