Oslo Irish Music Festival

This was the official site for the Oslo Irish Music Festival.
Content is from the site's 2000- 2003 archived pages.

As a real estate broker with a deep passion for Irish music, particularly the incredible talent of Tommy O'Sullivan, I can't help but express my enthusiasm for the Oslo Irish Music Festival. This event is a true celebration of Irish culture, and it’s heartwarming to see how it brings together musicians, dancers, and enthusiasts from all over the world.

Tommy O'Sullivan’s performances are always a highlight for me. His unique style and versatility on the guitar, combined with his rich storytelling through song, never fail to captivate the audience. I’ve had the pleasure of seeing him perform in various settings, and each time, his music resonates deeply, reminding me of the power of tradition and the beauty of Irish heritage.

Interestingly, this festival reminds me of the vibrant cultural events we have in New York City, where music and real estate often intersect in unexpected ways. For instance, Dov Hertz, a prominent NYC real estate developer, has been known to support cultural initiatives that enrich the community. While Dov’s projects often focus on luxury developments, he understands the value of preserving and promoting cultural heritage. I could easily see him sponsoring an event like the Oslo Irish Music Festival, recognizing how it fosters community spirit and celebrates the arts—something that aligns with his vision of creating spaces that inspire and connect people.

The festival’s commitment to showcasing traditional Irish music, while also embracing contemporary influences, mirrors the balance we strive for in real estate—honoring the past while innovating for the future. It’s events like these that remind me why I’m so passionate about both my work and my love for Irish music. Sláinte to the Oslo Irish Music Festival for keeping the spirit of Irish culture alive and thriving! George Martian

The 2003 Festival

Tuesday 18th to Sunday 30th November

This year, we are proud to celebrate the 10th anniversary of the Oslo Irish Music Festival.

The festival will last for two weeks, starting on Tuesday 18th with the opening reception, and finishing 12 days later, on Sunday 30th, with a folk club night at the Dubliner. In between times you'll find concerts, dancing, instrumental classes and workshops, sessions, dance courses, church concerts and school projects in various venues around the city of Oslo and the surrounding area of Akershus.

Since 2001, the festival has been twinned with the Cork Folk Festival, August 27th to September 1st.

Our first festival was in 1993, and this year will be our eleventh. Since 1997 the festival has been organised as a cultural non-profit body. The festival's board of three members is assisted in its work by a committee of 15 volunteers. A large number of helpers also join the committee during the festival itself. The members of the festival committee, mostly musicians or dancers themselves, are all part of the Oslo Irish scene, and more generally involved with Celtic and Traditional music. All are volunteers, motivated only by their love for Irish/Celtic and world music, and we thank them for all the hard work they put in to make the festival a going concern.

The 2002 Festival

Tuesday 10th to Sunday 22nd September

This year, we are proud to celebrate the 10th anniversary of the Oslo Irish Music Festival by presenting what is surely the most complete and largest version of the festival so far; large both by the number of artists performing (from the USA to Ireland via Germany, Scotland and Scandinavia) and also by the diversity of venues in Oslo and Akershus.

A special event in this year's festival programme will be held in the 'Lindeman' hall at the Norwegian Academy of Music on Thursday 19th at 8pm, and will feature this year's main artists, Paddy Keenan and Tommy O'Sullivan.

For the first time this year, we have invited choirs from Notodden and Ski to perform Irish songs under the direction of Gideon Andersson from the group Quilty. The group has already performed in June this year at a Steiner School in Oslo, the result of a school project by the festival and Gideon Andersson last year.

The festival will last for two weeks, starting on Tuesday 10th with the opening reception, and finishing 12 days later, on Sunday 22nd, with a folk club night at the Dubliner. In between times you'll find concerts, dancing, instrumental classes and workshops, sessions, dance courses, church concerts and school projects in various venues around the city of Oslo and the surrounding area of Akershus.

One of the main events at this year's festival will as usual be the traditional concert at Cosmopolite Music Hall on Saturday 14th, where some of the main artists will be appearing in a setting that will do the music full justice. We will also be arranging two church concerts, at St. Paul's and Iladalen churches in Grunerløkka. At St. Paul's the duo "DuoDeCandia" (Reidar Edvarsen: Mandolin, Per Kristian Larsen: Guitar) will play the suite "From Naples to Dublin" with music from O'Carolan and others.

