UNITE ALBUM REVIEW – AT THE BARRIER, Oct 2025
Read the full review here.
“A cause for celebration on so many levels… Irish folk-rockers in fine fettle…they capture the mercury meticulously”
“Sweaty after only one track, On The Road starts off slowly, with a a characteristically Hibernian smear of fiddle, before crunching back up through the gears into Levellers and Ferocious Dog territory.”
“if you don’t find yourself soon singing the refrain, and with gusto, well, you’re a better person than I”
“Barrett’s makes use of her pedal board to add additional atmospheric, and the intermittent disco scrub of O’Neill’s guitar is perfect.”
“The engine room…Laurence Aldridge and Jim Smith have drawn their grebo metal-head appearances into the equivalent auditory focus”
“Blarney, another instrumental, hammers home that it is fuelled for and by the night before, for carousing and not saying no to just one more pint. With the sound of a hooley rounding out the backdrop, Barrett finds the fluidity of folk dance, whilst her compadres dial it up to a hardcore 11, for the always on the brink of accelerating rhythm.”
“The close, the almost hymnal Our Day Will Come returns, or seems to, to the troubling events in Gaza. A song for solidarity, it plies an anthemic chorus that is uncomplicated by excess verbiage. Undeniably heartfelt, it displays a more pastoral and less aggressive side of the band’s sleeve based hearts. As Barrett’s fiddle takes on the lustre of a chapel organ, it helps to bring the hopes expressed into focus.”
FATEA – Nov 2025
An album with which to link arms
Based in Hereford/Worcester, now a four piece comprising singer-guitarist Paul O’Neill fiddler Caitlin Barrett, drummer Laurence Aldridge and bassist Jim Smith, this is the Irish folk rockers fifth album, one charged from the first shouted intro with a political fire. Setting the scene, it opens with ‘Racist’, a fiddle-driven invective about the irony of racism in Ireland, a land whose troubled history has seen its people displaced – refugee and evacuees, as O’Neill sings “how can we be Irish and racist now?”, expanding the song’s scope to pose the same question of the French, Israelis, British and America.
Opening with mournful fiddle, ‘On The Road’ unfolds into a scampering rhythm for a song that speaks to the travelling troubadour but is more generally about those who are of the community of journeymen or travellers (“My clothes are of fine thread/Though they may not be new/They’re not stolen, they’re not begged/Represent the life I choose…I belong to the unknown”). The grinding ‘Move Over’ is a musically and vocally heavier persuasion with lyrics pointedly directed at Israel’s devastation of Gaza and Palestine (“Move over, are you deaf, are you blind?/Have you forgotten the Holocaust of your kind/No prophet in sandals/No words in a book/Can justify killing for the land that you took”).
Heading into more experimental territory, running almost seven minutes, ‘Dubh Goat’ begins with a spoken passage taken from ‘Pullin’ The Devil By The Tail’, a 2003 Irish claymation short, before opening into an atmospheric instrumental built around ever shifting and pulsing guitar, bass and fiddle melodies and, as per the punning title, a brief rasta dub passage that brings vocals back into play. Clearly designed as a festival showcase crowd rouser.
‘Wild Atlantic Woman’ introduces some Celtic-Americana colours and Barrett’s fiddling jig as the narrator sings of leaving London to return to Ireland with the titular woman (“I met her on a Sunday. I was picking my guitar/She asked if she could join me, we blew away that bar/I was living in a shoebox in the shadow of Big Ben/She said ‘give up that city for some Donegal zen'”)
Opening with a “na na na”, ‘Dirty Habits 2.0’ is a reworking of a song originally released in 2012, lyrically unchanged in its cautionary tale of genital piercings and getting entangled in one another’s silverware, but with a more rousing arrangement. Then, given their roots, you might assume ‘The Orange Man Cometh’ to be about Irish politics but, opening with his “stable genius” quote as well as a sample from the man himself, is in fact a swipe at Donald Trump that pulls no punches (“He’s got some techie friends/They bought him a big house/Now he’s changing all the laws so we’ll never get him out/they’re Nazi Zionists. Their new god is AI/And when he finds the button you can kiss your arse goodbye… He’ll tariff here, he’ll tariff there, there’s nowhere we can hide/And he’ll build Trump Gaza if it takes a genocide”, complete with the crowd friendly chorus “The orange man is coming and he’s fucking me and you”. I guess they can kiss American tours goodbye for now.
A fiddle drinking and stomping roustabout reel, ‘Blarney’ is another instrumental, followed by another heavy rhythm with ‘Castles’, a song about making the right decisions in the ephemerality of life (“Choose the blue pill, choose the red/choose to believe, everything that’s said/choose to revolt/choose to give in/choose to build bridges, forgive everything…make a decision, own your life/There is no wrong with love in sight”) that has hints of grunge in its DNA with its fiddle effects.
