First Published September 2023
A NEW LATE LATE TAKE ON COUNTRY MUSIC?
So here we are again, on the verge of another brand new season of RTE’s flagship vehicle, THE LATE LATE SHOW. But this time, things are a little bit different to how they’ve been for the last decade plus of autumns. Because this time, the new season also marks the beginning of a new era as PATRICK KIELTY takes over hosting duties from the show’s third presenter, Ryan Tubridy.
For so long (too long, in my opinion) the ‘golden boy’ of the national broadcaster, Tubridy has been an embattled character of recent times. And that’s something few – let alone himself, I’m sure – could have foreseen as he bid his typically saccharine and schmooze-filled farewell back in May.
One question that’s sure to be on the minds of all country music fans right now, is what next – if, indeed, anything – for The Late Late Country Specials? Is a new take on these shows possible? That eventuality would certainly be welcome. Or, have we perhaps seen the last of those regular get-togethers for a very small section of the Irish country music scene? Truth be told, should that prove to be the case, the loss should not be considered too great.
If Kielty decides to retain a night dedicated to Irish country music, then all many of us would ask is that it be fair. If it’s going to claim to be any kind of celebration of Irish country music, then it should also reflect the fact that the Irish country music scene is about more than just a handful of artists. If it’s literally just going to remain as an annual reunion of sorts for the same faces all the time, then at the very least do away with any suggestion or pretension that it’s otherwise.
On his way out, Tubridy found time to welcome one last gathering of Irish country music stars to Donnybrook last March for a night that had come to be referenced almost as often as the infamous Toy Show itself, The Late Late Country Special. Although, in truth, calling these country get-togethers ‘special’ always required a huge stretch of the imagination. And keep in mind, I say that as someone who has spent years working within that very genre, not as a disinterested outside observer. So, I’d actually have every reason to want to see those shows be successful. But – and here’s the rub on this – successful for the genre as an entire entity in as much as an aim like that is in any way possible, not merely for the same small number of artists who were continuously invited back to be part of these shows. Hardly an unreasonable hope or expectation, surely?
Unfortunately, that’s exactly what it proved to be, not that this was any great surprise. The Late Late Show itself, especially in the last few years, but especially where the Country Specials were concerned, always took the easy, most cliched route possible. And its last incarnation under the watch of Ryan Tubridy was no exception. I wanted to write about it at the time, and actually had every intention of doing so, but as someone who is, and has always been, a huge country music fan as well as working in that sector of the music business, the whole event proved numbing for the soul.
But anyway, as we prepare for the reign of King Kielty to begin, let’s take one last look back at what became one of the touchstones of Tubridy’s era.
In the teaser for the final Country Special, Tubridy remarked that the show would bring together, “…all the country stars…”. But, it wouldn’t, of course. It would merely bring back together – again – all of the country stars that the Late Late Show like to bring together whenever they need them. Once the show began, he declared that they would be, “…celebrating the best of Irish country music…”. But again, this wasn’t true. It couldn’t be when the show would be composed, for the most part, only of artists who have been part of every other Country Special in one way or another.
You might be thinking, but where’s the harm in any of this? Well, I’ll tell you a couple of ways. Firstly, The Late Late Show doesn’t know even half enough about what’s happening in the Irish country music scene to be deciding who ‘all’ the stars of the genre are, and what ‘the best’ of Irish country music is. It never has. It probably never will. But yet, on all of these Specials, they were allowed to make these claims as if they had some authoritative knowledge to do so. All they did, repeatedly, was offer a huge platform to the same small number of artists, who, it has to be assumed, were never interested in questioning anything as long as they were included. That’s also a truth that can’t be ignored.
Secondly, for viewers who might know little or nothing about Irish country music, seeing the same faces singing almost the same songs (and just covers more often than not), and telling almost the same stories every single year, well, that’s hardly likely to create new fans, is it? It just makes the genre seem as if it has no depth at all, no new talent breaking through, either young or old, without anything original to contribute in a creative sense. So why then, would anyone who wasn’t already a fan be in any way tempted to take country music seriously? Why, indeed.
And moreover, can you imagine any other genre of music being treated in this way? Or artists in any other genre going along with such an idea? It wouldn’t happen.
