My thoughts on the album

What can I say? It's amazing. Just absolutely gorgeous. It's fresh and familiar at once, reminiscent of the earlier albums, yet also new and modern.

This is, in part, due to the new musical director: Daragh O'Toole has a beautiful style that reminds the listener sometimes of Gavin Murphy and more often of David Downes, but is nonetheless original and independent. The songs have a wonderful balance of mostly traditional and folk, but also classical and contemporary melodies.

And the cast – oh! it's just wonderful: Tara McNeill and Megan Walsh are fabulous as always, Muirgen O'Mahony, the newest member, fits in beautifully, original member Chloë Agnew has returned, and Susan McFadden makes a guest appearance, and they feature The Long Johns.

The album's style is very intense, but not overpowering. The orchestrations are intricate, the arrangements for each song are individual, yet fit perfectly together. In many ways, it feels like a modern take on the style of the earlier albums. But let us discuss each song on its own:

The Dawning of the Day has been out as a single for several weeks now, and it has been a perfect introduction to the album, giving us an idea of what it's like, without giving away too much. In the tradition of two of the most beloved Celtic Woman intros, it is a song of dawn, but unlike them, not an original but a traditional. The melody of Fáinne Geal an Lae is lovely, and has been long awaited – and I am, personally, glad they chose to do this version instead of Raglan Road. Both songs have the same tune, yet entirely different energies. That aside, I know there are many complaints about the arrangement being too lush and heavy, and the voices too similar. I disagree on both things. Just because most versions of The Dawning of the Day are very gentle, it doesn't mean that this has to be like them. There is no rule to it, and I like the originality, and find it a perfect way to start an album. That aside, all three voices are perfectly distinguishable, especially Chloë's. The fact that O'Toole is a film composer is obvious, but I think that works well for the group. It is, all in all, simply gorgeous.

Bonny Portmore is the first solo, and it's Megan's. Out of all the songs she had sung with Celtic Woman so far, it is by far my favourite, and it is also one of my favourites on this album. The orchestration is simple and elegant, and Megan's vocals are haunting. It is a pleasure to hear how much her voice has matured, and to hear her use her more classical, warm timbre, which she had sometimes used in group numbers, but until yet not in her solos. The song is just as it should be – a fine example of a traditional, even conventional arrangement that still sounds like no other. There is no fuss, no distraction. It's beautiful.

Mise Éire has also been out as a single for quite a while now. It's one of the songs I had wondered about – it is a poem after all, and I wondered what musical setting they would use. I found the Patrick Cassidy one not fit for Celtic Woman at all, too ethereal, too New Age. But it turned out to be beautiful. The style wouldn't do for a whole album, but it's beautiful for one song, and the solemn tune and serious, political text add substance.

Wild Mountain Thyme is another song that had been expected and awaited for a long time now. And it is also a song that could have been so wrong for them. I am glad it isn't arranged as a ballad – that would be rather sweet, but also a bit dreary – but as a march, which is just perfect. Percussion, pipes, and perfect harmonies. It's a magnificent song, intense and strong, yet graceful. It is easy to see why it is already considered the stand out piece. It's gorgeous and rousing, and I am glad they did it like that. I originally thought it would be the first they'd release as a single, but now I see why they kept it back.

Beeswing is a collaboration with The Long Johns. It's one of the most contemporary sounding song on the album, and it works really well. I wouldn't call it my personal taste for Celtic Woman songs, but as with Mise Éire it's the kind of style that sounds really great for an individual song, even if it wouldn't do for a whole album. It's not as energetic as I thought it would be, but it has a nice rhythm, and balanced solo bits. I'm sure it's going to be very popular, and it keeps the balance of not being a typical Celtic Woman song, yet also not too untypical.

