Liadh Ní Riada Can Win Sinn Féin the Presidency

Sinn Féin can claim an astonishing double-result this autumn if they contest the Presidency. Firstly, they can strike another devastating blow to Fianna Fáil, who were too quick to row in behind a second term for President Higgins. But more importantly, by selecting Liadh Ní Riada as their candidate, Sinn Féin can make a profound statement of nationalism and Irish identity, the kind of which we haven’t heard in at least half-a-century.

Why Ní Riada? Because of who she is and what she represents.

Liadh Ní Riada is the daughter of Seán Ó Riada, the man who saved Irish music from doom in the early 1960s. We have made a bags of many, many things as an independent state among the nations of the world, but two things we have to show for ourselves are our games and our music.

Before Seán Ó Riada, people were ashamed of the music. It was strictly for hicks. What made the difference was the music’s embrace by Ó Riada, because Ó Riada came from the classical tradition. He knew the table settings, as it were.

Ó Riada recognised traditional music’s inherent dignity, and brought it to the concert hall. And people who had thought nothing of the music heard the orchestration of Róisín Dubh that Ó Riada did for Mise Éire and thought: hold on – is that us? To echo Gerard Manley Hopkins, the Irish Nation suddenly realised that this music, which they had considered a joke, poor potsherd, was actually immortal diamond and worthy of admiration all over the world.

Ó Riada founded Ceoltas Ceoltóirí Éireann, from whom came the Chieftains. The Clancys and the Dubliners were the beloved sons of the masses but without the Chieftains the music would have sunk back to obscurity. Instead, it lives, survives and thrives.

Seán Ó Riada himself cannot run for the presidency. He died young, in 1971, two months after his fortieth birthday. But Liadh Ní Riada, in coming where she’s from and in being who she is, can be the avatar of what Ó Riada believed in, an Ireland Gaelic, united and free.

Because what does the President do, really? The office is the vestigial tail of the Lord Lieutenancy. It’s either a retirement home or a springboard to a cushy job in the UN or the Vatican (although that’s not going so well lately).

Perhaps the most important role of the Presidency is in telling us who we are, in being an avatar for the nation. And what better avatar than someone who believes in the causes for which independence was won, at the cost of so much blood?

At a time when it’s so hard to say what it is that makes us different, why Ireland deserves nationhood, why, God spare us, the island should be united under one flag, would it be so bad to return to first principles?

Even if she were not to win, Liadh Ní Riada could do her party some service in landing another kick to the prone body of what was once the mightiest force in Irish politics, the Fianna Fáil party.
Fianna Fáil was once renowned for its profound political sense.

DeValera said he only had to look into his heart to know what the nation was thinking. But that political sense is entirely absent from the party now as it lurches from one disaster to another.

The confidence-and-supply agreement was a good move. But everybody knew it was, to echo a phrase of the past, “a temporary little arrangement”. There was no way it could be long-lasting, because there would come a threshold when such kudos available to Fianna Fáil for putting the country first by supporting a government would all have been gained.

After that, the pendulum swings in the other direction, and Fianna Fáil gets all the blame for being in government, and none of the benefit. Fianna Fáil were always going to pull the plug.

Except they didn’t. Opportunities arose one by one, and passed by one by one as Mícheál Martin steadfastly refused to take advantage. The revelations about the Gardaí making up traffic violation reports was the sort of dream chance that oppositions of other eras requested from Santa in their Christmas letters, and still Fianna Fáil held fire.

And now, it is they who have presented an open goal to Sinn Féin, in a misunderstanding of both the age and the current political situation.

Our is a populist age. It an age of clearing swamps, and giving voices back to the people. It is an age of distrust of the establishment and cosy deals among the members of same.

Not only have Fianna Fáil backed President Higgins for a second term, they have done so absolutely, positively, with no way to back down. With Fianna Fáil now backed into a corner - the last place any sensible politician wants to be -  Sinn Féin can now run a candidate that hits Fianna Fáil in both the head and the guts.