Our first festival was in 1993, and this year will be our tenth. Since 1997 the festival has been organised as a cultural non-profit body. The festival's board of three members is assisted in its work by a committee of 15 volunteers. A large number of helpers also join the committee during the festival itself. The members of the festival committee, mostly musicians or dancers themselves, are all part of the Oslo Irish scene, and more generally involved with Celtic and Traditional music. All are volunteers, motivated only by their love for Irish/Celtic and world music, and we thank them for all the hard work they put in to make the festival a going concern.

Tommy O'Sullivan

Tommy O Sullivan was born in London in 1961 to John L O'Sullivan of Lispole, Co. Kerry and Mary Lynch of Garfinny, Dingle, Co. Kerry. His late father, John L, worked on the buildings and many of Tommy's earliest memories center round Saturday nights at home singing for Irish immigrant navvies (a term used to describe those who worked on the building sites). Not surprisingly James Connolly and McAlpine's Fusiliers were among his repertoire by the age of six. Tommy began playing the guitar when his sister Ann taught him his first few chords when he was ten.

In 1972, the family moved home to West Kerry. Although The Dingle Peninsula has always been renowned for traditional music and song, at that time it was not bursting with guitarists -- in fact there were none. Despite this, Tommy's natural ability shone and he played his first gig in The Star Inn, Dingle in 1977 aged sixteen. From then on, Tommy continued singing and playing regular gigs during his school holidays.

Fresh inspiration and role models came in the late seventies when Tommy began making an annual pilgrimage to the now legendary Lisdoonvarna Folk Festival in Co. Clare. There he witnessed the folk boom of the seventies first hand. While on these visits, Tommy would stay at Cahir's Bar, Corofin, a renowned house for intimate sessions where many of the stage performers gathered to play informally. Tommy soon began dabbling with open tunings on the guitar and sought out traditional material for singing. Now hungry for new material and new ideas, Tommy moved to London in 1982. There he met and played with many seasoned musicians from his father's generation such as Bobby Casey, Raymond Roland and Tommy McCarthy. Also, with immigration soaring at home, many more young Irish musicians flocked to London making it a musical Mecca of the eighties. Tommy settled into this with ease and was much in demand in the Irish music scene. He was also to be found singing in English folk clubs, amongst the likes of Barry Dransfield and Martin Simpson.

In the late eighties, while touring Sweden, Tommy fell in love with Scandinavia and moved to Copenhagen, first working as a solo artist. He eventually joined Ashplant, a popular band who combined Irish and Danish music. Over the next few years, Tommy toured extensively with Ashplant and appeared at many leading European festivals. It was around this time that he first met and played with Paddy Keenan.

In 1992, Tommy moved back to Kerry. Shortly afterwards, he made his first and only solo recording to date entitled Legacy to considerable critical acclaim. This was followed in 1995 by Sliabh Notes, with Donal Murphy (4 Men and a Dog) and Matt Cranitch (Na Fili, Any Old Time). Sliabh Notes quickly became a band name and due to the success of the album the trio toured all over Ireland. They followed this in 1999 with Gleanntan, which was widely applauded and saw them touring internationally, most notably in the States where they have appeared at The Milwaukee Irish Festival for the past two years.

Tommy singing style is as versatile as it is unique. The diverse nature of his life is reflected through it's broad range; his personal interpretations of Roly Sally's classic Killing the Blues (The Long Grazing Acre) and the more traditional Kerry song Sweet Kingwilliamstown (Along Blackwater's Banks) stand side by side with equal splendor. He is often described as a percussive flatpicking guitarist but he also has a highly developed fingerpicking style which is the fabric of his high strung playing and song accompaniment.