Down By The Salley Gardens might be the song I was most excited about. It's one of my favourite songs, and I was thrilled to find out that Celtic Woman finally did their own version. I initially thought (and hoped) it would be a solo for Megan, and was slightly disappointed when I found out it's not, but I do find Muirgen's version lovely. Megan might have sung it with a bit more ease – some notes seem a tiny bit strained – but Muirgen's sweet and warm timbre work so well with the unusual, a bit cool-sounding orchestration, that I am really glad it's hers. Like Bonny Portmore, it is a delightfully pure and unobtrusive arrangement, yet also original and unique. It's very elegant, calm, and beautiful. Of course, it's one of my favourites. (And it is nice to have such a warm, sweet voice in the group!)

Where Sheep May Safely Graze is another favourite tune that I have been very excited about. I hoped it would be a group number, because I didn't think a violin solo could be truly rousing. And yet it is a violin solo, and – oh, it's just wonderful! The orchestration is beautiful, never overpowering, but strong in itself, and Tara's genius truly shines through. Classical music might be her strongest suit (although she is, of course, always fantastic!) and she her fiddling is so colourful, so warm and lovely. It is a truly exhilarating melody, and the arrangement and performance bring out all that is lovely about it. I am generally fond of Bach, and having such a serene and cheerful piece right in the middle of a rather solemn album feels so right. It might be my personal highlight.

Angel is Chloë's solo. It's another song many fans have wanted them to cover. I didn't. I just don't think it's a good song for Celtic Woman or this particular album, but I do admit they made it work. It's fascinating to hear how much  Chloë's voice has evolved over the years. In many ways, she had grown out of Celtic Woman, hadn't fit their vocal style as much as she did in the beginning, and instead went on to pursue a solo career that suited her adult voice better. Now in this album, she really kept the balance of fitting in with the harmonies, while also keeping her own distinctive sound, and on this track she can really do her own thing. The slight gospel-tone in the background also feels very right.

The Lakes of Pontchartrain is a duet between Megan and Tara. I love that the violinist is always seen as equal with the singers of Celtic Woman, and a song of one vocalist and the fiddler is considered a duet. As Megan's first solo is very heavy and sad, it's nice to have her sing such a light, folksy track. Not that it's happy – not at all – but it has a lighter sound. Tara, too, can flourish. She falls, I think, a little short on most group songs, and often seems a bit overpowered by the backing instrumentals, so I am glad that she has two solos and a duet to truly shine on. It's really a nice song.

May it Be is where Susan appears. It's such an unusual, unexpected version, done so right. I originally expected and hoped for the three-part hamony of the Celebration tour, and O'Toole did choose this arrangement, but made it a solo. And he chose Susan to sing it. For most of her time with Celtic Woman, Susan had been considered the contemporary powerhouse, the Broadway belter so-to-speak. Having her sing such an ethereal piece is a very unconventional choice – and a brilliant one. Susan's light and perhaps a bit thin, but powerful and clear voice works perfectly for it. Maybe even better than on a pop song, or at the very least just as good. May it Be had been sung by so many Celtic Woman members, but this version is so different that it still sounds new.

The Calm of the Day / The Banshee is Tara's second solo, energetic and traditional. I wouldn't call it exactly cheerful, but it's one of the less solemn songs, and one could easily imagine her playing it in a pub or at thc céilí. With her first solo being such a sweet, classical air, it's just right that her second one is more traditional and fun. It is one of the more traditional pieces on the album, and it works well. It is, in fact, interesting to see how the album manages to combine smoother almost cinematic styles with rougher sounding folk music, without sounding uneven or cluttered.

The Galway Shawl is a smoothly moving, folksy waltz. The vocals are lovely, neatly working together, and slightly reminiscent of classic folk singers. Though it has a quiet melody, the lyrics are much happier than most of the album, and the entire song is deeply romantic. It's a modern arrangement, and though that is the kind I usually don't prefer, I have to say it works truly well for this song. Though not particularly exciting, it is a very beautiful, smooth piece, and the arrangement and performance work truly well. Might be one of the hidden gems on the album.

Black is the Colour is the last song, and one day had, like May it Be, done before. Previously a solo, it is now a group song, and it works really well for that. It's a very quiet, calm, not ethereal but very airy arrangement. It's a more modern take on the song, but it takes up the style of Mise Éire and even May it Be, and through that makes it all fit together again. In some ways it feels like a bonus track, but then I guess one might consider it to be one. It is a very quiet, slow ending to an unusual, and interesting album. Very good – I wouldn't say I prefer it to the earlier version, but what's the use in doing a song again, when it doesn't sound differently? It's a good arrangement, and reminds me a bit of Méav's.

