|
|
|
| |
|
|
Billy Teare and Kathleen O'Sullivan at the 'Around the Fire' storytelling festival, Hammersmith Irish Cultural Centre, October 2008.
Clip 1 is of 'The Stuttering Lovers'. Clip 2 is their own arrangement of W B Yeats ' The Stolen Child'. Kathleen has based the air of her refrain on Kitty Gallagher's 'Keening Song'.
|
Kathleen O‘Sullivan - The Songster:
In performance Kathleen offers an insight into her London/Irish cultural duality. Speaking with a pronounced East End accent, it sometimes comes as a surprise to audiences to hear how precisely she replicates the Irish templates, both spoken and sung, that have shaped her psyche and fortunes.
Recognised as a fine exponent of traditional Irish singing, she is also a witty, sometimes surreal wordsmith.
She has served as an MC and was the host for recitals of music by Celtic Women, held in Greenwich. She has had some of her poetry published in an anthology, along with other Irish women living in London, called ‘Fresher than Green, Brighter than Orange’, and more recently in ’Irish Lifelines’ (2008).
Kathleen’s first love though, is singing. By far her most residing childhood impression is of listening to the songs of her mother, Laois woman, Norah O‘Sullivan (nee Coss)..
Although Kathleen’s tuition was informal, she was immersed. What she sings and the way she sings it are entrenched. On stage, her physical default position for a rendition of a song is one of introversion. It is ALL about the song. She is ever mindful that although she was encouraged to sing for friends and family, her mother would have chastised her soundly if she veered into the realms of showing off.
Kathleen’s ability to listen and appreciate the content, tone and feel of a song or story was also sharpened and influenced by her father, Chris, a Gaelic speaker from Glengarriff, a remote spot up the Kenmare mountains. She recalls that the stories he told her as a child were an intoxicating mix: some were comical and absurd, others were ancient classics. Researching the themes of classicism in some of the songs she sings led her to realise that her dad’s referencing might have been as a result of the rural hedge schoolmaster type of education he had received.
Adhering to this authentic focus, her well received solo album ‘Born on St Patrick’s day’ (2002) was recorded by her fireside, at her home, by her good friend and musician Simon Wroe. (He plays guitar on the only accompanied track). Two separate reviewers noted her “discerning ear and sharp eye for subtle lyrical ballads“ (fRoots) and her “great ear for material and the ability to communicate the highs and lows of the human experience through song. “ (Pay the Reckoning).
Her voice and humour on stage also received acclaim as the vocalist with ’The London Lasses and Pete Quinn’. She appeared, toured and recorded with them for seven years before returning to her unaccompanied roots.
Billy Teare and Kathleen O'Sullivan have rapidly gained a formidable international reputation as a story and song combination. Representing the finest aspects of the verbal arts, their work is an entertaining cultural treasure trove of stories, songs, poetry and music for all.
For audio streams please go to 'CD' page.
Reviewers of Kathleen’s work have said:
John O'Regan. fROOTS. Review of Born on St Patrick's Day
“Growing up in a family soaked in music and song it was inevitable something would rub off and O'Sullivan's involvement in the London Irish community has stood her in good stead. Learning songs from Dolores Keane, Kevin Mitchell and Roisin White, among others, she displays a discerning ear and sharp eye for subtle lyrical ballads. Her clear sweet voice sails effortlessly through The Maid from Maraclune and My Generous Lover. Guitarist Simon Wroe provides the sole accompaniment on The Broom of Cowdenewes . A fine debut effort and Kathleen O'Sullivan's name is one worth remembering “
Vic Smith. Sussex Folk Diary. Review of Born of St Patrick's Day.
An unaccompanied album of quite outstanding quality. . . Clearly a major talent.
Gwen Orel: Jig Time. New York
After charming us with her humour she sang the haunting ballad “The Red-Haired Man’s Wife.” Her pure voice, with Irish ornamentation, is angelic and substantive, recalling Capercaillie’s Karen Matheson
Aidan Crossey: Pay the reckoning
"O'Sullivan is a real treasure. A distinctive, characterful voice; a great ear for material and the ability to communicate the highs and lows of the human experience through song."
|
button above to stop or play the video.