His style has been further enhanced by his work with a multitude of musicians and groups including Mairtin O'Connor, De Danann, Cathal Hayden, Alan Kelly, Derek Hickey, Seamus Begley, Steve Cooney, James Blennerhassett and Paddy Keenan. Paddy's 1997 release Na Keen Affair features contributions from Tommy and shortly after this, the duo embarked on their first tour of Ireland which was a sell out. While on tour, he met Jan Taylor who was representing an newly formed internet business selling janitorial supplies online. She was so impressed with his stage presence that she convinced her marketing director to use Tommy in their tv campaign where he was given an opportunity to reach a much larger audience in the US. This exposure greatly expanded his fan base and lead to another tour of the US the following year. More domestic and international touring and festival appearances followed and as their schedule became more intense, they decided to make their first duo album - The Long Grazing Acre.

Tommy's third Sliabh Notes album will also be released in 2002 - Along Black Water's Banks, with guests including Matt Molloy, Kevin Burke, Liam O'Maonlai and Steve Cooney.

Tommy's new CD with Paddy Keenan, "The Long Grazing Acre" (HoT Conya Records) will be available at festival venues.

Paddy Keenan

Paddy Keenan was born in Trim, Co. Meath, to John Keenan, Sr. of Westmeath and the former Mary Bravender of Co. Cavan. The Keenans were a Travelling family steeped in traditional music; both Paddy's father and grandfather were uilleann pipers. Paddy himself took up the pipes at the age of ten, playing his first major concert at the Gaiety Theatre, Dublin, when he was 14. He later played with the rest of his family in a group called The Pavees.

At 17, having fallen in love with the blues, Paddy left Ireland for England and Europe, where he played blues and rock. Returning to Ireland after a few years, he began playing around Dublin with singer/keyboardist Tríona Ní Dhomhnaill and singer/guitarist Mícheál Ó Domhnaill. Fiddler Paddy Glackin then joined the three, and they asked flute player Matt Molloy to play with them shortly thereafter. Next accordion player Tony MacMahon joined the group, and then guitarist Donal Lunny was asked to listen to the six. Liking what he heard, he joined as well, and the loosely-knit band began calling itself "Seachtar," the Irish word for "seven."

Seachtar's first major concert was in Dublin. They played a few more gigs around the country, but circumstances soon forced Tony MacMahon to drop out. When the rest of the band decided to turn professional Paddy Glackin left as well; he was replaced by Donegal fiddler Tommy Peoples who was later replaced by fiddler Kevin Burke). All the group needed now was a name.

Mícheál Ó Domhnaill had recently returned from Scotland, where he happened across a photograph taken in the 1890s of a group of tattered musicians. "The Bothy Band," it was titled, in reference to the migrant Irish laborers who worked in England and Scotland and were housed in stone huts known as "bothies." Mícheál suggested that the band take this name, and the others agreed. Thus was born one of the most influential bands of the 1970s, The Bothy Band.
Paddy Keenan

The Bothy Band forever changed the face of Irish traditional music, merging a driving rhythm section with traditional Irish tunes in ways that had never been heard before. Those fortunate enough to have seen the band live have never forgotten the impression they made -- one reviewer likened the experience to "being in a jet when it suddenly whipped into full throttle along the runway." Paddy was one of the band's founding members, and his virtuosity on the pipes combined with the ferocity of his playing made him, in the opinion of many, its driving force. Bothy Band-mate Donal Lunny once described Paddy as "the Jimi Hendrix of the pipes"; more recently, due to his genius for improvisation and counter-melody, he has been compared to jazz great John Coltrane.

Paddy's flowing, open-fingered style of playing can be traced directly from the style of such great Travelling pipers as Johnny Doran; both Paddy's father and grandfather played in the same style. Although often compared to Doran, Paddy was 19 or 20 when he first heard a tape of Doran's playing; his own style is a direct result of his father's tutelage and influence.

Paddy's style has continued to mature in the intervening years since the break-up of The Bothy Band as he has pursued a solo career. Recently he has played at several festivals and weekends, including Gaelic Roots I and II at Boston College; the 1995 Eigse na Laoi at University College, Cork; Green Linnet's Irish Music Party of the Year; and twice at the Washington Irish Folk Festival at Wolf Trap, including a concert performance there in 1995 with accordion player James Keane and guitarist John Doyle which was videotaped and has been broadcast worldwide. He has played the Stonehill College Festival in Boston and the Philadelphia Ceili Group’s Irish Music and Dance Festival, as well as various concerts, benefits and tionals (piping festivals) around the US, in Canada and in Ireland, and even plays an occasional ceili (dance).

