Comhaltas Barry Cogan
Comhaltas Barry Cogan
At one point in the evening, Sinéad and I looked around the room, then at each other, and realized that almost everyone else there had an instrument except us.
The host already had a mandolin in his hands. Someone else pulled a banjo from its case. Another person came in with uilleann pipes. After that came a flute, tin whistle, guitar, bodhrán, and more than one fiddle. The musicians sat down in a circle.
We had come to a house concert in La Jolla with no idea that a traditional music session would follow.
The evening began with a shared meal, though it was for the concert itself that we had come. The woman of the house gave us a warm welcome and offered us her own place on the couch, where we squeezed in close together. That was the kind of gathering it was: informal, generous, welcoming.
Brian Conway was the main musician that night. He was on the West Coast to promote a new album. Máirtín de Cógáin, a musician and storyteller from Carrigaline in County Cork, who has been living in the United States for the past twenty-three years, helped to organize the concert. He knows Brian and had played with him before. He invited us to attend the concert, and we gladly accepted.
Conway is no ordinary fiddler. He was born in the Bronx, and is widely regarded as one of the leading exponents of the Sligo style in America. He first learned from Martin Mulvihill and Martin Wynne, and Andy McGann also had a major influence on him. He spent his working life as a prosecutor. Now, in retirement, he devotes himself completely to the fiddle, as a teacher and musician.
In the first half of the concert, it was just Brian and his fiddle before us. He played in the Sligo style handed down from Michael Coleman. He drew beautiful tunes from the instrument, some lively and spirited, others quiet, almost wistful. He moved between tunes from his teachers and pieces he had composed himself.
Between tunes, he spoke about his life, about the Irish-American tradition, and about the musicians who shaped him. It was clear how deeply he respected his teachers.
In the second half of the program, the New York fiddler Cate Sandstrom joined him. Their playing was so close that at times it felt as though a single instrument, stronger and sweeter than any one instrument, was playing in the room.
After their music, as we were getting ready to head home, we heard talk of a session that was about to begin.
Anyone who wanted to play was welcome. We thought a few musicians might stay. Instead, the room changed before our eyes. People went out and came back with their instruments. Máirtín sat down and began to sing.
The music gathered around him naturally. After that he took up the bodhrán and played it softly, keeping the rhythm steady without overpowering the other instruments. These were not casual musicians. They had the tunes at their fingertips. This was Comhaltas Barry Cogan, the San Diego branch of Comhaltas Ceoltóirí Éireann, named in honor of Barry Cogan, a prominent figure in Comhaltas, who inspired the founding of the branch through his son, Máirtín. They meet every week for classes and sessions. It was a performance that was tight, confident, and alive. Even the host himself was a strong mandolin player.
A thought struck me. There before us, thousands of miles from home, Irish culture was in full flow. It was there not as a relic, but as something vividly alive.
We came to hear a concert and got far more than that. It was a real pleasure to listen to the session, but better still to take part in it. I will have to attend one of the Comhaltas weekly sessions. Perhaps I will bring a tin whistle or a guitar with me next time.




