It’s a windy day in Doolin, County Clare and the seaside village buzzes with activity. Known
for its long-standing reputation as the home of Ireland’s traditional music scene, Doolin plays
host to the annual Michael Russell Festival, drawing musicians from across the country.
The theme of the weekend is a celebration of new music talents, attracting a growing audience for
traditional music. People of all ages, with instruments in their hands, step into the pubs, where the tables are already covered with pints, fiddles, and uilleann pipes. One of the acts is Seán Lyons, a 24-year-old musician who grew up in Clare and has the ‘festival bug’.
“The best thing about being involved in traditional music is that there are festivals almost consistently
throughout the year. It is absolutely massive. I’m meeting so many people my age. It’s a lovely way to build a community.”
Seán was introduced to traditional music at a young age. Growing up in a family of musicians, his mother taught him the tin whistle. He took music lessons and participated in competitions, but learned the most by listening to his parents playing in the house.
“You’re encouraged to trust your instincts and learn a tune by ear. In that sense, it’s not a formal learning system as in classical music or jazz. You learn to play it from how it sounds rather than relying on sheet music.”
For Seán, traditional music isn’t just tunes; it’s a connection to his sense of national identity. A significant part of the music is rooted in Ireland’s past, its political and social changes, and the struggle for independence.
“When I play music, that’s something I think about very consciously. It’s not my stories, it’s music from older generations being passed down. It’s kind of an act of patriotism in a way.”
Seán senses a trend shift is in the works; an uplift in appreciation and respect for traditional
music compared to the past 30 years. He believes there are greater opportunities for advancing in a musical career since the genre is now seen as mainstream and has been embraced by the media.
“When my parents were younger, it wasn’t as easy or accepted to play trad music. There was something uncool about it. But nowadays, when you tell somebody you’re a traditional Irish musician, their eyes perk up.”
Traditional music’s continued thriving can be attributed to a combination of technology and innovative practices. The idea of an avant-garde wing in Irish traditional music encompasses those who create and support the newest ideas within the genre. And it has been experimented with for a good number of years now. The 1970s could be seen as the starting point with bands like Planxty and The Bothy Band, who blended pure traditional music with genres like rock and bluegrass. Today, popular bands like Mary Wallopers mix Irish music with punk influences.
“Almost any genre you can imagine is now blended with traditional Irish music, which has made it more popular. People have different opinions about it; some will say it’s damaging and ruining the purity of the music. But I think anything that can bring the music into people’s attention and act as a gateway drug is positive.”
Besides performing, Seán also teaches music. Over the last couple of years, he has noticed parents who don’t play themselves bringing their children to learn traditional instruments. This broadens the genre’s appeal and ensures it doesn’t only stay within the music families who established the traditions.
“Sometimes people talk about it like it’s an endangered species, like it’s very vulnerable and needs to be protected. But as you can see, there’s nothing endangered about it. It’s absolutely thriving.”
At the Russell Festival, people of all ages are playing in the local houses. Children sit beside elders with instruments in their hands, listening and learning. Overall, it appears that the genre and its traditions are doing well, continuing to evolve and thrive, while preserving the heart and soul of Irish culture.