Mike Hanrahan Gigs





previous gigs

Oct 18th Clare Library

Oct 21st The Garden at Sage Middleton

Oct 28th Bobs Durrus Laois

Dec 18th. Glor Ennis Charity gig


Stocktons Wing gigs and live album release 2022 TBA



The Headline Agency
Madeleine Seiler
Email: madeleine@theheadlineagency.com
Tel: 01 260 2560 mobile: 087 247 5791


Thurs 18 April Áras Chrónáin Ionad Cultúir, Clondalkin, Dublin 22
Doors 8pm / show 8.30pm. Info: 01-4574847 or gig@araschronain.ie. Tickets: €15 araschronain.ie

Fri. 19 April Triskel Christchurch, Tobin St, Cork
Doors 7.30pm / Show 8pm. Box office 021 427 2022. Tickets €27 triskelartscentre.ie

Sun. 21 April Treacy’s West County Hotel, Ennis, Co Clare
Doors 7.15pm / Support: Fiddle Case 8pm. Stockton’s Wing on stage 8.45pm. Bookings 065 686 9600
Tickets €25 + booking fee in advance / €30 on the door on the night treacyswestcounty.com

Fri. 3rd May The Venue Theatre, Ratoath, Co Meath
Doors 7.45pm / show 8pm. Tickets €25 + €2 booking fee online. Box office 01 689 5600

Fri 10th May Town Hall Galway

Fri 31st Watergate Theatre Kilkenny

FRi Sept 27th Dunamaise Theatre Portlaoise

Sat 28Th Sept Cliften Arts

Fri November 29th Glór Ennis

Sat 30th November Glór Ennis



The Porterhouse
Thursday Jan 24th 6pm (Doors 5pm)

The Norseman
Saturday Jan 26th 4pm (Doors 3pm)

The Old Storehouse
Sunday Jan 27th 4pm (Doors 3pm)


Following the critical success of their reunion tour to celebrate 40 years of Stocktons Wing the band will continue to perform throughout 2018 and beyond. In October 2017 the band were the proud recipients of a prestigious civic reception presented by the Clare County Council at there headquarters in Ennis. It was a momentous occasion and the memory is cherished by band members and their families.
A new song written by Mike Hanrahan “We Had it all” will be released in May 2018, the first Stocktons Wing release for many years and plans are in place to record a new CD before the end of the year. Meanwhile a series of shows have been added around Ireland for the coming months.

The line up includes:
Mike Hanrahan (vocals & guitar), Paul Roche (flute & tin whistle), Tommy Hayes (percussion, bodhran, spoons), Tara Breen ( fiddle) and Karol Lynch on (banjo & mandolin)

Stockton’s Wing began their career in Ennis sometime in 1977 with Kieran Hanrahan on banjo, mandolin and harmonica, Paul Roche on Flute and whistle, Maurice Lennon on fiddle, Tommy Hayes on Bodhran, spoons and bones and Tony Callinan on guitar and vocals. The name Stockton’s Wing came from a Bruce Springsteen song, “Backstreets” from the album “Born to Run”. “ Slow dancing on a moonlit street at Stockton’s Wing, where desperate lovers park to meet the last of the Duke Street Kings.”

The band signed a deal with Tara records after winning the Trad section of a music contest in Limerick. A group called U2 won the rock section.

Stockton’s Wing first album, produced by Clareman PJ Curtis received rave reviews from national and international press.

Singer/songwriter Mike Hanrahan replaced Tony Callinan in 1979. Mike had spent the previous few years with singer Maura O’Connell in Tumbleweed. In 1980 Stocktons Wing released their second album on Tara “Take a Chance”. The album featured some original music and marked the arrival of a progressive, creative and original force into the world of Irish music. Following the success of the album, they toured extensively, creating a storm of enthusiasm at major Folk Festivals across Europe.

