SHARON SHANNON
SHARON SHANNON (The Bottom Line, Manhattan)
Melissa Knight
SHARON SHANNON (The Bottom Line, Manhattan)
SHARON SHANNON has become somewhat of an institution, melding styles contexts and cultures of accordion-playing around the globe. Although some may argue that the addition of vocals would give her band a commercial edge, the fact that the quartet remains purely instrumental paves the way for a greater international appeal.
Exploring avenues between classical and rock, the band display possibilities in structure that create an improvisational feel and keep the audience involved. In assemblages like the ‘Madame Maxwell Set’, which includes a classical tune, a jig and a reel, the listener is taken on a journey that glides through space and time.
Although Sharon claims the central spotlight on stage, she is accompanied by equally talented musicians who were each given a chance to unleash some beauteous solo spots. Specifically the addition of Donogh Hennessey on guitar has altered the band’s dynamic. Old tunes like ‘Coridinio’ and ‘Phil Cunningham Set’ are more lively than on the debut albuym and newer numbers like ‘Bunjy Jumpers’ and the breathtaking ‘Mighty Sparrow’ from her newly released disc sound as free-spirited as the song titles themselves.
Having played in New York for the third time this year, Sharon proved she is fully deserving of every bit of the buzz she has generated, from the White House to the Edmonton Folk Festival. Yet despite the stature she has acquired, Sharon’s particular brand of fame encapsulates a desire to remain as lighthearted as her music. In that way her joy becomes contagious.
• Melissa Knight
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