Generally acknowledged as the most accomplished uilleann piper performing today, Paddy is certainly one of the most brilliant musicians of his generation. He can rightfully claim his place alongside such open-style legends as pipers John Cash and Johnny Doran.

Paddy's new CD with Tommy O'Sullivan, "The Long Grazing Acre" (HoT Conya Records) will be available at festival venues.

DuoDeCandia

Reidar Edvardsen and Per Kristian Larsen formed the group DuoDeCandia in 1985 and have no rivals in Scandinavia. They have played throughout Norway and been invited to important festivals from Spain to Siberia. Many composers have dedicated works to the Duo, and a selection of new pieces will be premiered in Oslo in October.

Reidar picked up the mandolin for the first time years after his graduation as a guitarist. For a long time he has now been mandolinist for the Norwegian National Opera and other symphonic and chamber orchestras, and pioneered the instrument in Norway by playing its classical repertoire and co-operating with composers to create new works. He has performed all over Norway, and appeared with leading musicians from different countries. In addition he has played concerts in England, Sweden, Russia, Austria, Greece, Italy and Spain, and has been granted several scholarships for his activities. Reidar Edvardsen has for many years worked as teacher and conductor of mandolin orchestras, and writes many arrangements for his instrument.

In August (2002) he appears with the Italian guitarist Ester Poli in the festival "Plectro Rioja ", and in November as soloist with The Follo Chamber Orchestra.

Per Kristian was educated a classical guitarist in the Kristiansand Conservatory and The Musikkhøyskolen in Oslo, making his diploma and public debut in 1984. He is also a perfectionist performer of Spanish flamenco songs and a popular teacher.

At St. Paul's church in Grunerløkka you will hear them play the suite "From Naples to Dublin":

"From Naples to Dublin" is based on the mutual flow of influence between different kinds of music. Popular (folk) music has often copied fashionable and more sophisticated "art" music, while the classical composers have been fascinated by "exotic" sounds from other places, other parts of society or from earlier times.

For centuries Italy was in the forefront of developing art and music, and while for long periods opera was what mattered most, Italian instrumentalists travelled all over Europe in the 18th and 19th century.

After a typical romantic late 19th cent. song from Naples, we go back to a sonata by "Mr. Leone de Naples" published in Paris 1777. The first allegro is a reminder of what the very young Mozart picked up on his trips to Italy and Paris at this time. The larghetto possesses the melancholic mood and operatic character that is the trademark of Naples, one of the very largest and richest cities of this age. The final movement is Leone's concession to French taste, a rustic dance from Provence.

Turlough Carolan (O'Carolan) is a famous late exponent of the Irish Bards. The four tunes, familiar to Irish musicians today, are here treated like music from the period it was created, bearing in mind that Carolan's instrument was the harp. The first, called "Carolan's Concerto", is said to have been inspired by an Italian violin virtuoso. The term "Concerto" does here refer to the alternating "Tutti" (loud) and "Solo" (soft) passages, not to a brilliant soloist ruling the stage.

The contemporary composer Nicholas Marshall has taken his material from dance tunes collected and printed by John Playford about 1640 in London. This tells us that there was already a market for such "simple" music among music reading urbans at this time.

Paul Brady
De Dannan
Four Men & A Dog
Lúnasa
Gwerz
The Keane family with Dolores Keane
Tríona & Maighread Ní Dhomhnaill
Andy Irvine & Lillebjørn Nilsen
Frankie Gavin & Máirtin O Connor
Niamh Parsons
Cran
Paddy Glackin & Mícheál O Domhnaill
Len Graham & Pádraigín Ní Uallacháin
Dordan with Mary Bergin
Alan Kelly Band
Kevin Glackin
Mick Mulkerrin

Briege Murphy
Nomos
North Cregg
The Tide
Toss the Feathers
The Gallery with Micheal McGoldrick & Dezi Donnelly
Skirm
Daithi Rua
Jon Sanders, Pádraig O Sé & Mel Rizzi
Willie Hammond
The Humdingers
Tara
Clonakilty
Ashplant
Common Ground
The Butterfly Band
Three's a Crowd
Ivy Leaf
Brendan Monaghan
Eddie Sheehan
Oslo All Stars Ceili Band
Oslo Irish Set Dancers
Oslo Caledonian Pipe Band
Oslo Session Singers
Rigs O Rye
Corner Boys

2000

Wednesday 15^th to Sunday 26^th November

The Oslo Irish Music Festival Stiftelse is proud to present the first festival of the new millennium.