At Ballisodare Folk Festival in the west of Ireland, they met with Australian, Steve Cooney, who joined forces shortly afterwards, playing bass guitar and didgeridoo.
In 1982, the Band released their third album "Light in the Western Sky" - a highly polished album which represented a significant shift in their musical direction, focusing more on the band's creative original material. The album featured two hit singles, written by Mike Hanrahan, "Beautiful Affair" and "Walk Away." It also featured a haunting composition "The Golden Stud" a combination of Aboriginal and Irish music. The album was produced by PJ Curtis. It is regarded by many as one of the great innovative recordings in Irish music.
They signed to an American agency and toured extensively throughout the states playing theatres and major music festivals. After listening to the band, a critic for the New York Times wrote: “they were eclectic, electric, passionate, personal, innovative and powerful.”
In 1985, a live album “Stockton’s Wing Live-Take One” was recorded in Galway and Dublin. Produced by Bill Whelan and it certainly captured that ‘eclectic, electric’ sound.

Tours of America, Canada, Europe and Australia kept the band away from recording studios until the autumn of 1986 when they recorded their fifth album “Full Flight”. The album contained no less than four hit singles “Why Wait Until Tomorrow”, “Avondale”, “New Clare Revival” and “So many Miles”. Their sixth album, “ Celtic Roots Revival” produced by Steve Cooney received critical acclaim in America where the group continued to headline major music festivals.

In the summer of 1988 they shared the stage for both nights with Michael Jackson in Cork. The following year they made a guest appearance with Sammy Davis Jnr. in Dublin as part of his world tour with Frank Sinatra and Liza Minnelli. In 1990 Stockton’s Wing went on location to take part in the Noel Pearson/Jim Sheridan film production of the John B. Keane play “The Field” which featured Oscar nominee Richard Harris and John Hurt.

Beautiful Affair was voted into the top 75 songs in the history of RTE radio, and Today FM voted the song no 7 in a top 20 all time poll of Irish songs.

In November 2003 Stockton’s Wing held their first reunion concert in their hometown of Ennis, Co. Clare, which was a huge success with over 1200 people packed into the West County Hotel. In the words of the band’s producer PJ Curtis “what an extraordinary, amazing, mind-blowing concert the Wing delivered last night. I’m still spinning from it. It was TRIUMPHANT! No other word for it. Such an incredible turn out… and the music and the vibe, Ronnie Drew too who was pure magic as usual, made it a NIGTH TO REMEMBER!!! It rates as one of the top gigs of the decade for me…”

For further information please contact Madeleine Seiler at 01 260 2560 or 087 2475791

An Evening with Ronnie Drew, Theatre Cité Bleue, Geneva - April 16, 2005

No historian could ever summon up the feel and texture of the nation the way Ronnie Drew does through the course of a ghost-filled evening.

In Geneva last Saturday night, he took us on an unsentimental journey down the last 150-odd years, in humorous yet often touching tribute to the lives of working men and women: from the mass graves of Famine-times through the streets of tenement Dublin; from the newly independent nation's sometimes ludicrous sense of its own Roman Catholic self-importance to the uglitudes of SUV Ireland badly mauled by the Celtic Tiger.

His voice rolls out of a deep place to tug at your heartstrings and alert your ear to something important, stories full of grit and passion, told with remarkable sensitivity when required as in the impeccable rendition of Shane MacGowan's "The Dunes", a chilling evocation of the fate which overcame those who wandered starving among the dunes of mid-19th century Mayo.

Other stories are told with a rollicking, searing kind of jollity which makes familiar anthems like McAlpine's Fusiliers and Dicey Reilly sound as fresh and potent as they must have, the first time he performed them in public with The Dubliners.

It's as if, with the aid of Mike Hanrahan's beautiful guitar, he has been able to revisit these word paintings and painstakingly remove the layers of disrespect shown to them over the years by all the rest of us who have beaten them to death in bars up and down the land in happy singalong mediocrity. (I was secretly glad he did not shame me by delivering my own so-called party piece Monto.)

Ronnie links up all these musical vignettes with the aplomb of an accomplished actor, wryly mining the comedy in his own life and the lives of those who were, and are close to him.

These narrative diversions included a side-splitting account of Ronnie, the not entirely proud father, recovering from a horrendous hangover in the uncomfortable surroundings of Dublin zoo's hot-houses with his young daughter at his side.

