Living Blues #302 Review!
new releases
THE WILDCAT O’HALLORAN BAND
Welcome to Sunderland
No Label – No #
Although they’re more or less defined by a penchant for wit, whimsy, and humor, there’s no denying the fact that the Wildcat O’Halloran Band are the real deal as far as their affinity for pure blues is concerned. They maintained significant momentum even during the dark days of COVID, and the band’s 2024 album, Lead Me Not into Temptation, had a long enough shelf life to place on several year-end charts in 2025. So too, the musicians who make up this uncommon combo—Wildcat on guitar and vocals, Jopey Fitzpatrick on drums, and Angelo Mursey on bass, along with special guests Ottomatic Slim on harp, keyboardist Paul Provost, and backing vocalist Sarah O’Halloran—are more than capable of creating a substantial sound even when certain songs border on satire or cynicism.
The fact is, this band, more than most, possesses an independent attitude and a decidedly sly demeanor. Whereas the spirited sound of Welcome Wagon creates a definitive opening impression courtesy of its upbeat attitude, it’s also typical of the irreverent approach conveyed throughout. The sassy, spunky tone taken with What Part of Broken Up, the sprightly Key to Love, and the surge and strut of Muddy Waters Is Home, with its roll call of timeless icons (Junior Wells, James Brown, Ray Charles, et al.), suggest that mirth finds equal standing alongside the melodies.
On the other hand, although Wildcat himself wrote the majority of these tunes, it’s obvious that the band’s homage to a traditional template remains unwavering. That’s evident even in the somewhat self-effacing Too Big to Cry (“I’m too big to cry so I might as well laugh”), a solid and sturdy take on Worried Life Blues, and ultimately, the no-nonsense cover of Born Under a Bad Sign. Each of these entries comes across as genuinely authentic and undeniably inspired.
Ultimately then, Welcome to Sunderland allows for an intriguing new encounter, one that comes courtesy of a band that may not always take themselves so seriously, but at the same time makes it clear that they are intent to pursue their musical mission. It’s a mighty welcome return indeed.
—Lee Zimmerman
Living Blues • Issue #302 • May 2026
Artist: Wildcat O'Halloran Band Album: Welcome To Sunderland Released: 2026 Artist Website: https://wildcatohalloran.com/ The Wildcat O'Halloran Band returns with a new record Welcome To Sunderland, their first release on the Guitar One imprint. This 13 song set is everything we have come to know about this slippery little band out of New England. Exceptionally clever lyrics, tasteful playing and vintage sounding recordings. This band always has 70's lo-fi sounding production, which is refreshing to hear in a time of pristine digital recordings. A little dirt goes a long way! The album opens with a cut called Welcome Wagon. A story about the police pulling over the late night drunk drivers coming out of the college bars in town. This song has a bit more of a rock and roll approach that would be at home on a 3/13/26, 9:53 PM Wildcat O'Halloran Band Album "Welcome To Sunderland" Review https://www.radioguitarone.com/post/wildcat-ohalloran-band-album-welcome-to-sunderland-review 1/3 Warren Zevon album versus a straight 12 bar blues. However, it would be impossible to extract the blues instincts from this outfit. You simply can't take the salt back out of the soup, and this is some pretty salty gumbo. A cool rumba Check Her Mama is the classic story of taking a good look at the mother of your love interest for a glimpse into the future. The band lays down a solid pocket on the classic blues groove with sweet guitar and harp solos peppered throughout, providing lots of heat to the already spicy rumba beat that has become a standard on most blues records. Too Big to Cry is a fun track that embodies everything that this band brings to the blues table. Always a cool lyric that is much more thoughtful than a typical blues song. Wildcat is a storyteller at the core that clearly has a love for the blues, but a sense of humor and a contemporary spin on his words. A modern wordsmith with an old school approach to the music and production makes for an interesting listen for sure. A less typical funky approach to the Albert King classic Born Under A Bad Sign is an unexpected surprise. Cat's guitar playing seems to have the influence of the British Blues Invasion more so than any other influence. His playing on this cut is less Albert King sting and more of a Peter Green or early Clapton approach. His playing always sounds unforced and comfortable. He seems less concerned about total precision and more interested in the overall vibe. Wildcat and company never disappoint with their dirty delivery. If you are a fan of a grittier approach to the blues there is a lot here to like. It's not overly aggressive at any point, but never dull either. The production is charmingly real as is the performance. It has the feel of the band live in the room and whatever happens is what is printed to tape. It's an approach that isn't for everyone, but has a very human quality to it that is missing in most records these days. Cat's ability to tell a story is on par with the likes of Billy Joel and Tom Waits, wrapped into the blues. Pretty solid lyrical company to say the least. If you are looking for a more light hearted approach to blues music with a contemporary approach to the lyrics this is a slam dunk.
