RTE - Ireland
The Late Late Show - 26th January 2001
Luka Bloom - performed 'Wishing On A Star'
National Tour starts February 9th, Town Hall Galway, Limerick and Cork and The Olympia.
|LUKA BLOOM NATIONAL TOUR DATES - FEBRUARY 2001
Ireland's premiere singer/songwriter, Luka Bloom, has announced a national tour this February 2001 to
co-incide with the release of his new album, Keeper Of The Flame. Luka will play live in the Town Hall, Galway on Friday 9th,
UCH Limerick on Saturday 10th and the Cork Opera House on Sunday 11th, BT Studio, Belfast on Wednesday 14th, Finally Luka
rounds off the tour at Dublin's Olympia on Sunday 18th February.
It was a dozen years ago that he transformed himself, on a flight from Dublin to Washington D.C., from a singer-songwriter named
Barry Moore to an itinerant ex-pat troubadour named Luka Bloom. With a new name and a new, albeit temporary, home, he built a
reputation and a fan base, while commuting via train between D.C. and New York City. He attracted major-label interest and signed
a deal with Warner Brothers/Reprise Records that yielded three highly acclaimed albums - 'Riverside', 'Acoustic Motorbike', and
'Turf' - and carried his music around the world. When he eventually returned to Ireland, he was something of a star. He had been
Don't miss this incredible Irish talent this February 2001, tickets are available from:
Ticketmaster Ireland Email Newsletter Christmas 2000
The Irish Times - Dublin Live Music - 31 January 2001
Brian Boyd gets under the covers with Luka Bloom and finds out about revisiting old favourites - and keeping the flame
...There's been a lot of experimenting and mixing-and-matching in Luka Bloom's career... - but now he says he's tired of the
major label scene and would never sign for one again.
"I've been through a few record companies and I would never do it again. What really inspires me is people like Ani diFranco
who can bring out her work on her own label, get it distributed and keep total control over its output. I know I'm not going to be a
charts/award show type of performer, so I'd rather release my own work as I see fit. The way I look at it now, the music industry is
having its ultimate wet dream - the charts are full of young boy/girl bands who are entirely malleable, do what they're told and don't
have any awkward artistic temperaments. There is another way to go about making music now though, and that's what I'm
interested in, whether it be through the Internet or whatever." In the process of recording a new album of original material, which he
hopes to get out later this year, he's just about to start a countrywide tour, where's he going to mix his own songs with selections from
Keeper Of The Flame.
Sunday Business Post - Saturday, February 03, 2001
Bloom's day for eclectic acoustics
Singer-songwriter Luka Bloom is back with a new album of songs made famous by artists as disparate as U2, Abba and Joni
Mitchell. He talks about the strange journey that brought him here.
Ask people what they associate with ABBA and the chances are they will mention dodgy hairstyles, glittery dresses, flares,
discos or kitsch revivals. If they are males of a certain age, a wistful murmur about "the blonde one" can be expected.
Few are the voices that would utter "Luka Bloom" in reply. Yet the Kildare man has just released a new album,
Keeper of the Flame, which closes with his version of the Swedish band's monster hit, Dancing Queen.
Bloom's songwriting ability has always been regarded as one of his main strengths, but this album features none of his
compositions. All 11 songs were made famous by other people.
While some of them, like Tim Hardin's If I were a Carpenter or Joni Mitchell's Urge for Going, sit comfortably with the
"earnest folkie" image that bedevils all acoustic strumming solo artists, others (Radiohead's No Surprises,
The Cure's In Between Days, U2's Bad) manifestly do not.
Perhaps the eclectic choice shouldn't come as too much of a surprise. After all, Bloom underlined his willingness
to indulge in musical genre-bending early on in his career.
His early nineties album, The Acoustic Motorbike, included a now-famous guitar and bodhran transformation
of rapper LL Cool J's I Need Love.
The man himself, sipping a mineral water in the bar of Dublin's Westbury Hotel, is keen to take up the point.
