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David Packa conducting at Cathedral of Christ the King. Photos by Jill Fisher.

Thursday nights at the West Theatre often offer something new and different in the way of music. This past Thursday, Feb. 13, is a case in point. 

The Young Dubliners, AKA Young Dubs, appeared here as a part of their “Feicin Freezin Tour,” which was particularly apt on one of the colder days we’ve experienced recently, not to mention the places they will be traveling to for their upcoming gigs.

This five-piece band was formed back in 1988 with Keith Roberts as its lead singer, who plays rhythm guitar and who has been a member for all of its 37 years. The other four are more recent members and include Chaz Waltz (fiddle, harmonica), Justin Pecot (electric guitar, vocals), Ethan Jones (bass guitar) and Dave Ingraham (drums, percussion). 

Young Dubliners

They are based in Los Angeles but come from different backgrounds. For instance, Jones and Waltz both hail from Kansas City, Missouri, while Pecot is from Colorado, though he has spent years in L.A. Roberts is the only Irishman in the group and like Pecot he has been living in LA for many years.  
This brings up the question of genre. The band claims that, though it’s music has been classified as “Celtic Rock,” it is simply a rock band with Irish influences. 

From what I heard in this concert, Celtic Rock would be an accurate label – there was unquestionably an Irish sound throughout. I also thought I heard bagpipes in the electronic loops used with some songs. 
Indeed, Roberts clarified that they’ve used Uileann pipes on their albums. Roberts also confirmed that electronic beats were added to the song “Chance.” 

The band has put out nine recordings dating back to the EP Rocky Road in 1994 and are working on their tenth album. 

Young Dubliners

The concert began 20 minutes late but finally music filled the house – a recording of “The Auld Triangle” a classic Irish song recorded by the original Dubliners, The Pogues and this group. (The title refers to the large metal triangle which was beaten daily in Dublin’s Mountjoy Prison to waken the inmates.) 

The five musicians descended from the green room, taking their places and singing acappella along with the recording. It definitely gave us a thrill, as did the next number, “Banshee,” that began with driving drumming. Fast paced and Celtic to the core, it was an indication of the music to come. 

When those two numbers concluded, Roberts addressed the audience with the comment that it was the first time they were introduced (by owner Bob Boone) with the advice that earplugs were available in the lobby!

Young Dubliners

The Young Dubs played a wide selection of numbers from their albums. The second song was “Brown Dog” from the 2002 album Absolutely, third was “We the Mighty” from their 2014 album Nine. Then the band introduced two new songs from an album they are currently working on “Stop Shaking Your Head” and “Drive.” These were all rousing numbers with lyrics that were shouted as much as sung. The vocalizations were a rough, masculine, fighting kind of sound that transported one to a different time and place – Ireland! 

At one point Roberts referred to “The Troubles.” Reinforcing this characterization was the fiddling and drumming.

Waltz on fiddle (though his instrument is referred to as a violin on their website) was fairly restrained in the first numbers, so much so I had the thought that Duluth audiences have been spoiled by the fabulous fiddling of Erin Aldridge of  Danny Frank and the Smoky Gold. 

But as the concert proceeded,  it became clear that he was a maestro in his own right. Interestingly, the lighting was such that he had a spectral appearance with his bald head and gaunt skeletal features, which enhanced the intense expression of his playing. 

Near the end of the concert Waltz soloed for three numbers as the other members relinquished the stage to him. He was fabulous.

Chas Waltz of the Young Dubliners

The youngest of the Young Dubs, Justin Pecot was also quite the musician on lead guitar, showing off his chops on a couple solo interludes. Meanwhile the drumming and bass playing kept up the compelling rhythm of each number.

Several of the songs they played were from their 2007 album With All Due Respect—The Irish Sessions: “The Leaving of Liverpool” (on which Waltz played the harmonica), “I’ll Tell Me Ma” and “Ashley Falls.” A slow and measured beginning to “Foggy Hill” built to a loud fast-paced crescendo. These were songs full of BIG energy that had the audience clapping along. 

These original songs were written in collaboration with all the members, though, generally Roberts provided the initial inspiration. The only cover they played was of Shane Patrick and Lysaght MacGowen’s “Pair of Brown Eyes.” That song was recorded by the Irish band The Pogues (among others), who the Young Dubs note as a major influence on their compositions, along with The Waterboys, Thin Lizzy and U2.

