The modern day power trio Eamonn McCormack, currently on tour across Europe, celebrating the recent release of their critically acclaimed self-titled album with the crowd, keeps pushing the boundaries of blues rock with a heavy and energetic presence on stage. “The band and I are always looking forward to the very first shows, and the crowd never ceases to invigorate us with their welcoming energy and ravenous hunger for ROCK,” the band reflects on switching mode from domestic to roaming: “It’s these first days on the road that put the final pieces to the stage-hungry trio that we are, the puzzle that is Eamonn McCormack. We entered them as a mere gang of brothers united in music. And we’re now looking back at this start – and looking forward to the rest of the ride – as a family made whole by all the rockers, bluesers, folkers, and metalheads who are spending loud and sweaty nights with us!”
Putting a few days off to good use, the band releases their third and final album single ‘Angel of Love‘, along with an atmospheric video. The song could best be described as the ultimate doomsday ballad: Slow and heavy, it paints the apocalyptic picture of a world in demise, fueled by Eamonn’s lingering fear of an all out nuclear war. “I’m really not great when it comes to repressing this fear, so writing songs is my way of coping. The scenario of a potential world war, the fear that it can instill in us… That has changed drastically,” Eamonn ponders: “Previously tucked away in the hearts and minds of people who spent their time in the eighties, and under the burden of the cold war, this fear has now found its way into the psyche of the youngest in our societies, as recent surveys suggest. It pains me to see that Angel of Love now speaks to them, too, and in a way that shouldn’t be!”
The dragging beat, the wailing guitar hammering out notes that just click into place, feeling meaningful and void of artistic posing in a rigorous way, and lastly Eamonn’s haunting voice begging for a shimmer of hope – it all makes for that groove that proves once again: On this album, there’s more to a song than its title may suggest.
Eamonn McCormack on tour:
11 – Hengelo – Metropool NL
12 – Drachten – Induna NL
16 – Straubing – Raven Music Club D
17 – Freudenburg – Ducsaal Musik Club D
18 – Fürth – Kofferfabrik D
28 – Bremen – Meisenfrei D
30 – Braunschweig – Barnaby’s D
13 – Ljubljana – Prulcek Club SL
14 – Zagreb – Booze & Blues Club HA
15 – Udine – tbc IT
16 – Strasbourg – tbc F
19 – Verviers – Spirit of 66 B
21 – Oberhausen – Festival D
27 – Vienna – Reigen Club A
28 – Bratislava – Muzeum Obchodu SLK
29 – Budapest – tbc H
30 – Brno Czech Republic – tbc CZ
6 – Apeldoorn – Blues Cafe NL
10 – Dinxperlo – (Charity) Concert for Dreams NL
20 – Lübeck – Rider’s Cafe D
22 – Dresden – Tante Ju D
Album ‘Eamonn McCormack‘: https://li.sten.to/tkokxbeg
With his brand new record ‘Eamonn McCormack‘, which has been released worldwide on February 3rd, 2023 and is readily available, Eamonn introduces the listener to a supercharged, heavy rocking portrayal of the traveling blues rock artist’s life. Everything on Eamonn McCormack is interconnected: the places he’s seen, the people he’s met and jammed with, the miles he’s covered, and the experience he brought home to friends and family, time and time again.
The result is an album that feels like a handful of rich, fertile soil, composed of the best this planet has to offer. You can’t expose yourself to it without getting dirty, depending on your own definition of dirt: The blues on Eamonn McCormack’s eighth album is certainly not clean.
Neither is the rock, nor the indie folk that Eamonn throws at it. And how could it be, anyway – being found, carried and shaped far off the beaten track that too many norm-abiding, standardizing copycats have already paved and cleaned? This warm, road-dusty record isn’t meant to be seen as a blues tourist’s postcard but as the recollection of a traveller in many respects, a true explorer.
The stories that Eamonn has brought back home over the years are being told in a down-to-earth fashion, interwoven with the gritty mud of delta blues, lush southern American rock, Celtic Irish spirit, Hendrix-infused funk and even the eclectic layering of a quiet, post metal atmosphere, when it’s time to let go.
Eamonn’s blues is known to be unapologetic about his shitting on conventions, and it doesn’t whine as often as blues seems to be expected to do, hell no! Instead, it snarls with gnashing teeth like Clint Eastwood, pointing thick-skinned fingers at shit that never disappoints in pissing the man off. Be it the corrupt gun biz from weapons of mass destruction to the guns in the hands of teens on the streets and child soldiers (‘Living Hell‘) or the insufferable fear of humanity wiping itself out with the push of a button (‘Angel of Love‘).
In ‘Letter to my Son‘ he sits down to warn the boy from falling prey to the temptation of greed, disrespect and hatred. Instead, he encourages his son to make mistakes but learn from them, paving any potential ripples caused with an imprest of generosity and unconditional love. The starkly contrasting story of Geronimo deals with the plight of the Apache native American tribes, illustrating why not enough such letters could be addressed to kids by their passionate parents.
