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get Zoe to do a song?

She moves through the fair by Sinead O’C (or Anne Briggs)- invert the male Gaze scene (like in good fellas)..where Bridget is staring at Michael ...or over the wedding

Nalle

Lisa O'Neill

Katie Kim

Lankum

Hurdy Gurdy

A Bhean Úd Thío by Dúlra featuring Caitríona O'Leary

“The distant waterfall” - fairy song mentioned in the book Celtic twilight by Yeats.

- [ ] Exploring the story behind trad songs https://www.youtube.com/@eugenedunphy167

She moved through the fair.

First collected in Donegal and published in 1909.

Black is the colour

Thought to be from Britain or ireland.first collected in the United States by English folk song archivist Cecil Sharp in 1916 from a Mrs. Lizzie Roberts in North Carolina and published in 1917. Although the original melody was different. John Jacob Niles created a new melody for it between 1916 and 1921.

TRAD SONGS

“The Rocky Road to Dublin” was written in 1867. The lyrics were written by D. K. Gavan (Dan Donovan Gavan), an Irish poet and songwriter. Always.

The Irish Rover

Ireland (widely sung across Ulster and Munster).

Comic narrative about an absurdly grand ship and its misadventures.

Whiskey in the Jar

Ireland (Munster, especially Kerry/Cork).

A highwayman robs an officer and is betrayed by his lover.

The Rising of the Moon (1860s)

Ireland (nationalist ballad tradition).

A call to rebellion, recalling secret mustering before an uprising.

The Wearin’ of the Green

Ireland (Leinster associations).

Lament and protest song about persecution for Irish identity.

Paddy on the Railway

Ireland (urban/working-class Dublin tradition).

Humorous song about Irish labourers working on British railways.

Finnegan’s Wake (1850s)

Ireland (Dublin).

Comic song about a drunken hod-carrier who “comes back to life” at his wake.

The Jug of Punch

Ireland (various regions).

Light-hearted song about drink, flirtation, and everyday pleasures.

“The Croppy Boy” (Munster; late 18th / early 19th c.)

Often sung briskly despite its subject: a young rebel betrayed and executed after the 1798 Rising.

“The Kilkenny Recruit” (Kilkenny; late 18th c.)

Comic, jaunty marching song about enlistment that masks coercion, class pressure, and brutal military life.

“The Shan Van Vocht” (Munster associations; 1790s)

Lively melody with coded political meaning about rebellion and hardship under British rule.

“Johnny I Hardly Knew Ye” (Munster, especially Kerry/Cork; early 19th c.)

Fast, catchy tune describing a soldier returning mutilated from war.

“The Bold Fenian Men” (Munster performance tradition; 19th c.)

Energetic song recounting imprisonment, exile, and executions of rebels.

“The Nightingale” (Munster variants; 19th c.)

Bright-sounding courtship song that ends in abandonment or betrayal.

“Pat Murphy of Meelick” (Munster; 19th c.) Comic tone covering violence, faction fighting, and sudden death.

TIPPERARY

“The Tipperary Races” (19th c.) Upbeat, catchy melody about a horse race; underlying commentary on gambling losses and social rivalry.

“Cill Chais” (Kilcash) (18th–19th c.) Often sung briskly despite mourning the decline of the Butler family and ancestral home—joyful tune masking sadness.

“Sally in Our Alley” (sung in Tipperary variants; 18th–19th c.) Cheerful melody; lyrics sometimes involve betrayal or heartbreak, giving a dark undercurrent to the jaunty song.

“The Galtee Mountain Boy” (later 19th c., Tipperary/Munster) Energetic rebel song recounting betrayal, capture, or execution of insurgents.

PAGAN

“The Green Man” / “Green Man of Kilkenny”Celebrates the archetypal figure tied to fertility, vegetation, and seasonal cycles.

“Samhradh Samhradh” (summer-song variants)Songs marking seasonal festivals like Beltane or Lughnasadh, with ritual and fertility overtones.

“The Hag of Beara”Mythic figure associated with sovereignty and the land; some versions emphasize cyclical life and death motifs.

“The Morrigan” / Songs about Cailleach Energetic storytelling songs that reference war goddesses or death-bringers from Celtic mythology.

“Buachaill Ón Éirne” (traditional melodies often carry underlying mythic symbolism)While ostensibly about a boy or pastoral life, some lyrics echo Pagan lore or seasonal rites.

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