"It's to do with stripping away people's preconceptions about me," he says. "I think people have a preconceived idea of a guy on
his own with a guitar. They think, 'Leonard Cohen, the 60s, Neil Young, bedsits'. Ever since I did 'I Need Love', I've been trying to say that the only
limitations are within your mind. I'm prepared to try anything and, maybe, sound a bit ridiculous, if it helps break down those barriers."
Bloom says that many people over the years had suggested that he do an album of other artists' songs. He felt the time was right
only recently, when he retreated to the west of Ireland with hundreds of CDs as his primary source of company. There, the record
began to take shape.
"I decided that I would be completely open, and that the only criteria would be, one, that the songs were great and, two, that they
were songs I felt I could transform and bring a very individual performance to."
There were still some unexpected twists and turns to be negotiated. "I had about 12 Van Morrison albums with me," Bloom says,
smiling. "I would have adored to have had a song from Astral Weeks, but no matter which song I tried to learn, I just ended up
sounding like some gobshite trying to sound like Van Morrison. It can't be forced."
There was, he insists, no forcing required for tracks that seem further from his natural style than Morrison's work is.
"It was remarkably easy to find a U2 song, and I really wanted to have a Radiohead song. I think a lot of
the time when people celebrate bands like U2 and Radiohead they don't necessarily understand that these
guys are tremendous songwriters. I think Bono is one of the great songwriters."
Bloom's current enthusiasm embraces more than just the music on the new album. Keeper of the Flame is his first independent
release - he financed it and he owns the finished product, lock, stock and barrel.
The increased liberty borne of these arrangements comes as an antidote to the disillusioning experience with his last record,
1998's Salty Heaven.
"That was the complete corporate nightmare," he recalls. "What happened was that Sony in London bought the record and then
didn't release it in any of the major territories. They just let it die in Britain and it never got released in America, which effectively
killed it completely. Within a matter of six weeks, the record was dead, despite me having spent three years of my life on it."
Taking care of the business side of Keeper of the Flame has informed Bloom's trenchant views about the state of the music
industry. "Major labels have succeeded in creating the wet dream scenario for themselves," he says.
"If you look at the top end of the charts, it is mostly occupied by people who have absolutely no talent and whose only desire in life
is to be famous and wealthy. That's perfect for the record companies, because there is no artistic temperament to deal with.
I sound very cynical there, but I don't actually feel cynical about it," he goes on, more mildly. "It's good, because it's creating a very
clear line: there's a music business that serves those people, and then there's a sort of cottage industry of independent promoters,
labels and agents to serve people like myself. The paths rarely cross, except when we're battling to get on The Late Late
He doesn't hesitate when asked about the benefits of moving deeper into the 'cottage industry'.
"Being able to say 'no' without having to explain. Being able to choose when and where to tour, without having unbelievable
pressure exerted upon you. The reward I get for taking these decisions is the space and time to have a life."
That's a reward that Luka Bloom could feel entitled to by now. It's been a sometimes strange journey since he was born as Barry
Moore in Newbridge, Co Kildare almost 46 years ago.
In this country, the label of "Christy Moore's younger brother" still sticks to him like glue. The Moores are a musical family - a sister,
Eilis, is also a highly-rated singer, while one of Luka/Barry's nephews, flautist Conor Byrne, released his debut album in 1999.
For all that, one of Luka's most vivid early memories of music is drawn from outside the family home.
"I won a Christmas pudding in the Palace Cinema in Newbridge when I was about eight," he laughs. "I sang 'My Singing Bird'. It was
the middle of December and it was so cold in the cinema that I sang with my duffel coat on. The cinema was just around the corner
from where I lived, so I went around, got asked up, stood on the stage, sang, and walked away with a Christmas pudding. And I
thought, 'Wow, this is OK - you get rewarded for this!'."
He was soon playing more conventional gigs. In his mid-teens he would sometimes go to England during the summer holidays.
Christy was, by this point, trying to establish himself on the British folk club circuit and would invite his brother on stage to do guest
Support gigs for Planxty followed, and through the 70s, still known as Barry Moore, he continued playing and recording. To this day,
he has never worked other than in music.
