WITH YOUNG DUBLINERS, BRENDAN
Holmes has released eight studio albums
and toured the world alongside such acts as
Jethro Tull and Chris Isaak. More than 16
years after teaming up with singer Keith
Roberts in their adopted home of Los Angeles,
the Brendan and the Dubliners are busier
than ever, averaging 250 shows a year. A
self-taught player with a driving style,
Holmes co-wrote the band’s latest single,
“Rosie,” as well as the fiery instrumental,
“Saoirse,” which features a guest appearance
by guitarist Kenny Wayne Sheppard.
Photo: Madeleine Glindorf
What’s your musical forte?
My forte seems to be writing riffs and
melodies for other instruments. I usually
render them on bass, then they wind up
being played on violin, whistle, mandolin
or guitar. My ideas tend to have Irish themes,
which is odd because I never listened to traditional
music when I was growing up in
Ireland. My primary influences are Geddy
Lee, Pino Palladino, Mark King, Graham
Maby, and Phil Lynott. I learned a lot from
Irish rock bands like Thin Lizzy, Horslips,
and Moving Hearts, who mixed rock and
traditional music to create a new sound.
Which playing techniques work best with
Young Dubliners?
I prefer to play Irish music with a pick,
and I infuse it with a lot of attitude in order
to suite the style. The songs tend to be uptempo
drinking and fighting material, and
I need to get that across to the crowd. Other
material is more mellow, with a pop-rock
feel. Playing fingerstyle is more appropriate
then, and it allows me to throw in a bar
or two of funky stuff now and again, which
satisfies that craving.
Do you have to consciously govern your
bass playing to suit the band?
I grew up playing in a lot of trios, which
allowed more freedom. With the Young
Dubs I have to limit myself to keeping it
simple, straight, and solid. A solid foundation
is a requisite in most music, but it’s
absolutely essential with Irish rock, since
it lends more freedom for the melody.
How do you know when to give the
melody away to another instrument?
I separate the groove-oriented bass lines
from the melody lines in my head. I’ll generally
work on the foundation with the
drummer first, and then try to improve on
that as the work progresses. After hearing
the song’s hook, the melodic juices start to
flow. I’ll render it on bass, and then transpose
it to a corresponding instrument in
the band.
How do you determine which instrument
is most appropriate?
Playing together in unison is very common
in Irish music, so it really doesn’t matter
99 percent of the time.
Do you have any theories about why you
eventually wound up embracing Celtic music?
I guess it must be in the blood, and it
took all these years to tap into. I was surrounded
by traditional Irish music growing
up, so like it or not, it was drilled into my
head. You never know—maybe I’m a sleeper
cell planted by the government that got
awakened 20 years later to help keep Irish
music and culture alive.
HEAR HIM ON
Young Dubliners, Saints
and Sinners [429, 2009]
GEAR
Bass Ernie Ball/Music Man Stingray (with
Hipshot Xtender)
Rig Warwick
TubePath 10.1
head, Warwick 6x10 cabinet
Strings & Picks Dean Markley Blue Steel
(medium), Clayton picks (heavy)
Photo: Madeleine Glindorf