For over a decade, Solas has been recognized as the most influential Irish-American super group. After a personnel change prior to their last release when Co. Kilkenny-born vocalist Mairead Phelan joined the band, they have reemerged, unified once again. On The Turning Tide, the band delivers the raw instrumental virtuosity, the power, the rhythmic ‘hump’, and the dynamic vocal blend that no other band since The Bothy Band has mastered, and in the process showcases the band at the peak of its power.

The Turning Tide offers well-conceived set of tunes and songs that share an underlying theme of social commentary. It’s not a new idea for the band – past renditions of ‘Pastures of Plenty’ and ‘The Wind That Shakes the Barley’ are core songs in Solas’ repertoire – but it’s a concept that underscores the current mindset of the members of the band. Multi-instrumentalist and founding member Seamus Egan explains: “We’re not trying to preach or make a general statement about the world, it just happens to be the kind of material the individuals in the band have gravitated towards.” Renditions of Josh Ritter’s “Girl The War”, Bruce Springsteen’s “The Ghost of Tom Joad”, Richard Thompson’s “Poor Ditching Boy” and Scottish folk-singer Karine Polwart’s “Sorry” are as topical and engaging as anything Solas has ever done.

Solas is Seamus Egan (flute, tenor banjo, mandolin, whistle, guitar and bodhran), Winifred Horan (fiddle), Mick McAuley (accordion and concertina), Eamon McElholm (guitar and keyboards) and vocalist Mairead Phelan. The Turning Tide is certain to further Solas’ reputation as one of the most important standard-bearers of Irish music.

Review:

Irish-American, Celtic folk ensemble Solas has built its reputation on a winning combination of peerless musicianship and excellent song choices. Like most solid traditional acts, the group breathes life into standards without ripping away their peaty soul, and when it chooses to include contemporary pieces into the mix, they’re treated with the same amount of respect as their elders. On The Turning Tide, the band’s second recording with new vocalist Mairead Phelan, the five members of Solas have crafted one of their most cohesive and spirited sets since their 1996 debut. Opener “Hugo’s Reel,” written by multi-instrumentalist Seamus Egan, sets the stage for a truly innovative collection of clever originals (“Grady Fernando Comes to Town”), choice covers (Josh Ritter’s hear­tbreaking “A Girl in the War”), and traditional pieces (“A Sailor’s Life”) that elevate the group to the highest echelon of modern Celtic folk outfits. In an age where traditional music is often twisted, beaten into submission, and spit out akimbo in a desperate attempt to seem current, bands like Solas remind us that you can be forward-thinking without leaving the past in tatters.
All Music Guide – James Christopher Monger