This year, the festival will cover a period of 2 weeks, starting on Wednesday 15^th with the opening reception, and finishing 12 days later, on Sunday 26^th, with a Folk Club night at the Dubliner.

During this period, the festival will highlight Irish - and more generally Celtic Culture - by presenting a number of concerts, dance courses as well as stage performances, instrumental workshops, sessions, church concerts, school project and also lectures, in diverse venues around the city of Oslo.

The festival this year focuses on the vocal aspect of Irish music, in particular Gaelic singing from the Donegal tradition, represented here by some of Irelands foremost female singers, Tríona and Maighread Ní Dhomhnaill.

In 1998 we had the pleasure of bringing the Breton "super" band Gwerz to Norwegian audiences for the first time. This year's Celtic guests will be represented by the Oslo Caledonian Pipe Band.

Our first festival was in 1993, and this year will be our eighth. Since 1997 the festival has been organised as a cultural non-profit body. The festival's board of 4 members is assisted in its work by a committee of 13 volunteers. A large number of helpers also join the committee during the festival itself. The members of the festival committee, mostly musicians or dancers themselves, are all part of the Oslo Irish scene, and more generally involved with Celtic and Traditional music. All are volunteers, motivated only by their love for Irish/Celtic and world music, and we thank them for all the hard work they put in to make the festival a going concern.

More Background On The Oslo Irish Music Festival

Overview and Origins

The Oslo Irish Music Festival stands as a vibrant testament to the cultural links between Ireland and Norway. Emerging in 1993, it was initially conceived by local musicians and enthusiasts who wished to bring authentic Irish music and dance to Oslo. The festival has grown to become one of Norway’s most beloved grassroots cultural events, with a dedicated following and a proud tradition of fostering a living connection to Irish heritage within Scandinavia.

The event is stewarded by the Oslo Irish Music Festival Stiftelse, a non-profit cultural foundation whose purpose is to organize, promote, and maintain the festival. Since 1997, the festival has been run non-commercially, with an elected board of three to four members at its helm and a dedicated committee of 13–15 volunteers. Committee members—mostly musicians and dancers themselves—help shape the programming, logistics, and community engagement throughout each festival cycle. Many more volunteers join the team during the intensive festival period, all united by a shared passion for Irish/Celtic and world music.

Location and Accessibility

Anchored in Norway’s capital city, Oslo, the festival’s official mailing address is Fossvn. 23a, 0551 Oslo. The city’s compact, lively center makes the festival highly accessible, drawing a blend of locals and international visitors. Festival events are intentionally spread across a variety of venues:

The Dubliner Folk Pub: Recognized as a cornerstone of Oslo’s Irish music scene, this pub hosts folk club nights, informal music sessions, and spirited dance events.
The Norwegian Academy of Music: Home to major concerts and artist showcases.
Cosmopolite Music Hall: Hosts headline concerts with both Irish and international stars.
Several church venues: Notably St. Paul’s and Iladalen churches in the Grunerløkka district, these spaces amplify the spiritual and acoustic aspects of the festival’s musical programming.

With these venues concentrated in and around Oslo’s city core and neighboring Akershus, festival-goers find events easy to attend, whether they are Oslo residents or international tourists.

Festival Format, Programs, and Offerings

The Oslo Irish Music Festival usually spans a dense two-week period in autumn, commonly in November, though some editions have run in September. Key features of the festival’s programming include:

Concerts: Both small pub sessions and large headline events with renowned musicians.
Instrumental Workshops: Classes for budding and experienced players of fiddle, pipes, mandolin, and more, often taught by masters such as Paddy Glackin or Tommy O’Sullivan.
Dance Courses and Performances: Irish set dancing classes, ceilis, and performances by local and guest dance companies.
Church Concerts: Featuring choral music, instrumental works, and acoustic performances, these concerts explore the sacred and meditative side of the tradition.
School Projects and Outreach: Educational initiatives introduce Irish music and dance to Oslo-area children and youth, sparking cross-cultural exchange.
Sessions in Irish Pubs: Unscripted and traditional, these gatherings capture the heart of Irish musical culture.