You can usually get a good idea of what any big show, be it an awards night or anything of that nature, is going to be like by how the night gets underway. With these Late Late Show Country Specials, it was usually best for all hope to die early because then you could just get used to the fact that yet again, the wreckage of another wasted opportunity would become all that burned your eyes.
And so it was that the last ever Country Special with Tubridy at the helm began with… a cover of Footloose. First released in January of 1984, Footloose is a rock song from the film of the same name. And a class song it is, too, as is the film. But look, it’s not country. And if, out of all the brilliant country songs that there are in the world, a so-called Country Music special could not find one to open a show with… well, what does that suggest about the level of imagination that went into planning things?
That opening segment featured Nathan Carter, Derek Ryan, Claudia Buckley, Cliona Hagan, Olivia Douglas, Daniel O’ Donnell, and Johnny Brady. Is it really possible that none of these artists – or anyone involved in their management teams – might have pointed out that an actual country song would have been a far better way to go? Or that they could have come up with some options in that regard?
From there, it was time for Tubridy to have a sit-down chat with Daniel, Philomena, Nathan, and Cliona. Every one of those artists – every single one of them – has been featured in sit-down chats on previous Country Specials too. So no matter what way you look at it, there was never going to be much up for discussion that was new. In fact, Nathan spoke about his video for The Morning After, which featured Philomena. That song was the title track of Nathan’s album that was released in December 2022, and Nathan actually performed the song on The Late Late Show only weeks before the Country Special, on March 3rd! Cliona spoke again about her Dolly Songbook album, the same album she spoke about and performed songs from on The Late Late Show in February of 2022! Over a year earlier, yet talking about the exact same album!
I very much doubt that opportunity would be extended to an artist in any other genre, or to an artist who wasn’t as regular a guest on The Late Late Show as Cliona.
On then to the announcement that An Post was to issue a set of celebratory country music stamps, featuring Daniel, Philomena, Nathan, Cliona, and the late Big Tom. Now fair enough, An Post is its own organisation, so it can make its own decisions. But country music is a world of its own, so I’d be surprised if An Post didn’t seek advice from somewhere about who to honour in this way. The first thing that struck me, and I’m sure I wasn’t alone in this, was that all five artists were from the same small area of the island. Daniel is from Donegal, Philomena is from Tyrone, Nathan lives in Fermanagh, Cliona was born and raised on the Derry and Tyrone border, while Big Tom hailed from Monaghan. But country music in Ireland is not restricted to one part of the island. Larry Cunninham was from Longford, as are Mick Flavin and Declan Nerney. John Hogan is from Offaly. Louise Morrissey is from Tipperary. Trudi Lalor is from Laois. Lisa Stanley is from Sligo.
It’s understandable enough that Daniel and Philomena were included, and nothing more needs to be said about them. Same with Big Tom. Nathan’s inclusion, as the first Irish country artist ever to play the 3Arena, and given that his success extends to the UK and the US too, is also understandable. Nobody can blame Cliona for being one of the featured artists, because – in fairness – she didn’t pick herself for this, after all! But why Cliona above, say… Sandy Kelly, from Sligo? Sandy recorded with the legendary Johnny Cash, let’s not forget. Or above the late Maisie McDaniel, mother of Lisa Stanley? Masie, born in London but with her roots in Sligo, so inspired Bing Crosby that after hearing her rendition of the song Christmas Candles he went and recorded it for an album of his own.
I’d be very interested to know more about how that whole decision-making process played out. Was Cliona chosen as a young female artist? If that was the case, then surely Lisa McHugh should have been a strong contender too, having been on the scene longer, having established herself as a singer/songwriter who has released some brilliant original material, and who has had noteworthy cross0ver success, even performing at Electric Picnic in recent years, the first country act to do so.
The next performance was Daniel, Philomena, Nathan and Cliona singing Big Tom’s signature hit, Going Out The Same Way You Came In. This song, as great as it is, was also part of a Big Tom medley on a Country Special back in 2018. Surely, if only for the sake of not always doing the obvious, a different song could have been sung to remember the man from Oram?
Next up was something that was typical of these Country Specials, a moment of nonsense. Tubridy picked out a young fan who was to be the evening’s “unexpected country star…” (an idea lifted straight from British comedian Michael McIntyre’s Big Show), proclaiming, “We think you’ve got what it takes…”.
