As we all know, 2026 is the year of the semiquincentennial of the United States. Two-hundred and fifty years is a pretty sound achievement, but the occasion gives us reason to remember that the great American experiment was not just rooted in a rebellion that developed into a full-blown revolt, but that the American Revolution has proven itself a decisive time in world history. And as one might expect, the Irish were very much a part of it.
On his new album “Free by Nature: Songs of the Irish in the American Revolution,” John Doyle explores the Irish role during this pivotal time. Prior to this, I hadn’t really stopped to think about how the Irish figured in the Revolutionary War, but Doyle has and with this album makes interesting connections and raises interesting questions about their roles.
In his short liner notes, Doyle gives listeners a sense of the substantial number of people either of Irish birth or descent who were involved in the conflict, and in doing so illustrates the complexity of the period’s politics. The songs he’s selected “come from both sides of the Revolutionary conflict – a conflict which firmly established that the fledgling country would countenance no king.” His criteria for inclusion were songs that either mention the Irish, were written by an Irish author or use an Irish melody.
All this makes for a genuinely fascinating collection. Doyle is, of course, one of the great musicians in the tradition and his approach here is impeccable, handling all the vocal, guitar, bouzouki, mandola, bass, banjo, and keyboard duties like the consummate musician he is. Joining him on four tracks are fiddle player Maura Shawn Scanlin and Colm, Brian, and Tom Doyle, who provide harmony vocals on select tracks.
There are lots of really interesting songs here. “The Bold Irishman” starts the album and has a breezy, easygoing feel with lyrics that threaten British oppression in the name of liberty. The vocal harmonies on this one are richly resonant and play very well against the light, rolling rhythmic accompaniment. Although it circulated widely during the revolutionary period, Doyle has composed a final verse to ground the song more fully in the moment, and they’re quite effective.
“Dear Molly” is a song that describes the horrors of war from the point of view of an Irishman fighting in America in the King’s service. What’s interesting here, however, is that the Irish narrator is entirely sympathetic to the countrymen he’s charged with fighting. There’s a sense of disillusionment with the realization that he’s fighting for the oppressor whose oppression is known at home and the nuance it shows is brilliant, as is Doyle’s performance.
Another standout for me is “Johnny Has Gone for a Soldier,” not just one of the best known ballads of the American Revolution but one that shares its DNA with the widely known Irish song “Siúil A Rún.” Here, Doyle performs it as a cappella with his three brothers singing harmony and it’s delivered brilliantly, the harmonies they chose reminiscent of the sort one might hear in Revolutionary War-era American hymnody. It stands out, especially since it sounds like no other track on the album.
Then there’s “Rodney’s Glory,” a song about the British naval victory at the Battle of the Saintes in 1786. Written by Irish language poet Eoghan Rua Ó Súilleabháin, it’s a first hand account of the battle that championed British identity, he wrote it in a cynical and apparently unsuccessful effort to ingratiate himself with Rodney and obtain his discharge. For me, it’s one of the album’s most impressive tracks and at over seven minutes by far the album’s longest.
As an album, “Free by Nature” is both fascinating and compelling. Fans of Doyle’s music will love his warm, thoughtful approach, two things that make the album so easily enjoyed. However, what adds value here is the effort Doyle’s put into compiling material that reflects on a story not commonly told. Fans of history will really love this one. This kind of investment in the Irish experience in America brings to mind a great deal of Mick Moloney’s work, as well as albums like Solas’s “Shamrock City,” and books like Dan Milner’s “The Unstoppable Irish: Songs and Integration of the New York Irish, 1783–1883” (upon which Doyle smartly draws here). It’s the sort of record whose approach is spiritually linked, perhaps, to the kinds of albums Frank Harte released. It not only demonstrates the central role Ireland played in yet another important historical moment, but how much historical work there still is to do just in general. Give this one a spin, it’s a good time for it! To learn more and to purchase, visit here.