Come the 80s, he formed a band, Red Square, which met with limited success. After it dissolved, he went back to his solo career
but, frustrated at the slow pace at which things were moving for him, decided to go to America.
He changed his name on the flight from Dublin to Washington DC - 'Luka' came from Suzanne Vega's song of the same name,
'Bloom' from Joyce's Leopold in Ulysses - and started anew.
"I think of it now as a mad thing to do. I just got this idea and, in the space of three months, I left home, went to America
and changed my name.
I wanted a name that was as ridiculous as Iggy Pop or Sting or Bono or The Edge. And it was! But the great thing it did,
and does, is that it gives me anonymity and focuses things on the songs."
Those songs found a ready audience in the United States. His live following grew quickly and Riverside, his first major
label album as Luka Bloom, was released in 1990. The follow-up, The Acoustic Motorbike, came two years later.
His star was still in the ascendant when he decided to return to Ireland for family reasons - he was conscious of wanting to spend
time with both his ageing mother and his son. He was also wary of getting ensnared in the music business to the exclusion of all
"I really wanted to come back," he says. "I knew that I'd crossed a line into that crazy world that I just don't want to belong to. I
believe that it's possible to have a good working life in music without sacrificing your whole life. The first part in that was coming
home to my family."
It turned out to be the right decision, though for sombre reasons. His mother died not long afterwards. After the unexpected, early
death of her husband she had raised the children single-handedly and with fierce pride. Her loss was a hammer blow.
"They say that despite all the books about childbirth, nothing can prepare a woman for the reality of having a child," Bloom begins
quietly. "Well, it's the same thing when someone dies. I really thought I'd fall apart completely because she was the centre of my
world. But, at the beginning, I was surprisingly strong. Of course, what I didn't realise was that was all the stuff around the funeral."
"A month or two months later I felt completely at sea or as if somebody had cut the parachute. That went on for about two years and
then, little-by-little, you sort of drift back into feeling okay about the world again."
Still on family matters, Luka parries when asked whether Christy has permanently retired from playing live.
"I'd really rather you asked Christy that question. We have a personal relationship as brothers and that's all that matters to us."
He's a long time around but Bloom seems to be enjoying a new lease of life. He claims to feel more energetic and more
professionally fulfilled than ever before.
He thinks back to his mother again: "I remember her saying, 'You'll find your voice when you're about 40'. It used to really piss me
off, but she was absolutely right. I'm much more excited about my work now than I was before."
"The fire in my belly I have now, I think I desperately wanted when I was 22, but it just all came out arseways," he shrugs. "Then, I
couldn't celebrate. I went around with a guitar thinking I should be doing something else. Now, I consider myself one of the few truly
privileged individuals. I've given myself the right to enjoy things."
the event guide - 7th-20th February 2001
File Under "B"
Unusually for a long-established singer-songwriter, Luka Bloom hasn't penned a single track on his new record, 'Keeper Of The Flame'.
Instead, it's an eclectic mix of songs written by artists as diverse as Bob Marley, Joni Mitchell, The Cure, U2, ABBA, Radiohead and other
rock luminaries. Cedric Brogan inquired as to what's behind it all.
"Well, I can only speak for myself in this. In the past three or four years, it's suddenly begun to cross my mind that I'm a
singer..... a guy who writes songs, plays guitar, and sort of sings his own songs" . But recently I've begun to really explore the joy of
being a singer, and the world of possibilities that opens up when you awaken to the power of your voice. I never set out to make a
"covers" record, but more and more in the past five or six years I've been listening every day to Ella Fitzgerald or Nina Simone or
Frank Sinatra, or, you know, Iarlann O'Lionard, Sinéad O'Connor, people who are incredible singers, and little by little
people are saying to me "hey you've a nice voice". I don't know what it is about the nature of my work, but where some people
come into music and explode, I'm more like an onion: every couple of years I peel back a little bit more. For years I really was into
playing guitar and writing songs. Then I got into just writing songs. Then I got into gigs - and then I got into going to American and
really doing gigs. Lately I got into the idea of making records and now I'm kind of going (whispers) 'I really want to be a singer. I
really want to be a singer'..."