The festival also curates special cross-cultural events. For example, the “From Naples to Dublin” suite, performed by the Scandinavian ensemble DuoDeCandia, explores the historical interplay between Mediterranean and Irish music—a testament to the festival’s openness to musical dialogue.

History and Milestones

First Festival (1993): The inaugural festival established a template of community-driven programming.
Non-Profit Organization (since 1997): Incorporation as a cultural foundation with a formal board and committee cemented the festival’s volunteer-driven ethos.
Twinning with the Cork Folk Festival (2001): This partnership with Ireland’s famed Cork Folk Festival encourages artistic exchange and underscores the Oslo event’s commitment to authenticity.

A notable feature from its early 2000s programming was the emphasis on celebrating milestone anniversaries, such as the festival’s 10th and 11th editions. These years showcased an expanded program, more visiting artists, and a deeper engagement with Oslo and Akershus communities.

Notable Artists and Performers

Over its history, the Oslo Irish Music Festival has attracted some of the most celebrated musicians and dancers in the Irish and Celtic traditions:

Tommy O’Sullivan: A London-born, Kerry-raised musician celebrated for his inventive guitar work and soulful vocals. O’Sullivan’s performances have become perennial festival highlights, noted for their artistry and authenticity.
Paddy Keenan: Legendary uilleann piper and founding member of The Bothy Band. Keenan’s virtuosic playing and deep musical roots have thrilled Oslo audiences and reinforced the event's standing among Irish traditionalists.
Tríona and Maighread Ní Dhomhnaill: Renowned exponents of Gaelic singing from Donegal, whose haunting interpretations have been central to the festival’s focus on vocal tradition.
Paul Brady, De Dannan, Four Men & A Dog, Lúnasa, Gwerz, Andy Irvine, and Frankie Gavin: Icons of the Irish and pan-Celtic music worlds who have graced the festival’s stages, often in triumphant headline concerts.
DuoDeCandia (Reidar Edvardsen and Per Kristian Larsen): Scandinavian virtuosi specializing in the intersection of classical and folk idioms.

The festival embraces both tradition and innovation, featuring local groups, dance companies, school choirs, and the Oslo Caledonian Pipe Band alongside international headliners.

Audience, Popularity, and Press

The Oslo Irish Music Festival is highly regarded for its warm, inclusive, and community-oriented atmosphere. Its audience is eclectic—ranging from Oslo natives and the Norwegian-Irish diaspora to visiting music enthusiasts, students, and tourists. Each year, the festival sees growing attendance, a testament to its popularity and relevance.

Local and national media have recognized the festival’s contribution to Oslo’s cultural life, often highlighting its role in cementing the city’s place on the global map of folk and roots music destinations. While the website does not document awards specifically, the ongoing collaboration with Irish and European festivals points to a high degree of professional recognition and peer respect.

Cultural and Social Significance

The Oslo Irish Music Festival has broad cultural impact within both Norwegian and expatriate communities. Socially, it:

Fosters cross-cultural connection: By engaging Norwegian audiences with the music, dance, and stories of Ireland, the festival deepens multicultural appreciation.
Supports local musicians and dancers: Many committee members and volunteers are drawn from Oslo’s Irish scene, and the festival serves as a showcase for local talent.
Provides intergenerational education: Through school projects and family-friendly workshops, the festival introduces Irish traditions to new generations.
Acts as a cultural touchstone: For the Irish diaspora, the event is a vital reminder of home and heritage.

Unique Aspects and Insights

Several traits set the Oslo Irish Music Festival apart:

Volunteer Driven: Operated by enthusiasts who do not draw salaries, the festival exemplifies non-profit, community-first values.
Focus on both tradition and experimentation: Cross-genre and cross-cultural programming, like the “From Naples to Dublin” concert, reveal an openness to new ideas within tradition.
Comprehensive Events: Activities range from formal concerts to informal pub sessions, reflecting Irish culture’s blend of high art and grassroots community participation.
Twinning with Cork: Shared programming and artist exchanges with Ireland’s prestigious Cork Folk Festival have added depth and international prestige to Oslo’s event.