Again, one of the biggest problems with The Late Late Show when it’s come to country music is that they consistently fail to acknowledge new or young artists who are actually out there gigging, out there recording, and trying their damn hardest to gain a foothold in one of the toughest professions (in terms of what it actual takes to be be successful) out there. But yet, they – The Late Late Show! – were going to pick out a ‘random’ fan in the audience and give them a chance to perform. Because they thought she, “…had what it takes…”. Joke. Put yourself in the shoes of an artist sitting watching that at home, seldom – if ever! – even getting a reply from The Late Late Show after sending submissions their way. But anyway, as it turned out, we never actually got to hear this young fan sing, so the whole segment was utterly pointless. And, actually, unfair on that young fan as well.
When I first heard the whisper that a group of female artists were going to perform a cover of Flowers by Miley Cyrus, I assumed it had to be a mistake. Don’t get me wrong, I love Miley Cyrus, she’s an incredible artist and easily has one of the best voices on the planet, in any genre. No question about it. And Flowers is a great song too. But, like Footloose, it’s not a country song. So why bother covering it?
But an even more important point is why, if any group of female artists were to perform together, would it not be a song by Loretta Lynn, or maybe The Judds? Lynn, one of the most influential female country artists of all-time, passed away in October of 2022. And Naomi Judd only passed away in April of 2022. And yet, we had Chantelle Padden, Clodagh Lawlor, Niamh Lynn, and Claudia Buckley (who, remember, also featured in the show’s opening number, so surely this was a chance for a different artist to take part), singing Flowers by Miley Cyrus???
So again, who makes these choices? How could it not strike someone – SOMEONE! – that maybe a country song would add more to the show?
Interestingly, or maybe strangely, Chantelle Padden had moved to Australia the previous September, I believe. So she wasn’t even living in Ireland at the time. And I don’t think she had, or has, much, if any, of her music available on any streaming platforms. So how would an artist who wasn’t even living in the country, and therefore couldn’t possibly be gigging in the country, and who didn’t have much of a recorded output available, be even on a list of who to consider for a show purporting to ‘celebrate’ Irish country music? All the more puzzling considering the number of artists IN the country, who were and are gigging, and who HAVE numerous singles recorded, released, and available to request on radio or stream.
Again, no more than with Cliona and the stamp situation, you can’t blame Chantelle for saying yes when she was asked to appear on the show. Not at all. The real question here is who even thought to ask her, and why? And then, how many other people thought, yeah, great idea.
To be clear, Chantelle is a HUGE talent, and a really lovely person, too. But she’s also back living in Australia as well. So her spot on that show could easily have been filled by an artist whose career here in Ireland could have, and would have, benefitted from that platform.
Chantelle appeared on The Voice UK in 2021. Is that enough to earn someone a slot on a Late Late Show Country Special?
Cailin Joe, who performed Glen Campbell’s Rhinestone Cowboy, was previously a guest on the Toy Show. Is that also enough to earn someone a slot on a Country Special? Really?
A little while later, Trudi Lalor, Derek Ryan, Olivia Douglas, and Johnny Brady sat down to share some of the songs that have inspired them. In short, and with the exception of Derek who performed his hit, Hold On To Your Hat, this just meant more covers. One running theme of all Late Late Show Country Specials has been their almost complete lack of coverage for Irish songwriters. And it’s not like we don’t have them, and good ones at that, because we do. So here’s another example of where, for the life of me, I can’t understand why some of the artists or their management teams didn’t step in and point out that this section of the show could actually, and easily, be better used to really showcase Irish country music. Trudi, who is married to Billy Morrissey – an amazing songwriter – sang Let Your Love Flow by the Bellamy Brothers. Johnny Brady, himself a man who knows what he’s doing when it comes to crafting a song, sang Callin’ Baton Rouge by Garth Brooks. Olivia Douglas sang The Wild Rover.
Imagine how much more impactful it would have been if Trudi had performed a song of Billys. Or Johnny one of his own. Then you would have had a section worth paying attention to.
