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Monica Gallardo
In the music of Ireland, Irish rebel songs refer to folk songs which are primarily about the various rebellions against English (and later British) Crown rule. Songs about prior rebellions are a popular topic of choice among musicians which supported Irish nationalism and republicanism. In the 20th and 21st centuries, Irish rebel songs focus on physical force Irish republicanism in the context of the Troubles in Northern Ireland and the Irish War of Independence.
The tradition of rebel music in Ireland date back to the period of English (and later British) Crown rule, and describe historical events in Irish history such as rebellions against the Crown and reinforcing solidarity amongst the people of Ireland.[citation needed]
As well as a deep-rooted sense of tradition, rebel songs have nonetheless remained contemporary, and since 1922, the focus has moved onto the nationalist cause in Northern Ireland, including support for the IRA and Sinn Féin.[1] However, the subject matter is not confined to Irish history, and includes the exploits of the Irish Brigades, who fought for the Republican side in the Spanish Civil War, and also those who participated in the American Civil War. There are also some songs that express sorrow over war (from a Republican perspective), such as Only our rivers run free, and some have been covered by bands that have tweaked lyrics to be explicitly anti-war, such as the cover of The Patriot Game by Scottish band The Bluebells.
Over the years, a number of bands have performed "crossover" music, that is, Irish rebel lyrics and instrumentation mixed with other, more pop styles. Damien Dempsey is known for his pop-influenced rebel ballads and bands like Seanchai and the Unity Squad,Beltaine's Fire, and Kneecap combine Rebel music with Political hip hop and other genres.[citation needed]
Irish rebel music has occasionally gained international attention. The Wolfe Tones' version of A Nation Once Again was voted the number one song in the world by BBC World Service listeners in 2002.[2] Many of the more popular acts recently such as Saoirse, Éire Óg, Athenrye, Shebeen, Mise Éire and Pádraig Mór are from Glasgow. The Bog Savages of San Francisco are fronted by an escapee from Belfast's Long Kesh prison who made his break in the September 1983 "Great Escape" by the IRA.
Music of this genre has often courted controversy with some of this music effectively banned from the airwaves in the Republic of Ireland in the 1980s. More recently, Derek Warfield's music was banned from Aer Lingus flights, after the Ulster Unionist politician Roy Beggs Jr compared his songs to the speeches of Osama bin Laden.[3] However, a central tenet of the justification for rebel music from its supporters is that it represents a long-standing tradition of freedom from tyranny.[4]
The 1983 U2 album War includes the song "Sunday Bloody Sunday", a lament for the Northern Ireland troubles whose title alludes to the 1972 Bloody Sunday shooting of Catholic demonstrators by British soldiers. In concert, Bono began introducing the song with the disclaimer "this song is not a rebel song".[6] These words are included in the version on Under a Blood Red Sky, the 1983 live album of the War Tour. The 1988 concert film Rattle and Hum includes a performance hours after the 1987 Remembrance Day bombing in Enniskillen, which Bono condemns in a mid-song rant.
During the 1990s, Irish comedian Dermot Morgan lampooned both the Wolfe Tones and the clichés of Irish rebel songs by singing about the martyrdom of Fido, an Alsatian dog who saves his IRA master in the Irish War of Independence. During a search of the house by the Black and Tans, Fido hides his master's hand grenade by eating it. When Fido farts and the grenade explodes, the British comment: "Excuse me, mate, was there something your dog ate?!"[citation needed] In a parody of Thomas Osborne Davis' famous rebel song "A Nation Once Again", the song climaxes with the words: "Another martyr for old Ireland, by Britannia cruelly slain! I hope that somewhere up there I hope he'll be an Alsatian once again! An Alsatian once again! An Alsatian once again! That Fido who's now in ribbons will be an Alsatian once again!"[8][9]
The lyrics tell the story of a man who stops at a church on his way to battle. When he enters the Church, he notices a cloaked figure. It turns out the figure is a British soldier who sought protection from rebels in the Church.
Sounding Dissent draws on three years of sustained fieldwork within Belfast's rebel music scene, in-depth interviews with republican musicians, contemporary audiences, and former paramilitaries, as well as diverse historical and archival material, including songbooks, prison records, and newspaper articles, to understand the history of political violence in Ireland.The book examines the potential of rebel songs to memorialize a pantheon of republican martyrs, and demonstrates how musical performance and political song not only articulate experiences and memories of oppression and violence, but also play a central role in the reproduction of conflict and exclusion in times of peace.