For the final track, they return to a troubled, divided world (as much about America and the UK as it is the Holy Land) for the closing, anthemic ‘Our Day Will Come’ as a heartfelt O’Neill sings ” a land that’s been broken/needs to heal from both sides/one nation has woken/one spirit has spoken / one soul and one pride” as he exhorts “our day will come.. one love, one peace, one in belief… stand tall my friend/eyes wide no matter/our day will come/you’re a giant in your own land”. An album with which to link arms.
Mike Davies
AT THE BARRIER – Jan 2023
New single from Roving Crows takes on war, greed and corruption. Bring on the Allelujah!
Move Over is a formidable way to start a new musical year and finds the 4 piece that features Paul O’Neill (lead vocals & guitar); Caitlin Barrett (vocals & fiddle); Jim Smith (vocals & bass); Laurence Aldridge (vocals & drums), venting their spleen with a defiant outcry against injustice.
There’s a raw energy and commanding presence that sees O’Neill joining a growling bassline and growling his own opening “Move over, Can’t you leave me alone,” which gives a hint to the manifesto that follows. The stark insistence soon picks up a heavier beat with the fiddle hovering menacingly beneath the surface and the shrill guitar figure.
The Crows’ rootsy folk signature gives way to a stomping and repetitive riff that reinforces the message. Sounds like Roving Crows have been listening to Hawkwind; fellow activists who strive for equality and justice for the downtrodden and oppressed. It’s a confident and eloquent message that’s belted with a fervent passion and dare we suggest, as powerful as anything that’s emerged from the Crows yet.
“We created this song at a time of growing global tensions and conflicts,” says Paul O’Neill. “We stand up against war, oppression and the horrific treatment of humans that we are currently witnessing. This is not OK and will never be OK. We are strong advocates of equality and cultural respect and we feel this song reflects our views and vision.” Allelujah to that.
Move Over was recorded and mixed at The Old Cider Press in Pershore by Dave Draper.
– Mike Ainscoe, At the Barrier, Jan. 24
Irish Celtic Punks – Dec 2023
You would think a band in England who play Celtic Folk Rock would make regular appearances on these pages but somehow Roving Crows have passed us by. We’ll try and make up for that in the future! Here’s their new single ‘Dirty Habits’ full of genuine passion, energy and soul and to the start of a beautiful relationship!
It would seem that Roving Crows have been around quite a long time with their debut album Bacchanalia celebrating it’s eleventh anniversary on this years St. Patrick’s day. Described as a “Celtic Rock powerhouse” in RnR magazine Roving Crows have a string of awards behind them including FATEA Music Awards band of the Year, Spiral Awards Best Live Act, International Artist of the Year in the Australian Celtic Music Awards as well as awards for Top Celtic Rock Band and Top Fiddle Player.
Roving Crows are Jim Smith – Bass / Vocals * Paul O’Neill – Guitar / Lead Vocals * Caitlin Barrett – Fiddle / Vocals * Laurence Aldridge – Drums / Vocals *
Their new single is a vibrant, energetic and frenetic new version of Dirty Habits which originally featured on their 2012 debut album. A story of a raucous night out, a take of wild abandon, with “money in my pocket, burning a hole, where it all will end, nobody knows!”
It’s music to get you in the mood for a wild night out. The video was filmed at the Old Con Club, Malvern, Worcestershire surrounded by fans and friends who contributed massively to the craic witnessed. Filmed and produced by Root Stone Media – https://root-stone-media.business.site/with the music produced and recorded by Dave Draper.
– Irish Celtic Punks Dec.23
RnR Magazine – May 2022
“Celtic Rock powerhouse”
“Eminently likeable”
“The album provides a richly varied sound that is exciting, exhilarating and also cleverly challenging”
– Kevin Burke – RnR Magazine vol.2 no.93 – May 2022
Liverpool Sound & Vision – Awaken Album – March 2022
“The sound is one of passion, a Celtic infusion and influence”
“Roving Crows are undeniably gregarious, prolific, and an agent of stunning urgency”
“An album of great warmth, of lavish style, and fulsome delivery, Awaken is progressive and traditional all once”
– Ian D. Hall – Liverpool Sound & Vision – March 2022
Read the full review here.
FATEA – Awaken Album – March 2022
“The bounce is back, and that live feeling has returned to their work.”
-John Reed – FATEA – March 2022
Read the full review here.
Folking.com – Awaken Album – March 2022
“The Celtic rock quartet storm back with guns blazing for their fourth album”
-Mike Davies – Folking.com – March 2022
Read the full review here.
Froots – Bury Me Naked – May 2017
“Grabs you by the collar and give you a thorough shaking”
“…cracking psych-coloured instrumental section ‘Fire Sky'”
“…it’ll be a tasty night out.”
– Simon Jones – Froots – May 2017
Folk Phenomena – Bury Me Naked – May 2017
“Great folk rock.”
“…epic Celtic Rock spirituality…”
“They have dragged me out of the chair, unfolded my arms and invited me to dance.”
– blueestai – Folk Phenomena – May 2017
Read the full review here.
Shire Folk – Bury Me Naked – April 2017
“…stunning, swirling fiddle that drives the music along.”