Ryan Tubridy referred to Olivia Douglas as being, “…new to the likes of us…”, a comment which, to be frank, is completely false. The Late Late Show was made aware of Olivia’s talent many years ago, as far back as 2018. And I should know, because I was personally in touch with them on several occasions. So they’ve long known about her alright. And if, at any stage in the years between 2018 and now, they actually cared about the country scene in general, and not – as I keep pointing out – just the same small number of artists time after time, Olivia would have performed on the show in her own right, singing one of her own hits. Her songs, Leaving Tipperary, and A Hug Or Two, and I’m Off To Lisdoonvarna In The Morning, as just three examples, have had radio impacts in the millions and combined radio plays that go into five-figures since their release. A performance of any of those songs would have been a far better and more powerful choice on the night, and any of them would have deserved a place in the evening’s entertainment.
Ah, but easy choices, you see, the hallmark of every Country Special.
Also on this year’s Country Special, Margo was inducted into the Irish Country Music Hall of Fame. I’ve had the pleasure of meeting Margo on several occasions, and I always thoroughly enjoy time spent in her company. She’s one of the most genuine and caring souls you’ll ever encounter. She deserves, and more importantly, has earned, every single honour or moment of recognition that comes her way.
But here’s the funny thing about the Irish Country Music Hall of Fame: nobody that I’ve ever met in the industry knows anything about it. Nobody. Nothing. I’ve asked The Late Late Show too, but unsurprisingly, have yet to receive any reply. But I mean, there must be SOMEBODY involved in it, right? Somebody, somewhere must be making the decisions about who receives an induction? About who is considered? There must be a process of some kind? Someone has to order the trophy? Someone has to tell someone else what name to put on it? Again, a little clarity and transparency on something like that is hardly a big ask. And the fact that now, with four inductees, it’s actually impossible to find any clear information anywhere about this Irish Country Music Hall of Fame, well, that’s hardly a good look for the genre or the industry as a whole, now is it.
It seems to be an RTE creation, given that the trophy presented to each inductee is in the same style as the one handed to winners of the ill-fated 2016 Irish Country Music Awards. Held in association with the Irish Farmers’ Journal, I refer to this event as ill-fated because even though it was described at the time as being the inaugural ceremony, there hasn’t been another one since. However, the build-up to that 2016 occasion featured a quote from Shannonside radio presenter Joe Finnegan, with the online article published by the Irish Daily Mirror referring to him as a “committee spokesperson” for the Irish Country Music Association (I.C.M.A.). That’s the only time I can ever recall seeing somebody’s name actually linked to the I.C.M.A.
A review of that night published by The Irish Times stated that the Awards were “organised in partnership with the Irish Country Music Association”. But it’s the same story with the Irish Country Music Association as it is with the Irish Country Music Hall of Fame: it’s impossible to find out anything about it, or to find anyone who knows anything about it.
Again, Margo – as with the other inductees – fully deserves such an honour and that level of recognition for her career. But I’d argue that they also very much deserve such an accolade to come their way from bodies that are at least easily identifiable to everyone. It’s strange enough that so many connected to the country music industry in Ireland have basically no idea who or what the I.C.M.A. or the Country Music Hall of Fame are, but remember, the other side of that is that people outside of the industry – people who are potential fans, potential supporters – have zero chance of finding out the answer to such questions.
Margo’s induction offered the chance for some of her colleagues in the industry to share their stories about her influence on both them and Irish country music in a more general sense. So here, you would imagine, was a perfect opportunity to bring some new faces and voices into the occasion. But where did the show go instead? Back again to Philomeana and Cliona, and to TR Dallas, who has also featured on these shows a number of times in the past.
Again, easy choices.
The show concluded, as it always has, with a group song. This time Margo was joined by the other artists who had performed on the night to sing Dolly Parton’s Coat Of Many Colours. One last chance for an Irish songwriter to have their talent recognised, gone. And as with previous Country Specials, the grand-finale sing-song had the rather sorry looking spectacle of some artists who had played no other part in the show suddenly appearing from behind the scenes to take part. Why, as an artist, would someone settle for that? Simply to say they were ‘on’ or ‘part of’ the show? And why, given that those other artists were obviously in the building, were they not included in the night’s events in some way, while at the same time some others were included in more than one segment?
At this stage, as the clock ticks down to the beginning of Patrick Kielty’s time upon the throne as The Late Late Show’s head-honcho, the only question that matters is can this new incarnation of the show also offer a new take on Irish country music?
The only answer we can be sure of is that it couldn’t be worse than Ryan Tubridy’s always was.
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