The introduction of the 1912 Irish Home Rule Bill radicalized politics in Ireland. The detailed facts of the negotiations between the British Prime Minister Asquith and John Redmond the leader of the Irish Nationalist Party at Westminster are adequately dealt with in history books. However, the oral history of that period contained in the songs of the people is given cursory attention by historians.
Shortly after the passing of the Home Rule Bill in parliament, Britain became embroiled in the Great War and Redmond made a political calculation that in time would backfire. He encouraged Irishmen to join the British army in the belief that by showing solidarity with Britain, Westminster would not renege on its home rule commitments. Although Redmond received tremendous support not everyone was prepared to back him. Opposition was soon voiced in the many anti-enlistment songs popular at that time. These derided his call for the National Volunteers to enlist in the British army and fight in France. The Grand Old Dame Britannia is one of many songs which captures the spirit of that opposition.
Looking to learn about some of the best Irish songs of all time? The Top Irish Rebel Songs E-book takes you on a journey through time from the 1700's all the way to the late 1900's. This E-Book offers an in-depth look into key events, figures and cultural influences that have shaped Ireland's history from prehistoric times to modern day. I will explain to you the history behind these incredible songs that have withstood the test of time. Irish folk music is an essential part of Irish culture and plays a huge role in Irish history. Folk music reflects the history and traditions of us Irish people and has shaped the Ireland that we live in today.
I can identify with your embarassment, JNE. Trouble is, SWFL, (how can I put this politely?)- this is not really about what Irish America needs. Using old rebel songs to summon balls in the supine seems pretty desperate and exploitative to me.
As an idealistic and foolhardy (English) teenager some 40 years ago I worked on building sites for a number of years in Portsmouth and Manchester mostly with Irishmen and some Scots, and when the pubs closed the party carried on in the site huts with unbelievable quantities of bottled Guinness and brandy. I always had a guitar and harmonica, and everyone used to belt out rebel songs to my accompaniment (I learnt them from the Clancy Brothers song book, and still have my copy). A couple of hours after all collapsing in a comatose heap, everyone was up driving diggers and suchlike. I knew people who could play a few tunes on the whistle, but had no idea about the wealth of traditional music then.
The way I understand it, many rebel songs tell a *specific* story, often in a way designed to rally the troops, whereas the blues, while it might spring from a specific event or circumstance, conveyed a rather more general sense of oppression or injustice- making it more transferable to other places and other circumstances.
New Hibernia Review 9.4 (2005) 129-143 // -->
[Access article in PDF] Rebel Songs and Hero Pawns: Music in A Star Called Henry Charlotte Jacklein Folk songs, street ballads, and other forms of popular music have come to be regarded as cornerstones of Irish identity. The "rebel song" tradition in particular trades in themes of bold heroes, martyrdom induced by the British, and further expressions of patriotic fervor. Music exerts a powerful ability to instigate and to document social change; songs are a significant means of communicating historical events and political sentiments. Roddy Doyle's 1999 novel A Star Called Henry forcefully interrogates the tenets of traditional Irish history and identity. Throughout the novel, Doyle's systematic use of Irish folk song, street ballads, and other music serves to demonstrate the ambiguous and potentially negative force of a mythologized past and identity.
"The 7th Generation is going to rise in America and all the world is going to see these young kids saving the earth," says activist Robin Lebeau. This generation isn't just writing songs as a creative outlet, but also as a means to tell stories, to wake up minds and to speak out against the continued injustices they see perpetrated against their people.
Why shout your righteous anger when you could sing it with protest songs? From chart-topping Motown songs to roaring classic rock songs, musicians of all genres have voiced their support for causes such as civil rights and an end to war. With the recent surge of activism in New York and beyond, new activists can hum these numbers as they fight for immigrant rights or demonstrate to protect the environment.
I was fortunate enough to have a little (remote) help with the album. Jacob Wake-Up! played bass on most songs; Jacqui Cheng, the former Editor-in-Chief at Wirecutter and Editor-at-Large at Ars Technica, contributed the fantastic fiddle duet on "Follow Me Up To Carlow / Éamon an Chnoic"; Nick Krefting helped me out with some extra guitar shredding on "Some Say The Devil Is Dead" and "The Fields of Athenry"; and Paula Arzac of Viva Mayhem! played tin whistle on "The Boys From County Cork" and "Horse Outside," the latter of which is actually a hilarious Irish hip-hop song that she helped me to traditionalize by adding in a genuine Irish reel called "Johnny With The Queer Thing."
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