“…an excellent cover of ‘Ride On'”
“…a folk rock band and a very fine one at that.”
– Graham Hobbs – Shire Folk – April 2017
Read the full review here.
Folking.com – Bury Me Naked – April 2017
“An adventurous and inspired heady cocktail of Celtic and World music with a social conscience and a beating heart.”
– Mike Davies – Folking.com – April 2017
Read the full review here.
Louder Than War – Bury Me Naked – April 2017
“…an enticing sonic smorgasbord.”
“…a brilliant opening ten minutes…”
“…they are at the top of the tree.”
– Mike Ainscoe – Louder Than War – April 2017
Read the full review here.
Songwriting Magazine – Bury Me Naked – April 2017
“Celtic fusion with a keen social conscience”
“Paul O’Neill’s delivery is an earnest vehicle capable of carrying his own tales and the wider issues…”
“they’re a band capable of delivering a uniquely inspiring style.”
– Duncan Haskell – Songwriting Magazine – April 2017
Read the full review here.
FATEA – Bury Me Naked – April 2017
“Roving Crows are a band you should not miss – This is folk rock with a conscience, impeccably performed, what’s not to like?”
– Ian Cripps – Fatea – April 2017
Read the full review here.
The Guardian – Bury Me Naked – April 2017
“…epic treatment of Ride On…”
“They will do well on the festival circuit.”
– Robin Denselow – The Guardian – April 2017
Read the full review here.
FolkAll – Bury Me Naked – April 2017
“You feel it coming and you are like a rabbit in the spotlight.”
“Roving Crows have crammed energy into this album and then slammed the lid shut…”
“…a fascinating album.”
– Danny Farragher – FolkAll – April 2017
Read the full review here.
FolkWords – Bury Me Naked – March 2017
FolkWords Album Of The Month March 2017
“…innovative, vivacious, pulsating Celtic folk rock”
“…folk rock in top gear.””…It’s bloody marvellous.”
– Tim Carroll – FolkWords – March 2017
Read the full review here.
Northern Sky – Bury Me Naked – March 2017
“…a folk rock statement with a conscience…”
“…the band are unafraid to venture into world rhythms…”
– Allan Wilkinson – Northern Sky March 2017
Read the full review here.
Dai Jeffries – Up Heaval EP – R2 Magazine – May/June 2015
“…strip Away Caitlin Barret’s fiddle and you’re left with Paul O’Neill’s excellent rock songs..”
“His lyrics clever and his melodies dynamic.”
“Caitlin’s fiddle may be the crowning glory but Loz Shaw’s bass and inventive drum programming mean that for a trio they make a big sound.””A perfectly balanced record.”
Nancy Dunham – Up Heaval EP – Washington Times – 23/03/15
“…the newly minted three-piece band has a lush, distinctive sound all its own.”
“Standout tracks include the up-tempo opener “Casanova Is Burning” and the haunting title track full of traditionally inspired tones.”
“It would be a mistake not to note the simple acoustics and harmonies on these five original songs. Bottom line: Roving Crows soar.”
http://www.washingtontimes.com/news/2015/mar/23/country-times-clarence-bucaro-roving-crows-and-sug/
Tim Carroll – Up Heaval EP – Folkwords – 08/03/15
“The result portrays not so much a sense of upheaval, more a progression. In fact, it’s perhaps tighter than you might expect for a band that’s just undergone change.”
“There’s more focus on the voices, and although clearly moving into different directions, it still reflects the melodic inspiration and innovation their followers will recognise.”
“Many times I’ve said that a good EP leaves you wanting more. That’s exactly what happens with ‘Up Heaval’.”
http://www.folkwords.com/folkwordsreviews_93588.html
David Honigmann – Deliberate Distractions – Financial Times – Dec 2013
“Anglo-Irish folk band Roving Crows bustle with energy, their fiddles and guitar brightened with Mariachi-tinged trumpet”
“Their own songs have an earthy wit: ‘Nancy Valentine’ is a multi-dimensional soap opera, with a young grandmother beset by her ne’er-do-well children.”
Sean McGhee – Deliberate Distractions – R2, Rock’N’Reel – Nov 2013
“Taking time over their brand-new album, Ledbury-based-five-piece Roving Crows have put it to good use. The result is an album strong in production, ideas and confidence.”
“The band’s trademark quirkiness and upbeat energy is still there but it’s tempered by a new realisation that, as a unit, they’re now a formidable musical force.”
“Roving Crows have an album of which they can be justifiably proud.”
Neil King – Deliberate Distractions – FATEA – Nov 2013
“From the opening notes, you know you are going to dive into an album that lives up to its name because I would defy anyone to try and carry out in the most menial tasks whilst having this album on in the background”
“Musically they also seem to box above their weight, creating a veritable wall of sound that would make Phil Spector proud, something that they achieve live as well as in the studio setting”” ‘Deliberate Distractions’ is their best album to date, which considering some of the predecessors, isn’t an easy thing”
http://www.fatea-records.co.uk/magazine/2013/RovingCrows.html