Review: Troubadour, the olllam
the olllam Troubadour
The olllam brought their unique, genre-bending collective to West Hollywood’s legendary Troubadour. This was their first-ever Los Angeles performance, and fittingly, the final stop of their current tour. Fans of instrumental virtuosity and unexpected fusion were delighted. The night was a triumphant celebration that left the crowd smiling and also moved.
Rachel Mazer Charms
Rachel Mazer opened the night with a set that showcased her prodigious skills as a singer and multi-instrumentalist on guitar, flute, and saxophone. Her songs, exploring love, loss, as well as grief, resonated with a sweet sentimentality rooted in her rich alto voice. Mazer’s musical journey began in San Francisco and continued in Michigan (where she studied at U-M and met Joe Dart). She was joined on stage by an adept ensemble and, for a stunning rendition of “It is so wrong,” by Dart himself.
Her sound, which fans of Lake Street Drive, Norah Jones, and Carole King would find familiar, blends pop, soul, jazz in addition to funk with confidence and a fresh perspective. Her soulful funky sound confirmed why Paste magazine noted, she’s a “fresh take on studio jazz and soul music.” I am pretty sure Mazer is required to play with every famous musician. Her immense versatility, from Lady Gaga to Zedd, was on full display.
The ollam Progessive Celtic Fusion
The energy in the room shifted as the olllam took the stage. The Irish word for master poet is what inspired the band’s name. This transatlantic collective formed nearly 15 years ago. It was founded by Kalamazoo drummer Michael Shimmin and Belfast uilleann pipes master John McSherry. They fuse the soul of Irish traditional music with Detroit’s psychedelic post-rock energy. The result? Instrumental soundscapes “designed more like pop or rock songs.”
The all-star lineup also included Vulfpeck’s Joe Dart on bass, talented multi-instrumentalist Joe Hettinga on keyboards, U.K. whistle/pipes player Ross Ainslie, and guitarist Seán O’Meara. They opened their set with “Prolllogue” then “The Bell” from their self-titled debut album. The Guinness flowed freely. Throughout the infectious set, smiles, dancing, and even a few ambitious flashes of Irish jig skills were spotted in the crowd.
Unexpected Highlights
The band has only two albums, the olllam and 2022’s elllegy. So, they played much of their repertoire. This highlighted the extraordinary ensemble dynamics. While the two pipe masters, McSherry and Ainslie, traded thrilling dueling pipe solos, guitarist Seán O’Meara contributed some beautiful fretwork. His intricate fingerpicking style was reminiscent of Leo Kottke. Keyboardist
Hettinga displayed his amazing ability during a rollicking solo that had his hands flying all over the keys. The group’s sound gave off progressive rock vibes, evoking the experimental spirit of acts like Gentle Giant, Matching Mole and Sky.
The unquestionable highlight came with a surprise introduction: international electronic music artist Zedd joined the band! He proved himself to be an excellent drummer. The collective, who co-wrote the track “Sona” for Zedd’s album Telos, launched into a powerful live rendition of their collaboration.
The Olllam Will Likely Return to Los Angeles
The olllam at the Troubadour was a masterclass in musical fusion, instrumental prowess, and the power of collaborative creativity. Whether drawn in by Joe Dart’s funk-infused genius or the evocative, genre-defying soundscapes, every attendee left feeling part of something unforgettable.
In conversation from the stage, Joe Dart hinted at The Olllam’s bright future: Irish members are on one-year visas, but more US dates and a third album, featuring singers for the first time, are in the works for 2026. The crowd’s enthusiastic response left no doubt: LA will eagerly welcome their return. Find out more about the Troubadour and its upcoming shows on the website – https://troubadour.com