from Jo Sallins (WMASS music mogul):
“ Wildcat's vocals are clean and crisp, and lyrics are witty! Quite the storyteller, he is!…..His songs and licks are a master class in note selection, phrasing,bends, dynamics---less is more--overall taste and consistency!”
The band was amazing! The attendees were so impressed they asked me to include them next year. Thanks for your flexibility ..
and your talent
Amanda C. 4/27/2026
New Album is Here! Check Wildcat Store!!
Living Blues Magazine Nov. 2024---Review!--THE WILDCAT O’HALLORAN BAND Lead Me Not into Temptation, I Can Find It Myself No label – No # The Wildcat O’Halloran Band are clearly men on a mission. For the past 40 years, they’ve been entertaining audiences throughout their home terrain of Western Massachusetts. As the title of their new effort suggests, their ultimate goal is simply to have fun. In an LB review of their last album, Here Lies a Fool, “Wildcat emerges as one of the most entertaining songwriters in contemporary blues . . . and his band doesn’t know the meaning of dull!” On closer listen, one might attribute that attitude to the somewhat self-effacing mindset that pervades this particular effort overall. The title alone is indicative of that approach, but so too, songs such as Good Thing I Never Got Famous, Control, and Deaf suggest that there’s a tongue planted firmly in cheek. Then again, that doesn’t mitigate the band’s commitment to their cause. Covers of songs by B.B. King, Bobby “Blue” Bland, Otis Rush, Willie Dixon, and Curtis Mayfield ensure a great degree of authenticity in addition to the band’s steadfast sound. That said, there’s more than a hint of irony implied in some of these songs. Always Nobody in Your Own Hometown laments the fact that while one might steal the spotlight on tour, back home, anonymity often seems to be the rule. The slow saunter of Ask Me Nothin’ but the Blues, informed by an emotive harp solo from Ottomatic Slim and a searing guitar riff from O’Halloran himself, suggests a personal perspective that heeds a beckoning from the blues. The aforementioned Good Thing I Never Got Famous is driven by a steady shuffle, but given the riffs traded back and forth between Slim and O’Halloran, it’s clear they’ve each earned their place in the spotlight. Move On Up, My Own Fault, Homework, and Control are fairly straightforward in terms of delivery, although the subjects sometimes seem somewhat contrary in terms of the subjects and sensibilities. The final track, Deaf, more or less sums up their stance, advising that rejection letters often come from people who are hard of hearing to begin with. So too, the Wildcat O’Halloran Band offers a particular perspective that’s both entertaining and enlightening. That makes for a temptation that’s often hard to resist. —Lee Zimmerman
Review from "La Hora Del Blues" (Spain) 10/2/2024
The Wildcat O’Halloran Band “Lead Me Not Into Temptation – I Can Find It Myself”
Artista / Grupo: The Wildcat O’Halloran Band
Álbum: “Lead Me Not Into Temptation – I Can Find It Myself”
Discográfica: Self Production
Año publicación: 2024
Fecha crítica: 10/2024
Valoración: VERY GOOD
Sitio web: https://wildcatohalloran.com/home
Massachusetts has a large and interesting blues scene. Artists like Sugar Ray & The Bluetones, Duke Robillard or Jerry Portnoy among others have regularly moved around the area. This is the case of Wildcat O’Halloran Band, a group founded in 1968, which now is well known in all New England clubs, bars and festivals, besides opening or backing musicians like Greg Allman, John Lee Hooker, The Stray Cats, Duke Robillard, Bo Diddley or James Cotton, as well as leading for years a jam every Sunday in Northampton.