The head, by making Sinn Féin look like a party more interested in what the people think than what is convenient for the establishment. The guts, by fielding a candidate who will be a siren song to the traditional vote of the (once) Republican Party.

Can Ní Riada win? Reader, she can win on the first count. She doesn’t even need to say anything. All they need do is play this at her rallies and the Park is hers. Go n-éirí léi.

The Late Late: Guests from Aldi, 24 Carat Diamonds Left at Home

The galling thing about the Late Late Show’s booking policy isn’t just the pool of dodos from which guests are regularly harvested, painful though that pool is. It’s that the Late Late is remiss in its duty as the cultural flagship of the nation in bringing actual culture to the people, and churns out a lot of old gas from Frances Black, Eamon Holmes and Charles Bird instead.

An Spailpín was reminded of this when buying a CD recently. The CD featured Seán Ó Sé as a guest star of the Turloughmore Ceilí Band, which is a development that An Spailpín thinks worthy of a Late Late special all to itself. Bear with me for a few hundred words, and then decide if this isn’t of greater import to the nation than Ronan Keating or Mary Byrne.

Who is Seán Ó Sé?
Seán Ó Sé is a retired schoolteacher in Cork. But in his spare time he is one of the saviours of Irish traditional music. The economy is buggered, the language has been burning diesel for over a hundred years and survives from sheer spite alone, but one thing we did do right is that we saved the music.

The rising tide of the 1960s US folk scene helped in no small measure of course, t say nothing of the huge archive at the BBC offices in Shepherd’s Bush, but the indigenous impetus to save the music came from Seán Ó Riada and Ceoltóirí Chulann. Ó Riada showed that Irish traditional music was every bit as sophisticated as the great musics of Europe if arranged in a similar style and all of a sudden the nation realised that we didn’t have to hide fiddles under the bed like they were some sign of hopeless boggery. The music took her place among the musics of the world and hasn’t looked back.

Seán Ó Sé was the singer in Seán Ó Riada’s band. Why Ó Sé didn’t move on when Ceoltóirí mutated into the Chieftains after Ó Riada’s early death in 1970 I don’t know, but Ó Sé is still an unquestioned hero of Irish music and culture and should be treated as such even if he never cleared his throat to sing An Poc ar Buile again.

But he’s done even more than that. Recently retired from teaching, Ó Sé is using his retirement to push the boundaries of music even further, and the collaboration with the Turloughmore Ceilí Band is further evidence of that.

And Why’s That?
Because although he loved traditional music, Seán Ó Riada had very clear ideas of what traditional music is and what it isn’t. And Seán Ó Riada particularly despised ceilí bands. He hated them. He said they had “all the musical integrity of a bluebottle buzzing around in a jamjar.” It was a rotten and unfair to thing to say – not least for a man who played the harpsichord himself, hardly the prettiest of instruments.

Ceilí bands had their advocates too, not least the late Ciarán Mac Mathúna, who pointed out that buy playing them at dances ceilí bands saved countless tunes that could have been lost. But there has always been that snobbery associated with ceilí bands, that that are not fully of the tradition.

Crossing No Man’s Land
And that’s what makes the Ó Sé collaboration with the Turloughmore so significant. Ó Sé has crossed no man’s land to join the opposition. In recording a CD with the Turloughmore Ceilí Band, Seán Ó Sé has declared music to be all one, streaming out from the forts of Tuatha de Danann and the other weird peoples that have lived here before us.

If that magic is captured in the nets of the Pipers’ Club or Ceoltas Ceoltóirí Éireann or the hammer men on stage at a hooley while the dancers belt the floor, what matter, what odds? Isn’t it all music all the same, and all particularly Irish, resonant and harmonious with the Irish soul?

That’s what An Spailpín thinks a Late Late Show should be about. The Chieftains and Ó Sé talking about Ó Riada and what he did. Jim McCann and Barney McKenna talking about the folk singers, now the Clancys all roam the other worlds. Planxty and the Bothy Band and Altan to bring it up to date. And then a huge band of the whole damned lot of them, Protestant, Catholic and Dissenter, giving it socks on the Rocky Road to Dublin.