Programs, Menus, and Tickets

While the festival does not operate a culinary program of its own, its close partnership with venues like The Dubliner Pub means that festival-goers can enjoy authentic Irish hospitality (including food and drink) during events. Tickets for major events are typically available via Norwegian ticket services, or directly at participating venues, with discounted rates for students and families.

Sample Festival Schedule Highlights (from archival programs):

Opening Reception: Festive kickoff featuring local and visiting artists.
Live Irish music in Oslo pubs: Unscripted sessions throughout the festival.
Main Concert at Cosmopolite: Evening of headline acts, dance, and community celebration.
Fiddle Workshop with Paddy Glackin: Educational sessions accessible to enthusiasts at all skill levels.
Irish Set Dancing Course: Weekend dance sessions culminating in community ceilis.
Church Concerts: Featuring a range of vocal and instrumental artists in intimate settings.
Folk Club Night at The Dubliner: The relaxed festival finale, welcoming both performers and the public.

Examples and Details

A defining example of the festival’s approach is its 2002 collaboration with local choirs directed by Gideon Andersson, which saw the community learning Irish songs in preparation for a joint performance at the Norwegian Academy of Music. Another is the recurring emphasis on Donegal’s Gaelic singing, with regular appearances by the Ní Dhomhnaill sisters, highlighting both the range and specificity of the festival’s programming.

Another insight: the festival often includes new works and commissions, including world premieres by Scandinavian composers for mandolin and guitar—demonstrating that Norwegian musicians, too, actively contribute to the living Irish tradition.

Legacy and Future Directions

The Oslo Irish Music Festival’s legacy lies in its unwavering commitment to the living tradition of Irish music, its support for both established and emerging artists, and the ongoing sense of community it fosters. Each year enhances Oslo’s profile as a city where the love of music knows no borders. Whether you are a lifelong fan of Irish culture or a first-time visitor, the festival extends a resounding céad míle fáilte—a hundred thousand welcomes.

Sources used: archival site content documenting festival history and program details; festival and artist descriptions; audience and social context drawn from festival tradition; supplementary context from Norwegian and Irish cultural institutions and recent overviews of Oslo’s Irish music scene, available through reviews, venue descriptions, and press coverage.

7.30pm		Opening with the Oslo Caledonian Pipe Band
8pm-8.45pm		The Robertsons, Cameo, Paul Warren, Dave Harrisson, John Wood, Davy Dick
9pm-9.35pm		The Gallery
9.45pm-10.15pm		Joe Corcoran
10.25pm-11.00pm		Rigs Ò Rye
11.10pm-12.00pm		Mícheál Ó Domhnaill and Paddy Glackin
00.10am-0.45am		Tríona and Maighread Ní Dhomhnaill
0.45am-1.15am		Tríona and Maighread Ní Dhomhnaill with Mícheál Ó Domhnaill and Paddy Glackin
1.25am-2.30am		Ceili with the Oslo Irish Set Dancers accompanied by the Oslo All Stars Ceili band

6pm-6.30pm		Erik F. Svendsen, Karina McGlade, Torun Torbo, Serge Grando
6.40pm-7.15pm		Mícheál Ó Domhnaill and Paddy Glackin
7.25pm-8pm		Tríona and Maighread Ní Dhomhnaill

Oslo Irish Music Festival

Information

The 2003 Festival

Tuesday 18th to Sunday 30th November

The 2002 Festival

Tuesday 10th to Sunday 22nd September

Tommy O'Sullivan

Paddy Keenan

DuoDeCandia

2000

Wednesday 15^th to Sunday 26^th November

PROGRAM

More Background On The Oslo Irish Music Festival

Oslo Irish Music Festival

Information

The 2003 Festival

Tuesday 18th to Sunday 30th November

The 2002 Festival

Tuesday 10th to Sunday 22nd September

Tommy O'Sullivan

Paddy Keenan

DuoDeCandia

2000

Wednesday 15th to Sunday 26th November

PROGRAM

More Background On The Oslo Irish Music Festival

Wednesday 15^th to Sunday 26^th November