Fleadh Cheoil na hÉireann, established by Comhaltas Ceoltóirí Éireann in 1951, is a significant annual event in Ireland that captures the attention of people far beyond its core audience in Irish traditional music. The seemingly constant growth of the festival over eight decades, only interrupted in recent years by Covid-19, has often created logistical and ideological challenges for the organisation. Some of these challenges can be traced back to the very beginnings of the festival, and, in her new book, Méabh Ní Fhuartháin provides an examination of the first two decades of the event’s development. Despite this historical focus, the story has relevance for a contemporary readership; it encourages us to think about the complexities of the Fleadh today.

Ní Fhuartháin’s book addresses the paucity of in-depth studies on the work of Comhaltas, despite the significance of the organisation. Based on her doctoral research completed in 2011, the book is described by the publishers as ‘the first comprehensive academic study of Fleadh Cheoil na hÉireann’. The Fleadh has not been entirely ignored of course. US scholars Edward Henry and Rachel Fleming have published academic articles on themes of institutionalisation and standardisation with reference to the organisation, and the recent doctoral dissertation of Pamela Cotter foregrounds the Fleadh. A history of Comhaltas, Seachtó Bliain ag Fás: Comhaltas Ceoltóirí Éireann, 1951–2021 was compiled by Mullingar historian Tom Hunt, Philip Duffy published On the Night: Fleadh Cheoil na hÉireann – Musicians and Senior Céilí Band Winners, 1951–2021 in 2023, and some of my own publications have focused on the role of competitions. Reference to Comhaltas also appears in the work of scholars such as Anthony McCann, Geraldine Cotter, Scott Spencer, Jessica Cawley and Colin Harte but, as demonstrated in this book, the Fleadh is deserving of considerable attention in and of itself. This underlines the importance of Ní Fhuartháin’s publication, and her study provides several points of enquiry that not only provide insight into historical contexts but challenge readers to reflect on the ongoing development of the Fleadh.

Heading to the Fleadh comprises seven chapters, tracing the evolution of the event through the 1950s and 1960s. In the first chapter, Ní Fhuartháin details the context for establishing the Fleadh in 1951 and its connection with an established competition, Feis Lár na hÉireann. Decisions such as the choice of rural town and the involvement of individuals who were active members of other Irish cultural organisations demonstrate an emerging philosophy for the nascent organisation, which borrowed from established groups such as Conradh na Gaeilge (competition categories) and the GAA (structures) but quickly established a template for what was to become their flagship event. Critically, Ní Fhuartháin places Comhaltas in a broader historical context supported by reference to the work of historians such as Dermot Keogh, Diarmaid Ferriter and Joseph J. Lee.

The second chapter is dedicated to the first event in Mullingar, acknowledging the three local individuals who contributed significantly – Cáit Uí Mhuineacháin, Eamon Ó Muineacháin and Philip Mullaly. Like the Fleadh today, the interplay between the local figures and enthusiasts from beyond the locality was an important aspect of the event. The role of uilleann pipers Leo and Tom Rowsome and the Dublin Pipers’ Club is acknowledged, and their association with Westmeath piper Willie Reynolds is a factor in the choice of Mullingar as the location for the first Fleadh. There is a strong sense that it is the network of musicians from different parts of the country that lay the foundations for what the Fleadh would become. Ní Fhuartháin’s engagement with the programme of events for the inaugural Fleadh demonstrates the ambitious suite of events of which competitions were only one element. Although significantly larger today, many elements of the first Fleadh – such as competitions and concerts – remain central to contemporary events, while others, such as public lectures and tableaux (or occasional pageants), have appeared only sporadically in fleadhanna programmes since then.

Chapter 3 develops a quicker momentum as it engages with events in Monaghan (1952), Athlone (1953), Cavan (1954) and Loughrea (1955), demonstrating how the Fleadh became established, increasing the number of competitions and ancillary activities. Two important themes begin to emerge: a consideration of local or regional aspects of the tradition – such as concertina playing in Clare – and the role of celebrities in concert performances. In addition to Leo Rowsome (uilleann pipes) and Máire Ní Sheaghe (harp), Ní Fhuartháin notes the inclusion of baritone Leo Maguire, whose performance style and repertoire may be perceived as ‘at odds with the ethos of the Fleadh, but one that persists at early Fleadh concerts’ (p. 29). Both of these themes remain relevant to the Fleadh today. For example, particular playing styles sometimes appear to be favoured in competitions. In addition, media companies tend to seek the largest possible audience for televised productions by selecting artists with celebrity profiles who may not be immediately identified with the aesthetics associated with the Fleadh.

Ennis and Dungarvan
Ní Fhuartháin turns her attention to the role of the Fleadh in place-making in Chapter 4 with an appraisal of Ennis (1956) and Dungarvan (1957). Such was the success of Ennis that Dungarvan is often seen as a failure in comparison as the expected crowds did not materialise. Ní Fhuartháin provides some balance, highlighting a number of positive developments in Dungarvan that were culturally important, such as the running of the harp competition and an increase in the number of competing musicians. This highlights the questions of who the Fleadh is for and what it hopes to achieve, contributing to a thread throughout the book that considers ‘the divide between commercial and cultural concerns’ (p. 192). Established as a cultural movement by people passionate about reviving the tradition, the Fleadh quickly attracted a broad audience, even if the numbers in Dungarvan were less than what was expected, and this presented challenges for organisers that are explored in more detail in the final chapter.

