The revival of Irish folk music is not just important to Irish people as a matter of national pride; its significance stems from the origins of the music. Irish music has always reflected strong themes of the country’s history, during times of oppression as well as during times of rebellion, remaining a pillar of what makes the Celtic island so powerful.
Shamelessly singing songs of love, loss, political struggle, and war, Irish music has always stood as a trailblazer in the art of rebel songs, yet for a moment, it seemed this had been long lost. Irish people and mainstream musicians had moved on to newer, modern genres, left behind their troubled past, and merged their music with the trajectory the rest of Europe seemed to be following.
While artists like The Cranberries, The Wolfe Tones, The Dubliners, and Sinéad O’Connor carried the torch into the millennium, it seemed Irish folk was merging with pop music to an extent where folk was lost entirely. Thanks to bands like Kingfishr, this has begun to change.
Following the seemingly ever-increasing success of their 2024 track ‘Killeagh’, a love letter to Killeagh hurling club based in East Corcaigh (Cork), the band have skyrocketed to stardom both within and outside of Ireland and outside of it. While Ireland is known for patriotic anthems, ‘Killeagh’ harnesses a slightly more traditional, robust quality. The track has quickly proved itself, both becoming an anthem for any Corcaigh- based Gaelic Football or Hurling team, and putting folk out on the world stage. As if this success was not enough, the track secured a segment on RTÉ’s beloved Late Late Toy Show. Utilising both traditional folk instruments and a more-than-hearty amount of Irish cultural references (“Bury me with my hurley, by the river Dissour”), the success of ‘Killeagh’ alone (as well as the trio’s album Halcyon) shows just how well Kingfishr are shining the spotlight on the beautiful music which Ireland was beginning to lose.
They, however, are not the only band travelling in this direction, with notable names in the Irish “folk revival” scene including The Murder Capital, Mên An Tol, and even Fontaines D.C. (to a degree). The resurrection of Irish folk music as a cultural phenomenon does not have to be seen as the resurrection of pure, traditional folk in its original form. While 100 years ago it may have been understood as the beat of a bodhrán (a traditional Irish frame drum) or the twinkle of a harp and fiddle, the aim of the modern folk movement is at heart a resurrection of Irish culture and language, spanning across all genres.
The marked success of Fontaines D.C.’s Romance last year is a clear example of this, bringing in global listeners to see what a tiny island of less than 6 million had to offer. As a result, the worldwide interest in Irish music has increased phenomenally, resulting in the sudden, huge success of bands like CMAT, KNEECAP, NewDad, SPRINTS, and Gurriers (to name just a few). While none of these artists are necessarily putting out traditional Irish rebel songs (‘Come Out Ye Black And Tans’), or tin whistle singles, they show the success of the movement perfectly.
Irish people are no longer scared to sing about their hometowns, their love for their country’s history, or culture. They are no longer afraid to sing in their own language or appeal to an Irish audience, resulting in a surge of As Gaeilge versions (and a huge demand among young people to learn their native tongue).
Kingfishr are not the only band partaking in the movement, but they may just be the purest form of its success: taking Irish music back to its roots and achieving international recognition for Celtic culture in the process. As ‘Killeagh’ surely makes its way onto the playlist of every Irish family this Christmas, one thing is clear: the authenticity of the Irish and their music is being restored for the first time in centuries, and it is a beautiful thing: Éirinn go brách (Ireland Forever).
Words by George Connell
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