All in all, it is a very good album. I always have mixed feelings about new Celtic Woman albums, but that it's how it's supposed to, isn't it? It's always simultaneously the best and the worst they ever did, and it always feels so different from the others, and then, after getting used to it, it really shows that it's another very good, though naturally imperfect album that has its own flavour while suiting the group. It is a bit solemn, almost sad, at times, but it is about Ireland and her history, and it is also their “pandemic release”. But I think it's amazing in its variety and smoothness. The musical styles are very different and capture all styles Celtic Woman do from traditional to contemporary, from classical to film music. It reminds on of the earliest and most recent of the group's albums, and brings new and old members together. And yet, not once does it feel jumbled together or muddled up. It is a great new album for a new era of Celtic Woman music that stays true to their own tradition. I agree that one misses the harmonies at times, and also the strong voice of the fiddle, but all albums have their own weaknesses as much as they have their strenghts, and all albums are in some ways characteristic for Celtic Woman, and in other ways unusual. I think it does remind one a bit of the very first Celtic Woman album, and yet it's very new and fresh. It's good.

They gave Muirgen only one solo? Odd

Why? Megan, Chloe and Susan also only have one solo each. Only Tara has two.

Why? Megan, Chloe and Susan also only have one solo each. Only Tara has two.

To me that's the most fair there for a new album.

I remember Voice's of Angel's Eabha only had Isle of Hope. Sure her next song made it to the Homecoming CD instead.

Remember how ANJ Lisa got 3 solos


4:03 PM

I just love reading your thoughts very Celtic Woman review here!

An album with past and new members .. Oh how I wish.

Coincidence on the Timing:😋
When Alex a musical theater background left CW then they did Believe that was such a musical production.
Susan who also is a top musical theator gal also entered CW right after Believe well suited for her.
When Lisa L left, Destiny came and had the most Irish.
When Eabha left now you have the most haunting ethereal album to date Postcard's of Ireland.

CW solos have rarely been distributed perfectly fairly, but it always worked out somehow. This is one of the more even albums, with one album per singer, two for Tara (who didn't appear in the group songs as much), and then also one duet. Just think the original concert – four solos for Méav and Chloe, three for Órlagh and Máiréad and only two for Lisa.

So, here's a few additional thoughts on the album:
What I like
– The musical style is very classic Celtic Woman, and shares similarities to all or most older albums, and it also reminds one a bit of the early era of Celtic Woman
– Mostly very beautiful song selection, among them three I hoped they'd do, and a favourite melody I never really expected
– Very strong line up, bringing old and new together
– Very, deeply Irish and about Ireland (and not shy about Irish history!)
– Atmospheric and eclectic, whith everything fitting together somehow
– Some very good solos
– Some classical music on the album
– A collaboration that actually worked well
– Arrangements that are at times unconventional but never wrong for the song
– A good balance of the CW genres, with mostly traditional music with a little bit of classical and contemporary
What I don't like so much
– Not many harmonies
– At times bad mixing / bad sound quality
– The whole album is very serious and solemn, though of couse, it's not the first of that kind
– It's extremely short for a CW album
– A few arrangements (Black is the Colour) and song choices (Angel) are just not my personal taste for CW
As for the popular/common opinions
– I agree about the bad mixing
– I disagree that they all sound the same
– I don't think it's any more different from other CW albums than any other album
– I don't think Beeswing should be more upbeat, as the original is a very quiet and serious song, and the lyrics just aren't cheerful (if anything, The Galway Shawl would have worked as a ceili number)
– I also don't think The Dawning of the Day should be more quiet, there's no use in it sounding the same as any other version
– I also wish Susan had been on more songs, but that was obviously not possible, and it's good she had her own solo
– I also think Tara was overpowered at times
– I don't see what's wrong with having a strong orchestra, even when they tour without them. Many previous albums were the same in that respect
– I disagree that it's not as good as other albums. They all have their strenghts and flaws.