And what do I get instead? “Ryan Tubridy chats to Charlie Bird about his new documentary series of legendary Antarctic explorer, Tom Crean. Mary McEvoy talks about her new book, Ireland's greatest slimmer gives advice on how to shed the pounds, Ali Hewson and Adi Roche talk about the Chernobyl Children and Jessie J performs her hit single, 'Price Tag'.”

Price Tag, indeed. Go gcuire Seán Ó Sé an dea-chath fós, go gcasa sé a amhráin go binn go bráth, agus go mbronntar an ómós atá tuilte do lá breá éigin gan moil.

Two CDs

One of the more notorious of RTÉ’s acts of cultural vandalism over the years is the decision to wipe all TV tape of Seán Ó Riada from the archives. Now, An Spailpín is getting worried that the damage is even more extensive than we thought.

Gael Linn, as part of their policy of re-releasing Seán Ó Riada’s albums over the past few years, have released three more, as a triple CD set called Pléaráca an Riadaigh. These are three original studio recordings of Ó Riada at the height of his powers – Reacaireacht an Riadaigh, Ceol na nUasal and Ding Dong. But what’s bothering An Spailpín is a throwaway reference in the sleeve notes to a weekly radio show that Ó Riada did for RTÉ in the sixties. Reacaireacht an Riadaigh, the first of these albums to be recorded, is essentially a collection of the greatest hits of that radio series and if they’ve all been wiped since like the TV recordings – well, it’s a scandal is what it is.

With the country going down the tubes at a rate of knots this Christmas it’s good – if not vital – to be reminded of why it was all worthwhile in the first place. Why the Irish deserved independence; what separated us from the other three kingdoms. And Pléaráca an Riadaigh helps us explain part of it.

Seán Ó Riada is part of the landscape now but it’s always important to remember just how revolutionary his approach was. Irish music had no respect in the general population before him; Ó Riada’s great gift was to be able to show how the ancient airs have their place in the pantheon of world music, before that phrase was even invented. For anyone who wants to know who we are and where we came from Pléaráca an Riadaigh is an essential purchase.

Funnily enough, the sleeve notes are the most disappointing aspect of the whole presentation. Other Ó Riada releases have included full lyrics for the songs in the sleeve notes. This does not, and their loss is keenly felt. All the more so because it is Darach Ó Catháín, not Seán Ó Sé, who does the singing on Reachtaireacht an Riadaigh.

What makes this significant is the fact that Darach Ó Catháin was a sean-nós singer. Sean-nós is the diametric opposite of easy listening music. Sean-nós is hard work. The best way to approach it is to realise just how very old it is – it’s a medieval form of music, really. It’s solo chanting more than singing. It does not record well, and soft chat about sean-nós being the soul music of Ireland doesn’t cut it. It’s a terrible pity that Gael Linn didn’t see fit to print the lyrics, or the words of the pices spoken by Seán Ó Riada himself. Certain hollow men in the media like to speak of “spoken Irish”; An Spailpín is pretty sure that he is not alone in thinking it’s easier when it’s written down.

An Spailpín has not seen John Spillane’s new album, Irish Songs We Learned at School, but it will be very surprising if that isn’t comprehensively annotated. There’s no point otherwise. The song selection is good of course – these are great songs – but the decision to have actual children sing on the record is misguided. The idea is clearly that kids will respond better to kids, but the idea of having the songs sung as well as they can be sung seems the stronger notion to me. Maybe it’s a matter of taste.

Why does it matter in the first place? This is why. If that rotten Carlsberg ad of earlier this year had its protagonist say “Beidh aonach amárach i gContae an Chláir” instead of the rubbish he did come out with, they would have got their point across, got the echo of the schoolroom and shown some respect for the language into the bargain. That was a bridge too far it seems. So three cheers for John Spillane then, for doing his bit ar son na cúise in these dark and empty winter days.






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