By Seán Potts

Shortly before the shadow of the pandemic fell, I was invited to conduct a live interview with Seán Keane as part of Na Píobairí Uilleann’s Notes & Narratives series. A lifelong musical hero and a close family friend, it was a brilliant opportunity to explore the musical mind of one of the country’s outstanding artists, a fiddle player of exceptional ability who blazed a trail as a solo performer, with The Chieftains and with contemporaries like Liam O’Flynn and Matt Molloy.

Excited, I was equally daunted. This was no ordinary interview. Seán Keane was man of very few words; he let his music speak for itself and that’s the way he liked it. What he said mattered but public speaking, particularly when the topic was himself, was not his thing. Any question, particularly one that probed in any way, was likely to be guillotined by “ah sure you know yourself,” a common Keane riposte.

So I set about doing some homework and called to see ITMA’s then newly-appointed Director Liam O’Connor, a musician for whom Keane was singularly inspirational. My initial intention was to pick Liam’s brain about Seán, but he quickly steered me explore the non-commercial recordings of him housed in the Archive’s collections.

Just how extensive the material relating to Seán Keane turned out to be was a revelation. Within a few days I realised there was well over six hundred non-commercial recordings of Keane in ITMA dating back to the 1960s. The recordings reflected his own exceptional musical journey, from his teenage years playing with Bridie Lafferty on the piano, with his brother James, to his breathtaking performances in the 1970s and 1980s at various folk clubs, in the old Pipers Club, in sessions, in Miltown Malbay.

Animated by the findings I shared my enthusiasm with Liam O’Connor who, without hesitation suggested that we apply for an Arts Council commission and make a film of Seán; he was in good form, he had entered a reflective period in his life in retirement; the recordings in ITMA would form critical part of the production.

I called out to Rathcoole to Seán and Marie to prep for the interview and I informed him of the voluminous body of his recordings; he smiled recalling the many microphones thrust in his direction every time he took out the fiddle. I hinted at a possible documentary, he let it slide but didn’t say no.

The interview in NPU was a wonderful experience but one quickly tempered with the news that the health of Seán’s beloved soulmate Marie had deteriorated. She died in March 2020, with the world in lockdown. Seán was bereft. In an empty church, he requested that the great air, The Bright Lady, and jig The Humours of Ennistymon would carry her to her resting place.

Broken-hearted but supported by his loving family, Seán persevered and slowly found his way back to the fiddle and playing a few tunes with friends.

With support from the Arts Council, ITMA put plans in place to record a documentary film of Seán as part of the Portrait of an Artist series. Liam asked that I produce the film and we engaged fiddle player and director Dermot O’Hanlon and piper and editor Maitiú Ó Casaide to create the work. Both were thrilled with the chance to capture Seán and celebrate his wonderful musical life. The interviews with Seán were followed by an impromptu session in the kitchen in Patrick’s Crescent. Nothing contrived, just the way it was with this master; a glass of stout and a few tunes.

In July 2022 we had the enormous privilege of screening Seán Keane: A Portrait of an Artist at Scoil Samhraidh Willie Clancy for Seán and his family. The programme was dedicated to Marie’s memory, the event was deeply poignant and beautifully joyous. Typically reticent, Seán remarked that the film was “proper.” Any semblance of pretentiousness was quickly expunged; his sources of inspiration were traced and endorsed. The music of his parents, his youth and immersion into music, the 78s of Coleman and Morrisson, his association with west Clare, John Kelly, Patrick Kelly, Willie Clancy, the Donegal fiddling of John Doherty, Sliabh Luachra’s Pádraig O’Keeffe and Denis Murphy and the great Scottish fiddle music of James Scott Skinner, introduced to him by his lifelong friend Mick O’Connor. His career with The Chieftains and his collaborative work with O’Flynn and Molloy were celebrated in his own words. He spoke of his formative years, playing with the Castle Céilí band and Ceoltóirí Chualann with musicians like Michael Tubridy with whom he also shared a platform for many years with The Chieftains. 

One critical aspect of the film was that it shone a light on the incredible body of music Seán has bequeathed to us, alongside his brilliant commercial work. This treasure trove of non-commercial recordings, deepens the appreciation for this towering artist.

However, less than ten months after that great celebration in Miltown, Seán died suddenly. His family’s devastation was shared by those who knew him, loved him, cherished his artistry and his incredible interpretation of the music he inherited.

To honour his legacy, Seán Keane: A Portrait of an Artist, was re-edited to include greater historical footage and commentary from the musicians who mourned his loss and contextualised his importance. It will sit for future generations to explore the life and music of this great figure.

He set an artistic bar at a frighteningly high level yet never lost contact with roots and source; he couldn’t, it was the old music that continued to inspire his art.

As the second anniversary of his passing looms, please enjoy this small selection from the outstanding non-commercial recordings in ITMA.

Seán played, as his brother James remarked, without a safety net. The result was always exhilarating.