Interview by Cedric Brogan
in dublin - 8th-21st February 2001 - Vol 26 No 3
On The Platform: Luka Bloom
With his current album Keeper Of The Flame perhaps his strongest in years Luka
Bloom plans to give his Irish fans a treat this month with gigs up and down the country. Content and composed as ever, he
comments on the US of A, Multinationals and the true "master of the craft".
Where do you see your biggest fanbase and how does it compare to your popularity over here?
"I was torn between releasing it, [Keeper of the Flame] before or after Christmas in Ireland. We decided to release it before, only
to stop copies bleeding in from other countries - countries where I'd be better known like in Germany and Holland, who wanted it
before Christmas. But the campaign here has only really started, whereas it's been doing really well in Australia. Australia is the
biggest. Then Europe, Ireland and the UK would be the last of them, really. It's not that funny. I totally understand it. And to be honest I
don't really mind. I love going to Europe and doing gigs. And the whole of Ireland is less than five million people, that's only five or
six gigs. And I don't want to be doing anymore gigs in Ireland. I've been doing this for nearly thirty years and still a lot of people in
Ireland don't know me. And I'd like to keep it that way, because I still have that feeling of being discovered by a lot of people. As with
the record, which is the first record that's getting daytime airplay here."
When you went to the States, was it the age-old case of having to get out of here to make it?
"It's always been like that and it's not just an Irish phenomenon. I know bands in Australia who have a real problem getting
airplay because they're Australian. It's the mentality that if that guy's from down the road he can't be that great. There are few more
examples of artists in Ireland who have been successful abroad - Christy and Aslan, I can think of. But not that many. For most of
them, things happened abroad before it did here. I went to America when I was 31, at a time when I felt my music was getting strong.
But I was perceived here as someone who was kind of struggling. I think if people get used to you as someone who was on the
edge - no matter what you do, you stay there. So I said: "It's time to go to America." Then I got this mad idea to give myself a new
name. And a lot of people try to hang it on Christy, but I was in America when I made the decision. It was more about escaping my
own demons than Christy's shadow. And America is a fantastic place to tap into whatever it is you want to do. And I generally had no
confidence at all until I went there."
Has it changed here since?
"I think the days of not being able to express yourself here are gone now. The current generation of twenty to thirty year-olds
don't have those hang-ups at all now. If anything they're becoming too arrogant."
You choose a more obscure Dylan song for the album. How much of an admirer are you of Dylan?
"When I heard he was playing in Vicar Street, I was just: 'Oh, my God!' And I got lucky with a ticket [laughs]. And it was an
experience of a lifetime. But I was never a huge Dylan fan - I loved his songs, but I could never stand his voice until that last
album "Time Out Of Mind". It opened up the door for me because there's something very fragile, vulnerable and sensitive about it.
It wasn't as cynical as some of his earlier stuff. And to get to hear him in this intimate venue. It floored me because I suddenly
realised that this guy is the master of the craft. He is the man who invented what I do. Okay, he may in the beginning have owed
something to Woody Guthrie. But Woody was different, his songs were more about being a member of a struggling community.
Dylan was the first to become a superstar writing those personal songs. And to see him alive and fresh, rockin' and exciting. It was
one of the most important gigs of my life."
How much of a risk is involved in releasing an album with covers?
"It's a big risk. Particularly if you're going to pick songs that everyone knows. It's one thing getting guys to write songs for you.
But when you deliberately pick songs like these - then you'd better be doing a halfdecent job." [laughs]
How did you feel when Sony dropped you?
"Gutted! Absolutely gutted! But if that hadn't have happened, I might still be running around hoping a deal will come along.
