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So there is something very moving about the fact that he is coming back to us: that he has retained the power to sell out two concerts in Croke Park (with the promise of more on the horizon), just like that. Residents in Ballybough protested against the cancellation of any of the Garth Brooks Croke Park concerts. Suffice to say that Garth Brooks had a profound impact on Irish society in ways he never dreamed. well, there’s no need to go into all of that here.
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A kind of renegade, can-do American frontier spirit took hold, inspiring hundreds if not thousands of Irish men to no longer content themselves with being all hat and no cattle: to seek the fair land, to then get that fair land rezoned for residential development and to borrow articulated-truck loads of cash from the banks and. The economic theory on the ‘Brooks Effect’- as the ESRI and many other economic think tanks have labelled it - is that the country star released a strain of unexpected energy into the Irish psyche. It is said that Bono has never quite recovered from the intense aura of love and adoration directed by the Irish heartland at this other beseeching, big heeled, lung-buster of an entertainer. Eight sell out shows at the Point were mere dress rehearsals for his 1997 appearances at Croke Park which were less musical nights out than experiments in rapture. More strident members wanted an outright ban placed on the practice.Ĭontrarily, Brooks soon confirmed himself as the most popular draw in the history of the GAA. Internal memos reveal that the GAA considered its sweeping popularity an existential threat to the association. By 1994, Ireland was holding All-Ireland Line Dancing Championships. The back roads of Georgia and Kentucky infiltrated the Irish imagination through the ubiquitous sounds of Cotton Eyed Joe and Chattahoochee.
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Hitherto perfectly normal people found themselves suddenly dressed as though for a walk-on part in the original Dukes of Hazzard, chequered of shirt and cowboy-ed of boot as they went through the intricate little steps and hands-on-hips routines that comprised the impenetrable appeal of the line-dancing phenomenon.Īnd it was a phenomenon! It was the pandemic for which there was no vaccine. Nobody speaks about it anymore but a line-dancing frenzy took hold of the nation around 1993. A sudden and unmistakable country ‘n’ western vibe began to infiltrate all spheres of Irish society. Overnight, it felt, Garth Brooks empowered the repressed JR Ewing in many an Irishman. But for a significant number of Irish people, Brooks wasn’t just an American entertainer. Even Ireland’s hardcore metal purists of the early 1990s subconsciously came to know every single line of the Brooks staple ‘Friends In Low Places’ simply because it was played at them a million times. How you felt about the Brooks catalogue of twangy ballads and anthems was immaterial. His music - this cannot be stressed enough - was inescapable. Much like the statue in Ballinspittle a few years earlier, the sight of Garth Brooks storming the world brought out the evangelists. Garth Brooks performing at Croke Park in 1997. But if there was one clearly identifiable movement, it was the sight of Ireland’s country-and-western masses moving into the bright sunlight of the mainstream. Nobody was quite sure what to make of the decade when it began. Culturally, the early 1990s was a hot mess. Thursday’s confirmation that Mr Brooks will once more ‘play’ Croke Park, one of the citadels of Irish sport, was a reminder of a simpler time. Needless to say, the Irish went daffy for him. He sang about down at heel American romantics on liquor benders and high school sweethearts and football games but in such a way that the message - and lyrics - were easily transferred to the darklands of Mayo or Donegal. He yodelled and hollered his way to the top of billboard charts on both sides of the equator. Into this confusing maelstrom stepped Garth Brooks, the cherubic Oklahoman who wore shirts of sequined denim, heeled-boots and a black Stetson under which he gazed at the world with a blue-eyed pacifism and the slight suspicion of a hangover. But there existed by then another cohort: the marginalised country ‘n’ western romantics to whose needs future Taoiseach and music hall promoter Albert Reynolds quietly and heroically catered before entering politics. If you trace the music trends in Ireland from the Treaty through to the 1980s, it’s a line of maudlin ballads running straight through to gloomy English synthesiser escapism beamed into our living rooms on Top of the Pops. Talk to any economists worth their salt and they will tell you that the true source, the vital spark of the Irish economic miracle of the 1990s was Garth Brooks.