Or his sobering account of the fate that befell himself and Terry Woods from the Pogues when they let Barney McKenna attempt to drive them home because he "only had five pints." A hint: it leads into the Auld Triangle.

A shining moment occurs when he transforms himself unannounced into the person of Captain Boyle to deliver the magnificent "What is the stars" speech from O'Casey's "Juno and the Paycock".

His appreciation of literary life in Dublin has a nice cynical undertow thanks to his personal acquaintance with the citizenry of pre-Celtic Tiger Baggot St. and his own frank revelations about the paramount importance of whiskey in those circles. His sincere affection for Behan and Kavanagh comes through in his interpretation of some of their finest songs. Even Luke Kelly could not but have applauded Ronnie's interpretation of Raglan Road last Saturday.

Mike Hanrahan's guitar work provided the perfect foil for Ronnie's voice, particularly on Nora from Sean O'Casey. Hanrahan's own composition Garden of Roses was one of the musical highlights of the evening, a painful but deeply sympathetic evocation of the loss inflicted on victims of child abuse at the hands of the clergy.

The Swiss in attendance may have been puzzled at times but the Paddies working for the UN, the banks, SITA, DuPont, Proctor and Gamble, Immogen and the Red Cross were lost in the music, captivated by the words and transported back home for the evening.

And it was all in aid of a good cause. Euros 5,000 was given April 22 to Stu Flavell, international co-ordinator of the Global Network of People Living with HIV/AIDS and another Euros 1,000 is earmarked for an orphanage in Harar, Ethiopia, pending finalisation of the project proposal.

All in all, it gave a great boost to those of us involved in organizing the event, the Geneva Literary Aid Society formed to support the arts and people living with HIV/AIDS who are estimated to number 40 million worldwide in the greatest public health emergency the world has ever seen with 7,000 to 8,000 people dying every day.

The GLAS web site is in its infancy but you can check it out at www.theglas.org and photos of Ronnie and Mike will be posted there shortly. They have won a new fan base in this part of the world.

Denis McClean

The Irish Times Review- Fintan O'Toole Friday 4th March 2005

There is a lovely sense, in Ronnie Drew's new solo show, of a circle being closed. The folk boom that started to roll in the late 1950s and the theatrical revival of the same era were in some respects intertwined. They gushed from the same wellspring of energy, the same rebellion against the drabness of an increasingly stale official culture.

The Dubliners in particular embodied the relationship. Luke Kelly was married to the founder of the Focus Theatre, Deirdre O'Connell. Ronnie Drew started his career as a performer with the actor John Molloy, and later worked with Niall Tóibín. The group performed, both as actors and as musicians, in Brendan Behan's last, unfinished play, Richard's Cork Leg, in 1972. Tom Murphy wrote The J. Arthur Maginnis Story for them in 1976.

This new show is not, strictly speaking, a piece of theatre, but it does explore the borderlands between folk songs on the one side and theatrical and literary culture on the other.

The world Drew evokes, and from which he himself emerged, is one in which writers and singers shared a common hinterland of story-telling, bohemianism and anti-establishment attitudes. In conjuring it up, he reminds us of the richness of that landscape and the way the shared terrain of music, narrative and performance has been explored by Irish playwrights from Sean O'Casey to Behan and from John B. Keane to Murphy.

The evening is loose, relaxed and intimate. Accompanied only by the often exquisite guitar work of Mike Hanrahan and against a changing backdrop of monochrome photographs from the National Photographic Archive, Drew talks, recites, reads and, of courses, sings.

The spiel is an engaging mix of personal anecdotes from his own drinking days, poems by Paul Durcan, Brendan Kennelly and James Joyce, and reminiscences of the likes of Behan and Patrick Kavanagh. The songs are chosen with the innate good taste that has made Drew such an immensely influential figure in Irish culture, ranging from the music-hall simplicity of Finnegan's Wake to the surreal wordplay of the Ballad of Humpty Dumpty from Joyce's novel of (almost) the same name.