And that experience with Sony completely finished me with those deals. It was like a rock bottom. And I will never, ever sign to a
multi-national again. But it's clarified everything for me and given me the courage to go on my own. And it's great. See, at the end of
the day, I have a simple philosophy. I'm very fortunate to be able to sing my songs as my livelihood. And it's about the only job I've
ever had and it's how I survive. And I know how lucky I am and I don't take it for granted. Everybody has knocks. People who have
shitty jobs get knocked. I have a fantastic job, I got knocked. So, bitterness is not an option."
Luka Bloom plays the Olympia on Sunday, February 18th.
Tickets from the usual outlets.
Irish Music Magazine - Vol 6 No 8 - April 2001
Luka Bloom Lights up Limerick
Keeper Of The Flame Tour
U.C.H. Limerick Saturday February 10th 2001
Back on the old stomping ground or at least that was what it appeared to be on Saturday February 10th when Luka Bloom's
Keeper of the Flame tour hit Limerick's University Concert Hall. Opening the show ex-Deiseal whistler
Cormac Breatnach and guitarist Martin Dunlea treated the audience to some well thought out, articulate traditional music and
new tunes in the traditional mould. Cufflink had them swapping themes and variations while the Meristem classic Ogham
Ripples breathed anew in this duet formation. A pleasure to hear Cormac Breatnach's mellow whistle playing again and
working to their strengths the duo crossed the boundaries of Irish, Jazz and World-music inclined textures easily and without
a join in sight. The Breatnach/Dunlea paring is one I hope to see in action again soon.
In another lifetime, Luka Bloom was once a student at this seat of learning, but that was then when Limerick University was just
Limerick N.I.H.E. Then Luka Bloom was just Barry Moore from Newbridge Co. Kildare and the genesis of an intriguing success story
began here in the old H.E. and The Hurler's and other places now consigned to local folk memory like Joe Malone's in Denmark
Street. Many nights I went to see Barry Moore play in the Belltable (then a new venue) and The Olde Tom with Manus Lunny (a 1981
show with this pair ranks in my 'Gigs from Heaven' scenario) and was slain by the power, emotion, honesty, and beauty pouring
from this man's hands and mouth.
That was then and now is now and here I sit in this huge auditorium and watch a solitary figure walk out on stage and pick up a
guitar, he looks the same, sounds the same in theory as he breaks into "Exploring the Blue" and "Gone to Pablo" but in
practise he is a different person. This is a more relaxed and subdued Luka Bloom since I last saw him in a packed Arthur's
Warehouse some 10 years ago, later I caught him between "Riverside" and "The Acoustic Motorbike".
So how much has changed? His stage presence and presentation is equal amounts bluster and sensitivity drawing the audience
into his lair while putting the message across that he is an acoustic performer par excellence.
Now more lyrical strains rule with Mike Scott's "Sunny Sailor Boy", the bluesy "Don't be so hard on yourself", the
contagious pop of "Ciara" and a gorgeous finale of "Black is the Colour". He prefaced "The Fertile Rock" with
mentions of students heading to Scotland for arms race demonstrations showed the protest mettle is still in good shape, even
bringing back poignant memories of College days in "Treaty Stone" and "Fire and Rain" were both unplanned and
unrehearsed yet especially welcome. He promoted the new album "Keeper Of The Flame" reeling off a bunch of
covers from artists as diverse as Nina Simone, Tim Hardin (a lovely "If I Were A Carpenter"), The Cure's "In
Between Days", U2's "Bad", and of course ABBA's "Dancing Queen". Part of the
art of covering is seizing the original lyric, putting a personalized stamp on it and making it sufficiently unique to render comparison
redundant. From this evidence a plentiful shoal of back catalogues await the Luka Bloom touch.
