The bard celebrates two other fine practitioners of the art, and laments a lost brewer
IF YOU like your night out filled with a large dollop of saccharine-coated nostalgia, a competent covers band and some cliche-ridden national stereotypes about the Irish, then this may well be the show for you.
Seven Drunken Nights is essentially a musical tribute sewn together with a few scraps of documentary about The Dubliners’ 50-year career, though if you are at all familiar with any of their work it’s unlikely you’ll learn much new.
The musicianship, particularly Conor Elliot on fiddle and Paddy Ryan on banjo, is good but marred by a sound mix that’s a triumph of volume over clarity. There’s a disappointing reliance on a pre-recorded keyboard for the mournful and/or emotional sections and its use to help recreate Luke Kelly’s funeral scene lacks subtlety — the audience doesn’t really need some arpeggio piano to tell them something sad is happening.
ALAN MORRISON recommends a consummate, heart-warming collection about a working-class upbringing in the industrial north-east
WILL STONE enjoys a set by an artist too eclectic to be pigeonholed
WILL STONE applauds a comprehensive survey of love in its many moods and musical forms
The Big Meeting isn’t simply nostalgia, it’s a happy day and a day to show resistance. HEATHER WOOD explains why