The latter is one nugget in a seam of literary songs that includes Behan's The Captain and the Kings and Shane McGowan's The Dunes that highlight Drew's unique mixture of the rough-and-tumble street singer and the sophisticated artist.

It is, above all, his voice, that volcanic rumble from somewhere near the centre of the earth, that holds together what might otherwise have been a scattered series of reflections.

The voice is in great shape: the advantage of sounding ancient when he was still in his 20s is that he still sounds the same now that he is edging into his 70s.

In the course of a very funny anecdote about one of his encounters with Kavanagh, he remarks of himself that he is not a conventionally fine singer but has "a storytelling kind of voice". This sums up the reason his show hangs together so well. The transition from speaking to singing is just a shift of register between telling stories with and without tunes.

The voice, sweet as paint-stripper and smooth as sand-paper, also makes nostalgia impossible. Even if he tried to be sentimental - and he doesn't - it would come out sardonic. Anyone else telling yarns about Behan and Kavanagh would almost inevitably be sucked into the swap of rare-oul'-times Dubbalin melancholy. Drew's tone whether singing or talking, is so dryly mordant , however, that the anecdotes retain their sting.

He has, besides, the right to tell these stories. He knew these people, and he himself occupies the same semi-legendary space of half-remembered, half-invented stories that the city has created around their memories. He tacitly acknowledges this by weaving stories about himself into the fabric of tales about the dead writers.

For funny, engaging, entertaining and absorbing as it is, An Evening with Ronnie Drew is also a chance to encounter a genuine national treasure.

Anyone over 40 will relish the chance to meet one of the genuine heroes of Irish popular culture in such an intimate setting. Anyone under 40 should go along to learn that even without Elvis we had our own rock and roll.



"Drew paints a Dublin picture" (Irish Echo, 8-14 December 2004)

At the start of this past Sunday's matinee performance of "An Evening with Ronnie Drew" at the Irish Arts Center, the star neglected to plug in the cord that powers his electric guitar.

Drew's performance partner, Mike Hanrahan, jumped to his feet and remedied the situation. It was a nice gesture, but Hanrahan really needn't have bothered. Drew has sufficient natural energy to drive the show he and Hanrahan will be doing through this coming Sunday, without additional help from Con Ed or anybody else.

The key to Drew's considerable clout as a performing artist involves at least two of his dominant attributes: authenticity and honesty.

Born and raised in Dun Laoghaire on the south coast of County Dublin, the singer, guitarist and tale spinner reflects the city that made him, from his harsh Dublin vowels to the candor which reverberates in virtually everything he says and does, whether he's reciting a sardonic poem by Paul Durcan or giving the audience his version of a song by Shane MacGowan.

The Durcan stanzas describe, with considerable bitterness, the social snobbery the poet feels has accompanied the arrival of the Celtic Tiger in Irish life. It's a point of view with which Drew appears to agree without qualification.

The MacGowan song leads him into a pungent anecdote about a noontime concert in which The Dubliners, the celebrated group of which Drew was a pillar for more that three decades, shared a Dublin stage with the Pogues, the aggregation of which the rowdy young sister was a part.

Standing ramrod straight through the two halves of his show, each about an hour in length, Drew manifests the intelligence, clarity and articulation which have characterized his performing from the start, whether he's relating a yarn about Brendan Behan's longitude as a housepainter, or sharing details about the life and personality of the Monaghan-born poet, Patrick Kavanagh.

There are glancing references to the years Drew spent as a keystone of The Dubliners, from 1962 through about 1995, with brief acknowledgement of vanished colleagues, Luke Kelly among them. But Drew's show is by no means a career retro, a Dubliner's equivalent to the "and then I wrote," or "and then I did" ventures to which so many American performers seem addicted.

Drew's swiftly paced presentation resonates with the singer's unsentimental view of the times of which he has been a part, and, among other things, with a clear-eyed vision of the changes, positive and otherwise, which have influenced Irish life as the decades have passed. He stands, dressed in black, except for the white cardigan sweater he adds when there's a chill in the theatre. Drew confronts his audiences directly and unyieldingly, as though he expects them to contribute intelligence and perception to equal his own.