What is baffling is that when he masqueraded as Barry Moore no matter the quality, strength or consistency of his material or
the wonders of albums like "Treaty Stone", or "No Heroes" and his venture into band territory
with Red Square, the general populous failed to be excited. Now Luka Bloom is a star and is
enjoying genuine success long denied. The quality of his material remains the same, the original power, emotion, honesty, and
beauty are all still there alive and well. Luka loved it, the Limerick crowd loved him so much that they gave him a standing ovation,
bought CDs and more importantly Barry Moore loved it and the ecstatic reaction tonight vindicated his belief in his chosen
Live Review by John O'Regan
Zeitgeist Music Magazine, Cork - 29 January 2001
Luka Bloom - Irish spring tour 2001
Luka Bloom plays Cork Opera House on Sunday 11th February as part of his national tour,
which co-incides with the release of his new album Keeper of the Flame. It was a
dozen years ago that he transformed himself, on a flight from Dublin to Washington D.C.,
from a singer/songwriter named Barry Moore to an itinerant ex-pat troubadour named
Luka Bloom. With a new name and a new, albeit temporary home, he built a reputation
and a fan base, while commuting via train between D.C. and New York City...
Luka Bloom plays Cork Opera House on Sunday 11th February, 2001 @ 8pm.
Tickets/ c.c. bookings 021 4265022
Monday, 6 August 2001 - 22:02-23:00 - RTE Radio 1
In Concert: Luka Bloom
Highlights from a concert recorded last February at the Cork Opera House.
The performance includes
Exploring The Blue - Gone To Pablo - Rescue Mission - Sunny Sailor Boy - Don't Be So Hard On Yourself
Make You Feel My Love - Wishing On A Star - Keeper Of The Flame - I'm A Bogman - Water Ballerina
If I Were A Carpenter - The Fertile Rock - Ciara - You Couldn't Have Come At A Better Time
Tyrone Courier - 24 January 2001
Luka to 'wow' Waterfront audience
Luka Bloom plays Belfast Waterfront Hall's NTL Studio on Wednesday 14th February.
This performance marks his return to the venue where he wowed folk fans
alongside Donal Lunny, Sharon Shannon and Mary Black at the memorable Celtic
Flame concert in 1999.
Luka Bloom - Christy Moore's younger brother - is now recognised as one of
Ireland's finest singer-songwriters. He has written several Christy songs,
including the classic Moving Hearts, and has recorded several inspired solo
albums. After many years of writing and performing his own songs in Ireland,
he finally received the recognition he deserved through extensive touring of
the U.S.A., sharing the stage with the likes of The Pogues, Hothouse Flowers,
Lenny Kravitz, Bryan Adams and the Red Hot Chili Peppers.
St. Patrick's Carnival Fundraising Auction
Devenish Complex 10 February 2001
One of Ireland's and USA's best loved singer songwriter
Luka Bloom Concert Tickets and Back Stage Passes
These tickets will permit two people to attend the fabulous Luka Bloom live in concert
allowing them back stage after the show to meet Luka in person,
at the Waterfront Hall on February 14th (Valentines Day).
An Grianan Theatre Proudly Presents Luka Bloom
Friday 16th February at 8pm - Tickets: £15.50
Luka started out as Barry Moore of Newbridge, County Kildare. In the seventies, together with guitarist
and schoolmate Pat Kilbride, he played in the band 'Aes Triplex' which supported Planxty on their debut.
In 1976 he began playing the clubs in and around Dublin and one of his first songs, "Wave up to the
Shore" was recorded by his brother Christy Moore.
Luka sang backing vocals on Christy's album: "The
Iron Behind the Velvet" (1978), and also wrote songs performed by Christy, 'Moving Hearts'
and others. Songs such as: "In the City of Chicago"
and "Remember the Brave Ones". After touring
the UK and Germany in 1977-1978 as a member of Inchiquin,
he then made three solo albums (now much sought after by fans) "Treaty Stone",
"In Groningen", and "No Heroes". In the mid eighties he played with 'Red Square',
a Dublin post-punk/pop band and sang on Christy's "Unfinished Revolution" album (1987).
The famous name change to Luka Bloom occurred this time on flight to the USA. 'Luka' comes from
Suzanne Vega's song of the same name; 'Bloom' is from Leopold Bloom, the hero of James Joyce's
Olympia - Sunday 18th February
With the release of his new album, Keeper Of The Flame. It's hard to comprehend
that it's a dozen years ago that he transformed himself, on a flight from Dublin to Washington D.C.,
from a singer-songwriter named Barry Moore to an itinerant ex-pat troubadour named Luka Bloom.
