John Sheahan of The Dubliners is well known as a musician, composer and poet. Born and raised in Dublin, he went to school in Marino – where he was introduced to the tin whistle. Then, at the age of 12, he moved on to the fiddle.

As the last surviving member of The Dubliners, he toured for the band’s 50th anniversary in 2012 before officially retiring the group. However, he still makes regular appearances at charity fundraisers and on The Late Late Show.

In 2020, at the age of 80, he even released his debut solo album Flirting Fiddles – as well as a book of poetry.

Dubliners, in general, never made any great fuss of their own sons and daughters.

The album featured classical, jazz and baroque tracks, as well as an orchestral arrangement of his famous ‘Marino Waltz’, which was inspired by Dublin’s Casino at Marino.

Over the years, John has worked with U2, The Pogues, Sinéad O’Connor, Kate Bush, Glen Hansard and André Rieu – to name just a few. And today he’s just as enthusiastic about collaborating with other musicians.

He spoke to Derek O’Connor about joining The Dubliners and the band’s influence on current musicians.

In conversation with John Sheahan

A fella used a lovely expression the other day: “Are you yer man out of The Dubliners?” Referring to me in the first and third person, all in the one sentence. That’s a very Dublin thing to say.

Being in The Dubliners always made you feel like a bit of an ambassador for the city. I mean, we were all instantly recognisable and I think people felt at one with us. There’s a nice feeling of unity about being a Dub.

And Dubliners, in general, never made any great fuss of their own sons and daughters who became well known.

The early days

When The Dubliners celebrated their 50th anniversary in 2012, I had been with the band for 48 of those 50 years. I served an apprenticeship as an electrician in the ESB, and worked there as a draftsman for a few years.

The music was always a hobby but, at a certain point, I had to give the job up and join the lads.

Being in The Dubliners always made you feel like a bit of an ambassador for the city.

It was precarious in the early days, but there was always a great sense of adventure about the whole thing. We were doing it for the craic as much as anything else and, gradually, it became a living.

I think anybody who can extend their hobby to the extent that it becomes their livelihood, that’s a real privilege. Especially anyone who’s making music.

John Sheahan with other artists in the Starboard Home project. Image: The National Concert Hall.

Collaborating with younger musicians

It’s been a very special feeling to realise that what we did for so many years had an influence on a whole new generation of musicians. To be able to meet with them now – and collaborate and do concerts – it’s like bridging those generations. Age doesn’t really matter. It’s a universal language.

Age doesn’t really matter.

I’ve been playing with Declan O’Rourke and Damien Dempsey, we did a tour a few years ago. And then I got to play on a track with Glen Hansard. It’s amazing how they all credit the huge influence of Luke Kelly and Ronnie Drew and the music we made together.

His take on modern-day Dublin

Sure, Dublin’s a lot more cosmopolitan than it used to be, but I think the character and the spirit of the people is much the same.

Only last week, I was driving into town and had stopped at traffic lights when this fella shouts over to me: “Here, give us ‘The Wild Rover!'”

The spirit of the people is much the same.

That spirit of camaraderie is what makes Dublin special. Like they say, you’re never amongst strangers – just friends you haven’t met yet.

There’s always been that feeling about this town…

To find out more about John Sheahan’s work, head to his website.