Drew is a familiar figure on the Irish music scene, with his well-groomed head of grey hair and his abundant beard, square as a spade, but what intuitive audience members are perhaps most likely to take away with them is the memory of his directness. You get the distinct feeling that not only has he observed, close at hand, the things about which he speaks and sings, but, more to the point, he's thought about them and understood them, deeply and thoroughly.

Very seldom, perhaps at just one or two points in his program, does Drew seem to be performing something because it's expected of him, because it's a song or story that's inextricably connected to his own life. His performance is as literate as it is musical, with reflections and reference to the work and life of such Irish greats as Sean O'Casey, James Joyce and Kavanagh, to name just a few of the artists whose work is woven into the fabric of "An Evening with Ronnie Drew."

Mike Hanrahan, the former lead singer of Stockton's Wing and a native of Ennis, Co. Clare, has been teamed with Drew since 1997, when they joined forces to create "Ronnie I Hardly Knew Ya." The show enjoyed an eight-week run at Dublin's Andrews Lane Theater and then toured Ireland, the Continent, and the United States.

"An Evening with Ronnie Drew" clearly reflects the modesty and lack of pretension which both men manifest, as well as the respect and affection they so obviously feel for each other as creative artists and as performers.

There is a kind of darkness, a kind of poignant sobriety to much of what Ronnie Drew and Mike Hanrahan have chosen to perform, along with the brisk and bright recollections. Their choices include reflections about loss and death, and even touch upon subjects as risky as sexual abuse involving the clergy.

The program the pair have constructed is all the more powerful for the intelligence and courage with which they have assembled it.




"Drew's Rare Auld Times" (Irish Voice, 8-14 December 2004)
Review by Ronan Creaney

Drew's two hour show is a throwback to a Dublin and a style of performance that is slowly disappearing from the landscape. How many of today's "artists" could regale an audience with comedy, story telling, literary anecdotes and social commentary and still come out with the line, "I'm not really known for my voice!"

Drew is joined on stage by Mike Hanrahan, formerly of Stockton's Wing and one of Ireland's foremost songwriters. Hanrahan's musical skills on the bodhran and guitar expertly blend with that unique, gravelly singing style of Drew.

That the two spend a large part of the performance chatting only adds to the show's experience. The audience is given a crash course, a who's who of Irish literary characters, interlaced with little sound bites of the Ireland and world of the time. The politically correct brigade obviously hasn't managed to gain access to Ronnie yet. Thank God. He takes audience members to "The Dunes" of Connemara with Shane MacGowan and a lament for all the poor famine souls who couldn't afford a proper burial. General O'Duffy's blue shirts get a mention as does the other general, Franco.

Brendan Behan turns the tables on a famous U.S. talk show host. Patrick "Paddy" Kavanagh advances the education and bank balances of some eager American students.

The story that best defines Drew and the performance revolves around his first and only foray into the world of "pensionable jobs." During the course of his tenure and the telephone exchange he had the privilege of chatting with the minister for communication's rather proper wife.

This turned out to be Drew's last day on the job. We are all the better for it.

The heart of this performance is the music. Ten years removed from his long time group the Dubliners, Drew is still a powerful entertainer.

Old favourites like "The Auld Triangle" and "Mc Alpine's Fusiliers" are included in the set, as is a touching rendition of "Raglan Road," a tribute to his old friend Luke Kelly.

The beard might be a little greyer, but the Drew wit is just as sharp and the voice just as unique. Excusing himself to clear his throat, he explains that a matinee is not the ideal performance time for his voice. "I'm normally only getting out of bed at dis time," he jokes.

The intimate setting of the Irish Arts Center, long an oasis for Irish culture in New York, provides the ideal platform and the perfect Seisiun atmosphere for this two man show.

Ronnie Drew and Mike Hanrahan represent a style of Irish entertainer that we less see and less of today. Coming from Dublin, maybe I'm biased. Coming from Ireland I certainly am.