With a new name and a new, albeit temporary, home, he built a reputation and a fan base,
while commuting via train between D.C. and New York City. He attracted major-label interest
and signed a deal with Warner Bros/Reprise Records that yielded three highly acclaimed
albums - 'Riverside', 'The Acoustic Motorbike' and 'Turf' - and carried his music around the
world. When he eventually returned to Ireland, he was something of a star. He had been
Luka Bloom's 'Keeper Of The Flame' (in which, for the first time in his career, Luka solely
performs the songs of other artists) is about transformation, not simply interpretation.
And that's what his career has always been about.
His audiences learned that Luka was also able to transform the cover material he occasionally
performed. He chose his covers sparingly but wisely, performing and anthemic, clamoured-for
version of The Waterboys 'This is the Sea' and a delicate rendition of Sam Phillip's little known
gem 'River of Love'. Then there
was his startling re-working of L.L. Cool J's rap classic 'I Need Love' in which sexy, streetwise
come-ons set to break beats were turned into romantic bedroom balladry for acoustic guitar,
bodhran and fiddle. His iconoclastic take on 'I Need Love' helped to make 'The Acoustic Motorbike'
one of his most perennially popular releases.
the event guide - 7th - 20th February 2001
|Luka Bloom @ Olympia Theatre, Dublin
Sunday, 18 February 2001
Sunny Sailor Boy
Exploring The Blue
Gone To Pablo
You Couldn't Have Come At A Better Time
Love Is A Monsoon
Don't Be So Hard On Yourself
The Shape Of Love To Come
Make You Feel My Love
Wishing On A Star
I'm A Bogman
Keeper Of The Flame
If I Were A Carpenter
In Between Days
The Fertile Rock
Black Is The Colour
Te Adoro / Black Is The Colour
Cormac Breatnach & Martin Dunlea
The Shelter @ Vicar Street, Dublin - 3 April 2001
CHRISTY MOORE - Live at the Shelter
with Luka Bloom and Glen Hansard
"I was halfway through the third song when I realised there's no point in wearing glasses when I've my eyes closed" joked
Christy Moore, at the start of his performance in The Shelter in Vicar Street recently. Christy, along with Glen Hansard, and Luka
Bloom were all taking part in a Charity Gig and what a night it was. Christy, who hadn't performed in public for a while,
looked relaxed and contented as he took to the stage...
After Christy we were treated to some "flutes and fiddles everywhere" from Conor Byrne and Friends and Luka Bloom
wrapped up the night with a terrific solo set which include 'Sunny Sailor Boy', a version of 'Black Is The Colour' -
"you were singing Christy's version and I was playing my version" he joked. His set also included a selection
of well known cover-versions including 'If I Were A Carpenter', 'Dancing Queen' and the highlight was
undoubtedly 'I Need Love'.
Live Review by Mick Lynch
Leinster Leader - 19 April 2001
Luka Bloom is back for Bealtaine Festival gig
The headline Bealtaine concert at the Red House on Thursday 3 May is sure to be a sell out success.
Luka Bloom, aka Barry Moore, returns to his home town for one night only to perform live in an intimate setting and will
be supported by the recently established Kildare singer/songwriter group...
The concert will feature songs from his 'Keeper of the Flame' album in which Luka performs the hits of other artists. He
chose his covers wisely and has transformed tracks from artists across the music spectrum from rapper LL Cool J to REM to Elvis.
"I decided to use this project to celebrate the work of artists I love," he explained. "Some of this was about
interpreting songs I already knew and felt comfortable with.
Some of it was about challenging myself to perform songs that supposedly came from outside my area, from artists like The Cure,
U2, Radiohead and Abba."
Newbridge - Festival Programme 2001
Headline Bealtaine Concert
Supported by Kildare Singer/Songwriters
Thursday 3 May 2001
Red House - adm £12
Luka Bloom - Keeper of the Flame
makes a very welcome return to Bealtaine.
He will be supported by new singer/songwriters.