BY THE LIGHT OF THE SILVERY MOON

But you've been around the world, haven't you?

Oh, I did so much travelling in my 2030s.

Yeah, I think that's how I kind of fell into storytelling originally was...

You know, I was just travelling with the fiddle and in a lot of countries, particularly India, Australia, New Zealand, they loved the Irish accent and they loved the tunes and the songs.

But I found people, particularly in some of the English speaking countries, were really resonating with the stories as well, you know.

Yeah.

But your fiddle was also a passport to the universe, wasn't it?

Oh, it was, yeah.

I mean, you know, when I was growing up in the 90s, you know, you had Riverdance, you had to start a TG car and go away.

There was so much Irish music, Irish language.

Martin Hayes was doing great stuff, his first album live in Seattle.

Sharon Shannon from West Clare, that first album recorded in Kinbarra.

It was an exciting time.

You know, you had the Saw Doctors out at Chewham, the Stunning were in Galway from Ennis Diamond.

Stunning, you know, the John C.

Wall from Ennis Diamond were up in Galway with the Stunning.

And then you

had the Waterboys that just left Spiddle.

So there was this kind of raggle-taggle, hippie-gypsy kind of thing.

And then I think when the Celtic Tiger got really Celtic Tiger-y and everything got expensive, I somehow hit the road then around 2001, 2002.

You know, I finished college in Limerick.

I

was a qualified, qualified music teacher.

And I suppose I'm lucky to have that because I teach storytelling during the week as well.

But I hit the road anyway in 2001.

But you've been around the world, haven't you?

Oh, I did so much travelling in my 2030s.

Yeah, I think that's how I kind of fell into storytelling originally was...

You know, I was just travelling with the fiddle and in a lot of countries, particularly India, Australia, New Zealand, they loved the Irish accent and they loved the tunes and the songs.

But I found people, particularly in some of the English speaking countries, were really resonating with the stories as well, you know.

Yeah.

But your fiddle was also a passport to the universe, wasn't it?

Oh, it was, yeah.

I mean, you know, when I was growing up in the 90s, you know, you had Riverdance, you had to start a TG car and go away.

There was so much Irish music, Irish language.

Martin Hayes was doing great stuff, his first album live in Seattle.

Sharon Shannon from West Clare, that first album recorded in Kinbarra.

It was an exciting time.

You know, you had the Saw Doctors out at Chewham, the Stunning were in Galway from Ennis Diamond.

Stunning, you know, the John C.

Wall from Ennis Diamond were up in Galway with the Stunning.

And then you

had the Waterboys that just left Spiddle.

So there was this kind of raggle-taggle, hippie-gypsy kind of thing.

And then I think when the Celtic Tiger got really Celtic Tiger-y and everything got expensive, I somehow hit the road then around 2001, 2002.

You know, I finished college in Limerick.

I

was a qualified, qualified music teacher.

And I suppose I'm lucky to have that because I teach storytelling during the week as well.

But I hit the road anyway in 2001.