Go see this show while the opportunity is still there. Ni bheidh a leithid ann a

"An Evening with Ronnie Drew and Mike Hanrahan" (Irish Emigrant, 6-12 December 2004)
By Gerard Flynn

Wearing a white cardigan and black shirt buttoned up to the collar, former Dubliners front-man Ronnie Drew stepped on to the stage at the Irish Arts Center the other night for a very enjoyable evening of anecdotes and accompaniments with former Stockton Wings' front-man, Mike Hanrahan.

"People say he's a legend," Gabriel Byrne said to me during the show's intermission; he is a legendary part of the original folk movement to come out of Ireland in the 60s; friend of Behan and Kavanagh, he's a chronicler of a Dublin that's for the most part gone.Before each ballad there was the preamble, as Ronnie remembered, among other things from, fellow drinking buddies and balladeers poets Brendan Behan and Patrick Kavanagh.After a few minutes with this man you can see that he's as much a showman and a character as the poets themselves.

Through song and story, this veteran seanachai, chanted and chartered a course through the streets of Old Dublin, Famine Ireland, and the plight of the Irish laborer in 60s and 70s London.

"Mc Alpine's Fusiliers" remembered, with some revulsion, the Irish laborer and his plight in the England of the 50s and 60s and the total lack of tolerance they endured from construction firm founder, Mc Alpine, later made "Lord Mc Alpine" by Her Majesty.

Typical of his charming, and at times controversial, character, Ronnie quipped that Mc Alpine apparently remarked on his death bead, in that awfully aristocratic accent he could muster up, up "Keep the mixer going and Paddy behind it." You had to laugh, as everyone did, at the wry wit of the man.

Through the verse of contemporary Irish poet, Paul Durcan, the irascible Irishman poked fun at the New Ireland and her new elites, the "Fine Gaelers," as Ronnie called them.

The chorus, "We had it all; we had the best of times. We had a life that dreams are made of," delivered half way through the evening really summed up, in song, what the evening was all about, and what it felt like to be there - for myself and evidently for the audience.

It really was an evening of the best times and this veteran and venerable entertainer undoubtedly enjoyed it as much as we did.




2017Gigs with Leslie , Stocktons Wing and Roy Buckley

Mike sings his songs at Sunflower club Belfast April 6th.

Stocktons Wing live gigs to celebrate 40 years of Wing music.

Apr 20th Draoicht theatre Blanchardstown

June 16th Glengarrif Festival

July 8th. Mermaid Theatre Bray

July 20th Munroes Galway

Aug 6th. Ballyshannon folk festival

Aug 18th. West County Ennis Fleadh

Aug 26th Ballykeefe Amphitheatre Kilkenny

Sept 6th Clifden Arts

With Roy Buckley

May1st. Mallow/ Cork

June 6th Blackpool Cork

Mike and Leslie Page

June 15th.Ballina Arts Centre

July 22nd Trim Castle

Aug 19th. Kilkee theatre


Leslie, Clive Luan and Mike play Temple Bar St. Werbourghs church Sat 25th Jan


Stocktons Wing play temple bar trad fest Thurs, Fri and Sunday



Leslie and Mike on nationwide tour from Mid FebFri 17 Gibbon’s Pillar House, 8 Society St, Ballinasloe, Co.Galway
Doors 8pm / on stage @ 9pm
Tickets €20 available from Pillar House 090 96 43939 or contact 087 9046140

Sat 18 Presentation Centre Enniscorthy, Co. Wexford (140 seats)
Doors 8pm / Start @ 8.30pm
For bookings and information contact Emily Whelan
Bookings/info via Wexford Arts Centre:
053 912 3764/ boxoffice@wexfordartscentre.ie
Tickets €18/€16 conc

Thurs 23 Number Twenty Two, South Anne St, Dublin 2
Doors 7pm | Dinner 7.15 onwards | Stage time 9.15
Tickets €17.50 + bf / dinner and show €55
https://www.eventbrite.ie/e/mike-hanrahan-and-leslie-dowdall-live-number- twenty-two-tickets-31156948271