The diversity of people involved in the Fleadh results in different viewpoints and beliefs related to Irish traditional music. An example explored by Ní Fhuartháin relates to disagreements around the inclusion of set dancing. At the time, only céilí dances approved by the Gaelic League were permitted, owing to the perception of set dancing as a foreign practice among the upper echelons of cultural nationalism, in stark contrast with its popularity in Clare. Special dispensation was granted in Ennis to permit set dancing at some of the céilithe, but Ní Fhuartháin articulates how the episode demonstrates a top-down approach to managing (and reinforcing invented) traditions, influenced by efforts at nation-building without respect for local practice and distinctiveness. Ní Fhuartháin’s witty but analytical writing style is effective. She states: ‘Set dances would be quarantined at two indoor céilithe (and one outdoor as well) thereby minimising dancing contagion’ (p. 86), but when the set dancers continued their dancing outside one of the halls, hosting a ‘fíor céilí’ (‘true céilí’), the author recognises that ‘The dancers at the edge challenged the nationally sanctioned fíor céilí dancing and articulated kinesthetically an alternative local identity.’ (p. 88)

Clare is often referred to as the ‘home of Irish traditional music’ and Ní Fhuartháin presents insights into how the Fleadh contributed to the establishment of this trope, expanding on the evidence presented in Chapter 4 with an extended focus on Robbie McMahon’s ballad ‘The Fleadh Down in Ennis’ in Chapter 5. The song reflects many of the conversations had by people after each Fleadh, questioning the merits of the host town, the quality of the music, the validity of the results but, as with McMahon’s ode, reflecting on who was present:

The Macks of Crusheen and sure all the Mulkeres;
The Mike Preston Trio and Martin Mulhaire
Not forgetting the Mister Joe Leary.

Ní Fhuartháin points out that these songs and stories are important in communicating and shaping an identity for the Fleadh.

‘The Right Kind of Traditional Music’
For many people within Comhaltas, particularly younger members, ‘the Fleadh’ is almost synonymous with competition. As an adjudicator, I read Chapter 6, ‘ “The Right Kind of Traditional Music”: Adjudication at the Fleadh’, with interest, reflecting on the challenges and developments regarding adjudication and competition in previous iterations. Ní Fhuartháin critiques the importance of competitions as a ‘tool for ascribing worth to Irish traditional musicians and the broader community of practice’ (p. 30), which invites informed consideration of the role of the Fleadh today. Competition success at Fleadh Cheoil na hÉireann remains a prestigious accolade and can be found in the biographies of many (semi-)professional musicians. Chapter 6 provides examples of different views on competitions from individuals, including Tomás Ó Canainn and Ann Mulqueen, competitors who maintained prominent profiles within Comhaltas over several decades. Mulqueen reflects on different adjudicators, favouring some but noting, ‘When I’d see Bean de Brún, I’d run, because I’d have no chance with her, no matter how I’d sing’ (p. 134). Such sentiments are still voiced and reflect both the power and subjectivity around Comhaltas competitions.

The chapter raises questions about how competitions impact on the performance style of Irish music and song, the processes of standardisation, and attitudes of and towards adjudicators. Ní Fhuartháin provides several examples including a discussion on the playing styles of button accordion players Paddy O’Brien and Joe Burke, whose success in early competitions led to an imitation of style that remains evident at the Fleadh today. Noting the difficulty in sourcing suitably qualified adjudicators, Ní Fhuartháin gives examples where decisions were challenged, including one instance with fiddle player Josephine McCreesh, better known as Josephine Keegan who went on to have a stellar career in Irish traditional music. There is also discussion around the need for guidance for adjudicators, something that the organisation has continued to develop. Despite the reservations of musicians, including Peadar O’Loughlin in relation to competitions from as early as 1954, the quantity of competitors and status ascribed to winning an All-Ireland title seems to continue to the present unabated.

While the competitions can dominate the minds of some, for the majority of the crowds that attend the Fleadh, it is the festivities and what happens on the streets that are foremost in their experience. As a regular Fleadh attendee, and somebody who has been involved in the organising of a Fleadh, I read with interest about efforts to facilitate and encourage the playing of Irish traditional music in public spaces including setting out wooden platforms in Clones and encouraging trios and céilí bands to perform outside of competitions. In Chapter 7, Ní Fhuartháin draws attention to the challenges that the large attendances and behaviour of attendees bring, referring to newspaper reports and other evidence that elicited a negative attitude towards the Fleadh in the 1960s. That the Fleadh overcame these challenges and continues today with seemingly ever-increasing audiences (now virtual as well as physical) is testament to the efforts put in by so many people over a long period of time.

Throughout the book, Ní Fhuartháin demonstrates the ongoing conflict between a desire to revive the tradition but also manage the crowds who attend the event, and between the performance of distinctive and standardised aspects of Irish musical culture. She identifies stakeholders in a ‘cultural tug-of-war, among them Comhaltas and newer constituencies of Fleadh goers’ (p. 192), which harkens back to debates in Irish traditional music that were articulated in the 1990s through the Crossroads Conference and River of Sound television series. These themes continue to be foregrounded in discourse on Irish traditional music and the Fleadh represents an intricate case-study that requires detailed consideration with recognition of historical circumstance. Skilfully critiquing a broad range of scholarship on Irish traditional music, drawing on international comparisons, engaging with archival sources, and through many interviews, Ní Fhuartháin brings together important insights on Irish musical culture through a focus on the origins and development of Fleadh Cheoil na hÉireann that informs our understanding of the event in the present.

Heading to the Fleadh: Festival, cultural revival and Irish traditional music 1951–1969 by Méabh Ní Fhuartháin is published by Cork University Press. Visit www.corkuniversitypress.com.