I would have originally rather had Down By The Salley Gardens as a Megan solo, and by now changed my mind, but as much as I love Where Sheep May Safely Graze as a Tara solo, this is exactly the sort of song that I'd love as a group number, with pretty harmonies

I disagree too on they sound the same.
Another lineup that had that same same was
Lisa L, Mairead and Susan in soprano harmony
but even they each still have something distinctive
even if a teeny weeny.

Megan's voice is distinctive, Chloe's also I actually think it's by how Muirgen falls in middle as on her solo her voice was very old Chloe with a hint of Megan in soprano.

I suppose Chloe, Meav and Orla were the standout voices on the original. Since it was a one night show I know to be fair had they all jad equal amount of solos then there probably not been room for some group songs. To me Walking in the Air is an opening number but a Chloe song. Also why You Raise Me Up was setup as a Lisa solo on the CD so technically she has 3 solos.

This seems to be David redeemed Lisa on a New Journey with 3 solos and Meav and Chloe and Orla just had 2. Song's from the Heart led missing something more for Alex. She's a mother and Goodnight my Angel with Chloe and Lynn is fine but... Very sad that Alex and Lynn had to have a copyright on only one of their first or second solo.
I guess David knew to balance things out I suppose with Alex more prominent role on The Call and Amazing Grace

I think Destiny is pretty equal for solos same with Believe.

Yes, that's why I only mentioned the DVD. The song balance on the dvds and cds (and various editions) can differ very much. I think the Believe DVD had the best balance – two solos each, and then duets with every combination.

I agree with many of your points Shining: I wish there was greater harmonies, which is what we as Celtic Woman fans come to expect. That's the main reason I wish they had used the tour version of May It Be (the harmonies on the were GORGEOUS).

I actually liked the majority of the solos! Not a big fan of Angel or the solo version of May It Be (not because of Susan, but mainly disappointment that the gorgeous tour version wasn't used); I thought Tara's were the best! Megan sounded beautiful on her solo of Bonny Portmore and I love Muirgen's as well!

I think the main weakness on the album for me was the group numbers. First and foremost, with the exception of Wild Mountain Thyme, the harmonies we're basically non-existent. Now, that doesn't need to occur on every song, but it is expected on most Celtic Woman songs. I actually really liked Wild Mountain Thyme, Dawning Of The Day, and Beeswing. Mise Eire was wonderful in it's haunting quality as well. But tbh, I didn't care much for Galway Shawl and Black Is The Colour. I think they could've gone for more complex harmonies using other songs to make the sound better.

Also, there was no fast tempo song on the album AT ALL (other than Tara's solo Calm Of The Day/Banshee). It doesn't need to be a Ceili/Dancing song. From the OG album, we had songs like Siul A Run, Si Do Mhaimeo, She Moved Thru The Fair; those weren't dancing songs but they were a bit of a faster tempo which gave us a change in the album's pacing.

I think what I miss, rather than a fast number, is a happy one. Only Where Sheep May Safely Graze has a happy feeling, and only The Galway Shawl and May it Be have lyrics that aren't exactly unhappy. Bonny Portmore is sad, but profoundly so, and the same goes for Down By The Salley Gardens and Mise Éire to a degree. But the others? Are so... bleak. But I actually have the same issues with all of Gavin Murphy's albums – even though many songs are upbeat and cheery there, I can rarely find any of them to feel truly joyful. David Downes' albums often had very sad and serious and solemn songs, but there was a happier vibe to them. Still – all three musical directors did and do fantastic work, from a musical perspective. And so do all performers.

Also missing was one song that spoke oh that's so beautiful as a group song. We didn't get any song that bloomed like Voice's of Angel's with My Heart Will Go On or Ancient Land with Women of Ireland. Dawning of the Day is a great opening number staple but yeah that's about it. Which I hoped Wild Mountain Thyme be one questioning how they conquer it differently from The Divina's version. Black is the Color is an odd choice to bring back to me snd unless it's better it can't compete with the Believe one.