Fri 24 Sirius Arts Centre, The Old Yacht Club, Cobh, Co. Cork (80 seats)
doors 8.15pm /on stage 8.30pm
Bookings/info: 021 4813790 / Info@siriusartscentre.ie
Tickets €18

Number twenty Two Dublin







Dec 28th. Cleares Theatre Kilkenny


GIGS WITH STOCKTONS WING to celebrate 40 years

Fleadh Ceoil 2017

Amphiteatre Kilkenny August 26th. 2017


Mike Hanrahan Solo gigs


Tour Dates With Brendan Begley











Previous tour dates from pre 2012

Leslie Dowdall / Mike Hanrahan Tour Dates

Tour opens with Late Late Show RTE on april 13th.

All dates posted on myspace. Click on the space to see all details and listen to the new song LEARNING TO LET GO

Check The Space

APRIL/ MAY /JUNE Dates with Leslie Dowdall


13th The Late Late show RTE

14th Forum Theatre Waterford

15th Dolans Warehouse Limerick

19th. Colfers Carrig on Bannow Wexford

20th St. Johns Theatre Listowe

25th Moving Stairs Boyle

26th Barrys The grange Sligo

29th The Crane Bar Galway


5th.Bog Lane Ballymahon Longford

10th De Barras Clonakilty

12th Bobs place Kanturk

16th New Music club Clonmel

24th. Glór Theatre Ennis

27th The roundy Cork City


1st The Stables Mullingar

2nd Iontais Theatre Castleblaney

3rd The Flat top Music club Belfast

9th The Corkscrew Cafe bar Gorey Wexford

Tour dates 2006

Fri 8th Sept Wexford Arts Centre Wexford
Tues 26th Sept Book launch The Singer and the Song Easons Dublin

Fri. 13th Cobblestone Dublin
Fri 20th The Brogan Inn Bandon Co Cork
Wed 25th Moate Theatre Kildare

Tues 2nd Clonmel Songwriters festival
Fri 10th Schoolyard Theatre Charleville 087 2530955
Sat 11th Kilworth Arts Centre 0876492514
Mon 13th The Crane Bar Galway
Wed 15th Matt Molloys Westport
Thurs 16th Moving Stairs Boyle
Wed 22nd Meeting Place Middleton, Co. Cork
Fri 24th. The Brogan Inn Bandon Co Cork

Ronnie Drew Dates


Oct 26th with Mike Hanrahan Spirit Store Dundalk
Oct 28th with mike Hanrahan Bray Theatre co Wicklow



Contact Brian Hand brianjhand@eircom.net

New CD El Amor De Mi Vida

Fri 5th May; Millennium Forum, Derry
Sat 20th May; An Tain Centre, Dundalk
Thurs 25th May; Cyprus Ave, Cork
Fri 26th May; Music Factory, Carlow

Sun 4th June; An Tostal Festival Drumshanbo Leitrim

Thurs 8th June; Market Theatre, Armagh
Fri 9th June; The Patrician, Carrickmore
Sat 10th June; Mullingar Arts Centre

Fri 16th Sat 17th June Gallowglass Theatre, Clonmel

Sun 18th June; Airfield Arts Centre, Dublin
Mon 19th June; Roisin Dubh, Galway

Sat 24th June; Ardhowen Theatre, Enniskillen
Thurs 29th June; Friarsgate Theatre, Killmallock, Co. Limerick
Sat 9th July; Ramour Theatre, Cavan
Sat 15th July; An Glor, Ennis
Sat 22nd July; Dunamaise Arts Centre


Aug 3rd Mitchelstown Festival

Aug 4th oldcastle Festival Co. meath

Aug 5th. Enniscorthy

Aug 6th Cahirciveen Festival

Aug 9th Hawkswell Theatre Sligo








The Legends of Irish Folk in Ireland with Finbar Furey, Ronnie Drew, Paddy Reilly and Johnny Mc Avoy

Contact Brian Hand brianjhand@eircom.net

Aug 24/25/26 Cork Opera House

Aug 28tu Sept 2 Gaiety, Dublin


Live CD ---- available on line

What you Know ---- available on line

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