The Chieftains

Spanning nearly sixty years, the Chieftains brought Irish traditional music to audiences worldwide through an approach defined by openness and frequent partnerships. At their start in the early 1960s, instrumental folk pieces from Ireland—performed on uilleann pipes, tin whistle, fiddle, and bodhran—remained largely unknown beyond the island itself. The group altered that situation by applying straightforward virtuosity to these evocative melodies, first winning listeners in England and then achieving widespread recognition in the United States during the mid-1970s. Their adaptability and readiness to test the boundaries of traditional forms contributed to their draw. An Academy Award recognized their score for Stanley Kubrick’s 1975 film Barry Lyndon, after which they issued a new album annually for the rest of the decade while maintaining an extensive touring schedule.

Throughout the 1980s and 1990s the Chieftains solidified their standing as cultural envoys by joining forces with musicians from many backgrounds on recordings that blended Irish music with European, North American, and Chinese folk styles. They also crossed into rock, country, and classical spheres, appearing alongside figures that included Roger Daltrey, Sting, Ziggy Marley, Rosanne Cash, and John Williams. Although releases became less frequent in the twenty-first century, the ensemble sustained a steady presence as a live attraction through their Irish Goodbye farewell tour in 2019. Following the 2021 death of leader and founding member Paddy Moloney, and with several longtime participants retired or deceased, the group effectively concluded its activities.

Moloney, on uilleann pipes and tin whistle, established the Chieftains in Dublin in 1962 alongside Seán Potts on tin whistle and Michael Tubridy on tin whistle, Irish flute, and concertina. Both Moloney and Potts had previously played in Ceoltóirí Chualann, an innovative group whose dedication to traditional music fueled the Irish folk revival. Under the direction of County Cork composer Sean Ó Riada, Ceoltóirí Chualann focused on reels, jigs, and dances, functioning like an Irish folk orchestra at a time when such ensembles were uncommon. After leaving to create the Chieftains, Moloney and Potts sought to advance that foundation further. The initial trio expanded with the addition of Martin Fay on fiddle and David Fallon on bodhran, completing the original lineup and adopting the name from John Montague’s book Death of a Chieftain. Their self-titled 1964 debut appeared on the Claddagh label, setting the spare yet animated instrumental tone that characterized their early recordings. Success arrived almost immediately, as their music drew enthusiastic responses in Ireland and subsequently in England, where they gained traction both onstage and on record. Nevertheless, the Chieftains operated on a semi-professional basis until the early 1970s, by which time they had completed three additional Claddagh albums titled Chieftains 2, 3, and 4.

Chieftains 4, issued in 1973, introduced Derek Bell, whose classically trained harp playing soon formed a central part of the group’s sound. Around this period the Chieftains turned fully professional and began attracting listeners in the United States, where younger Irish-American audiences were rediscovering their music. Their major American breakthrough arrived with the soundtrack for Stanley Kubrick’s 1975 film Barry Lyndon; the score earned an Academy Award for Best Original Score, and the track “Women of Ireland” emerged as an unexpected radio success. Demand in the United States surged, prompting a U.S. tour and multiple television appearances. Island Records then took over distribution and reissued the first four albums in both America and England. Following Chieftains 5 in 1975, the band increased its output to meet the expanded audience with yearly releases. Bonaparte’s Retreat (1976) marked the arrival of bodhran player Kevin Conneff and introduced vocals for the first time through guest singer Dolores Keane. The Chieftains Live! followed in 1977, and after Chieftains 8 in 1978 both Potts and Tubridy departed. Matt Molloy, formerly of Planxty and the Bothy Band, joined on flute for Chieftains 9 (1979), establishing the core lineup that persisted into the following decades.

By 1980 the Chieftains were widely viewed as the global representatives of Irish music, a position they extended on later projects by collaborating beyond their genre and incorporating traditions from other cultures. Chieftains 10 (1981), their final numbered release, incorporated references to Brittany and Texas; its reissue on the Shanachie label carried the subtitle Cotton-Eyed Joe after the well-known American fiddle tune. The Chieftains in China (1985) documented a tour during which they became the first Western ensemble to perform on the Great Wall. Subsequent travels to Brittany yielded Celtic Wedding (1987), recorded with leading traditional Breton musicians. They partnered with classical flutist James Galway on In Ireland (1987), while Irish Heartbeat (1988), recorded with Van Morrison, ranked among their most successful and praised albums, reaching the U.K. Top 20. This pattern of cross-genre collaborations intensified in the 1990s, beginning with the Christmas collection The Bells of Dublin. That set featured rock artists such as Jackson Browne, Elvis Costello, and Rickie Lee Jones alongside Canadian folk singers Kate and Anna McGarrigle, Northumbrian piper Kathryn Tickell, and choral contributions from the Renaissance Singers. It was followed by the Grammy Award-winning Another Country, which explored bluegrass and country with American performers including Willie Nelson, Emmylou Harris, and Ricky Skaggs. Roger Daltrey and Nanci Griffith appeared on the 1992 live album An Irish Evening, and later that year the band worked with composer John Williams on the soundtrack for the Irish-themed film Far and Away. By the late 1990s, participation on a Chieftains recording had become almost customary for established musicians; admirers who joined them in the studio or onstage included Sting, the Rolling Stones, Mark Knopfler, Marianne Faithfull, Sinéad O’Connor, Tom Jones, and Ry Cooder. The group sustained its internationally themed releases with Galician-inspired Santiago (1996), recorded with Spanish musicians, and Fire in the Kitchen (1998), featuring Canadian artists, while continuing a regular worldwide touring schedule.

The Chieftains marked their 40th anniversary in 2002 with the anthology Wide World Over and then collaborated with country musicians Vince Gill, Lyle Lovett, and Del McCoury on Down the Old Plank Road: The Nashville Sessions. Just one month after the October 2003 release of the sequel Further Down the Old Plank Road, longtime harpist Derek Bell died while on tour in Phoenix, Arizona. Bandmates later organized a memorial concert released in 2005 as Live from Dublin: A Tribute to Derek Bell. Although touring continued, several years passed without new studio recordings. Moloney had long been drawn to the story of the San Patricios, Irish immigrant soldiers who left the American Army during the Mexican-American War in 1846 to fight against the Manifest Destiny policies of President James Polk. The Chieftains and co-producer Ry Cooder set out to recount that history through music, enlisting numerous Mexican musicians. San Patricio, issued in 2010, presented a Mexican-Irish melodic blend and received broad critical praise.

In 2012 the Chieftains observed their 50th anniversary. Every living member took part in a reunion of the original lineup, and additional vocalists from the indie rock and Americana spheres joined, among them the Decemberists, Lisa Hannigan, Paolo Nutini, the Civil Wars, Bon Iver, and Imelda May. Co-produced by T-Bone Burnett and Moloney, Voice of Ages appeared in February 2012. After nearly six decades, the group embarked on a series of farewell performances billed as the Irish Goodbye Tour in 2019; those shows concluded in March 2020 when the COVID-19 pandemic halted the final dates. Founder and bandleader Paddy Moloney died on October 11, 2021, after which the ensemble ended future performances. The remaining members briefly reconvened for one final appearance in April 2023 during U.S. President Joe Biden’s visit to Ireland to see his ancestral village.