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The full setlist was: George Strait – “You Wreck Me” Elle King – “American Girl” Taj Mahal” – “Hometown Blues” Norah Jones – “Time to Move On,” “You Don’t Know It Feels” Foo Fighters – “Honey Bee” Foo Fighters with Gary Clark Jr.
– “Breakdown” The Lumineers – “Walls” Cage the Elephant – “Mary Jane’s Last Dance” Jackson Browne – “The Waiting,” “Learning to Fly” Lucinda Williams – “Rebels,” “Southern Accents” Gary Clark Jr.
It’s clear from the first droning strains of opener Short Ballad for a Long Man, a lament for the skeleton of a 250 year old giant Irishman Charles Byrne displayed in The Hunterian Museum in London (“it’s free in and in its own quite strange way, recommended,” comments Seamus).
As he’s paraded for gawping audiences’ pleasure from “Canary Wharf to Skibereen, Timbuktu and back again”, he can’t help but sound like someone a travelling giant Irishman singer-songwriter might feel a certain empathy with.
Where the counties of Kerry and Seamus’s native Mayo were very much the setting for God Damn You Mountain – a backdrop so authentically rural Irish that one reviewer amusingly noted “you can almost smell the cowshit off it” – London firmly provides the canvas for The Curious Hand.
It’s there in the starkly heartbroken Seems Wherever, written from the perspective of the tube system and the deep well of the city’s troubled soul, and in the stoney-faced rush hour commuters in Van Gogh’s Ear, pouring onto train carriages “bound for Egham or Whimple or West Ham”.
”r was also nominated for Album of the Year.) When the Musi Cares event’s host, comic actor Ed Helms, introduced Henley’s “Free Fallin'” performance Friday, he described it as “one of the greatest songs all time.”" data-reactid="31"r was also nominated for Album of the Year.) When the Musi Cares event’s host, comic actor Ed Helms, introduced Henley’s “Free Fallin'” performance Friday, he described it as “one of the greatest songs all time.”Henley was just one of many all-stars who covered Petty’s songs at the gala overseen by musical director T Bone Burnett.
“He is as sweet as he is talented,” Nicks gushed to the crowd.
But The Curious Hand also reaches back to Seamus’s homeland and past in charmingly simple and direct ways.
A record made through open-spirited collaboration with friends and family and hours lost in a headphone world.
All that and Seamus’s natural inclination to take his songs and “screw them up,” as he puts it.
An auspicious introduction to his unique idiom, it gave acoustic guitar, banjo, fiddle and bouzouki new context among Steve Reich-like lo-fi electronic pulses and gurgles and all sorts of found-sound miscellanea from the breaking of eggs to snippets of random conversations (“an intriguingly uneasy handshake between the ancient and the modern” as I wrote of it at the time).
From there, also via Lost Map, followed what now represents a kind of bridge between Seamus’s two longplayers, the haunting Ducks and Drakes EP.
A.’s homeless population) and long history of defending artists’ rights; this year’s gala raised .5 million, setting a new record in the event’s 27-year history. They don’t ask for a lot of paperwork, and the money shows up.