At the other end of the spectrum, the joy of living life to the fullest takes the stage in the dance floor stomper ‘Rock’n’Roll Boogie Shoes‘, while a funky chunk of self-irony grants a glimpse at Eamonn’s humorous side and his smartphone addiction with ‘Social Media Blues‘. Eamonn and his young rhythm department have been called a modern-day power trio numerous times, and songs like these – along with an ecstatic stage presence – could very well be the reason why this is true for the millions of people who visited their explosive shows, uniting hard rocking bikers, blues fans and folk fanatics all under one roof.
And despite all the fame he’s earned breaking the blues charts: Eamonn McCormack will never consider himself too good for kneeling down in awe to salute people that he can’t help but admire unconditionally for their life’s work. His Hats off to Lemmy and Lady Lindy, an ode to the great aviator and pioneer Amelia Earhart, are just two of the raw shout outs he loves to do as tokens of respect or gratitude.
About Eamonn McCormack:
Eamonn McCormack was born in the center of Dublin, the capital city of Ireland, and raised in a North side suburb. He started out on the acoustic guitar at six years of age. Prompted by the acoustic performance of his school classmate Gerry Leonard (David Bowie, Suzanne Vega), his earliest influences included Slade, Cat Stevens, Neil Young and Rory Gallagher. By twelve he was singing along with his guitar and performing at church folk masses.
Soon, finding the church music somewhat restricting, the young teenager acquired his first electric guitar (a Guild Starfire), progressed to lead guitar and joined a local garage cover band prior to playing his first paid gig. By now influences extended to Jimi Hendrix, Eric Clapton, Thin Lizzy and Dutch group Focus. At sixteen, Eamonn performed live on a national Irish radio show. Around this time he also won a major high school competition, performing his own material.
After a short stint playing in various bands throughout Ireland, Eamonn headed off to the USA where he performed extensively. He joined a band in California that was an offshoot from Canned Heat – and JJ Cale once showed up to jam with them. There he broadened his musical horizons, gained vital stage experience and absorbed fresh American music and cultural influences. All this blended together nicely with his strong Irish heritage.
Returning to Ireland after four years traveling and performing in the States, Eamonn’s unique style and sound already began to show, setting him apart from the usual blues rock at that time. He consequently solidified this signature by putting it to the test in an extensive streak of live performances under the stage name Samuel Eddy, establishing himself across Europe. Samuel Eddy and his band were rewarded for their efforts as they garnered the reputation of major European music festival favourites. Eamonn aka Samuel Eddy signed with Universe Productions/Virgin Records and later SPV Records worldwide. Three critically acclaimed studio albums, which all sold phenomenally well, confirmed that an exciting young up-and-coming world class guitarist was emerging out of Ireland.
The following two decades saw a young Eamonn play, tour, and record with many of his earliest guitar influences, such as Rory Gallagher, Johnny Winter, Jan Akkerman (ex. Focus), Pat Travers, George Thorogood & The Destroyers, Walter Trout, Brian “Robbo” Robertson (Thin Lizzy, Motörhead) and Nils Lofgren. Another highlight of this period was Eamonn and his band’s unforgettable performance at the Parkpop Festival in the Netherlands to an audience of around half a million people, sharing the bill with Robert Plant and more. Eamonn also got to play the prestigious WDR Rockpalast in Germany on the bill with Lynyrd Skynyrd & The Band, which was televised and broadcasted right across Europe.
On his own label, Eamonn decided to release a best of type of album, mainly consisting of remastered Samuel Eddy tracks and eight newer unreleased songs engineered in Dublin by Paul Thomas (U2, Phil Lynott), before finishing a great year successfully with a blinding show opening for the legendary ZZ Top in Amsterdam. At this time he also decided to drop his old stage name and revert to his real name Eamonn McCormack. His best of album ‘Kindred Spirits‘, featuring older tracks with special guests Rory Gallagher, Jan Akkerman, Herman Brood and Keith Donald, garnered great recognition.
Following the success of ‘Kindred Spirits‘, Eamonn decided to take a break from the road, travel the world, write some new material and jam with various artists in the US, Mexico and Hong Kong before returning to the studio – this time in Germany – to record his fifth album ‘Heal My Faith‘ for In-Akustik. The album was very well-received and put him firmly back on the road as a full-time recording/touring artist.
Eamonn followed up with a double album recorded and produced in the UK by Grammy-nominated producer Chris Tsangarides (Black Sabbath, Thin Lizzy). His band now consisted of Jonathan Noyce (Jethro Tull, Gary Moore) on bass and Darrin Mooney (Gary Moore, Primal Scream) on drums. The album ‘Like There’s No Tomorrow‘ literally achieved five star reviews across the board: One disc full on electric and the other acoustic-based, it once again proved Eamonn’s talent as a competent acoustic writer and performer and showcased his other skills on harmonica and mandolin.
More touring and mind-blowing festival appearances followed, leading to a new management and a new label coming on board. To top it all off, Eamonn got invited to perform once more on WDR Rockpalast in Germany, this time alongside Kenny Wayne Shepherd. After this explosive show, Eamonn and his young band headed straight into the studio along with German star-producer Arne Wiegand and recorded his seventh album ‘Storyteller‘ with eleven versatile original tracks, featuring Edgar Karg on bass guitar and Max Jung-Poppe on drums and percussion.
‘Storyteller‘ was released in Europe and the UK in May 2020, where it reached No.1 on the Blues Charts in over half a dozen countries. A later release in the United States followed in 2021 to great response.