The relatively small audience was definitely into this music, shouting and clapping along when encouraged to do so. I saw a fair number of redheads amongst the crowd, hinting at the Irish and Celtic blood represented. I also found it noteworthy that 10 seats (an entire row) was occupied by a group of retired Denfeld graduates. 

The reception for this very lively and high energy band was enthusiastic. After the band’s last numbers, “Rosie” and “Follow Me Up To Carlow,” attendees were relentless in their insistence on an encore. In response the Young Dubs performed three more numbers, “Abhainn Mór” from their 2014 album Nine and “If I Should Fall From Grace With God” and “Rocky Road to Dublin,” both from The Irish Sessions album.

Yes, it was a very special concert. The Curmudgeon and I agreed we would go see them again.  

On Saturday evening, Feb. 15, I attended a quite different musical event: the debut performance of “Serenity Mass: Be Still and Know,” at the Cathedral of Christ the King in Superior, a part of the Sanctus Series of concerts held at the cathedral. 

It was composed and directed by David Packa who is reported to have been something of a young protégé and a stand-out graduate of the UWS music program in 2016. 

This new composition drew upon Christian texts for its inspiration and lyrics, in particular Psalm 46. An eight-member ensemble (Brett Jones, marimba; Lucie Han, violin; Rachael Kresha, violin; RaeAnn Johnson, viola; Scott Beeman, cello; Timothy Churchill, bass; Zoë Scherer, saxophone) performed the piece together with vocalists Aaron Wainman (tenor) and Olivia Brookmole (soprano).

The 45-minute piece was comprised of seven movements with a moment of silence between the last two. 

The first movement, titled “Kyrie” began with the low tones of cello and bass. Piano, violins, viola and saxophone joined in one after another and finally the marimba, before the tenor solo sang the lyrics. “Gloria” followed with soprano Brookmole adding her exultant vibrato. Next was “Credo” a solemn, stately movement, with both tenor and soprano vocals that articulated the core beliefs of Christianity (Christ, the son of God was crucified and rose from the dead to absolve our sins). 

The fourth, middle movement, “Alleluia,” was a short lively instrumental that produced a springtime feeling reflecting the joyousness of life after death. “Sanctus,” the fifth movement, returned to a more pensive and serious tone in which the saxophone rang out with a clear and shofar-like sound that was distinctly different than what one usually associates with this instrument. The sixth movement, “Agnus Dei” began with the marimba alone creating an eerie beginning to this shorter piece that also highlighted a soaring soprano vocal.

After “Seiah” (pause for silent reflection), the seventh and final section, “Be Still and Know,” featured the marimba alone at beginning and end, with the other instrumentation between. It was both contemplative and uplifting. 

For those who grew up participating in church choirs, school choruses and orchestras, religious music holds a special place in our hearts that compositions like Serenity Mass put us back in touch with. Whether one is a believer, an agnostic or atheist, such music can be appreciated on its own terms and our spirits refreshed. 

The last program in this Sanctus Series is a Lenten Organ Recital to be presented by UWS Professor of Organ Rachael Kresha (who played violin at this concert) on Wednesday, April 9, from 12:15-12:45 pm at Christ the King Cathedral. 

For those who enjoy organ recitals you may be interested in attending the American Guild of Organists’ benefit concert, “Pulling Out All the Stops,” on Sunday, June 1, at 3 pm at Holy Spirit Catholic Church in Two Harbors. For more information about that see arrowheadago.com. 

UPCOMING: There’s another weekend ahead of great music coming up: Jack Klatt will be performing at Earth Rider’s Cedar Lounge this Saturday, Feb. 22, together with Superior Siren (solo), music begins at 8 pm. I heard Klatt at the memorial for Spider John Koerner this past June and, if you like Charlie Parr’s music, you’ll find that he is well worth getting out to hear. 

On the same evening the Nordic Center of Duluth is hosting an album release gig by the local group Ponyfolk (led by musicians Clifton Nesseth and Paul Sauey) taking place at 1802 East 1st St. (the former First Unitarian Church) from 7-9 pm. 

Then on Sunday, Feb. 23, Matinee Musicale presents a concert by Ukrainian guitarist Marko Topchii at Pilgrim Congregational Church, 3 pm. All of these are ticketed events, so go online to the respective websites for all the details. See you out there!