Now they are back with their last recording that gathers eleven songs developed in the most traditional blues, but also with very interesting lyrics that move away from the typical blues stereotypes, displayed with a good sense of humor, where Wildcat’s guitar gets inspiration by influences coming from Eric Clapton to Matt “Guitar” Murphy or Otis Rush, and even with some Jimi Hendrix details.
A selection of songs that allow us to realize Wildcat O’Halloran can perform with reliability a variety of blues styles and even delight us with a slow seven and a half minutes blues, “My Own Fault” without becoming repetitive or too long, where he gives in small doses some Texas blues elements. Also, he does not forget to include in the album some shuffles, mid-tempos and even a Christmas song “All I Want For Xmas” Wildcat performs in a very personal way.
Wildcat O’Halloran is on guitar and vocals, fronting the band, which includes Ottomatic Slim on harmonica and vocals on “Homework”, Jerry Jeff Siiru on bass, Joe Fitzpatrick on drums and the collaborations of drummer Mark Chouinard in “Always Nobody” and “Move On Up” and Emily Duff in sax on “Move On Up”.
Tell us the brief history of your band or musical career.
KEEP THE BLUES ALIVE
Q&A with guitar-slinger Wildcat O'Halloran, has been thrilling audiences in Western Massachusetts for many years
Posted by Music Network by Michael Limnios on August 18, 2024 at 5:30pm
"Everything in music is ultimately communication, whether it’s conveying the emotion to the audience, or tightening up the arrangements with the band (or getting the audience to show up!). Putting yourself in the other person’s shoes will invariably provide some valuable insights."
Wildcat O'Halloran: Blues Masterclass
Guitar-slinger Wildcat O'Halloran has been thrilling audiences in Western Massachusetts for over thirty-five years. The band has opened for just about every major blues artist to visit Massachusetts, from Greg Allman to John Lee Hooker to The Stray Cats, and has been backup band for Bo Diddley and James Cotton. Recently, they opened for Duke Robillard at Greenfield's Hawks and Reed Music Hall. Often featured at Millennium Music Conference, and longtime host of the Sunday Blues Jam in Northampton, the Wildcat (guitar and vocals) will often be accompanied by "Dr." Kathy Peterson (Bass), “Dr. Luscious” Emily Duff (sax), Devin Griffiths (guitar, vocals) and drummer Mark Chouinard. New England based Wildcat O'Halloran with no label support or high powered promoters, has had a series of critically acclaimed albums burn up the charts in recent years.
(Photo: Massachusetts based guitar-slinger Wildcat O'Halloran with Emily Duff on saxophone)
His latest, 11-tracks album "Lead Me Not Into Temptation, I Can Find It Myself" (2024) has been described as "a masterclass in tone and grit". Musically the band tends to wade in the traditional side of the blues, but lyrically "Cat" always tells a fun and interesting story that is atypical of the blues. He is undoubtedly a skilled wordsmith with a great sense of humor. His guitar playing is derivative of 60's Clapton, choosing taste and restraint over guitar acrobatics. He is more of a Peter Green and Matt "Guitar "Murphy fan than the players that came to the blues scene with a Hendrix influence.
Interview by Michael Limnios Archive: Wildcat O'Halloran, 2012 Interview
How has the Blues and Rock music infuenced your views of the world and the journeys you’ve taken?
After you experience the power of the blues, and see the universal effect it has on all types of people, it’s impossible not to realize that human beings are all tied together by our common aspects… which are WAY more important than our differences. Some people (fools, mostly) might try to deny that, but they’d have to deliberately ignore the picture right in front of them. When James Cotton called out “Gimme a Jimmy Reed in E”, and started counting, he assumed that he and I were going to a familiar, shared place… and he was RIGHT!
What is the driving force behind your continuous support for your music/lyrics? What's the balance in music between technique (skills) and soul/emotions?
Muddy Waters once noted that there’s “GOOD Blues” (skillfully played, well arranged, communicating a message, and showing command while doing it)... and there’s “DEEP Blues”---I think that second one means Blues showing a profound knowledge and respect for the deepest traditions of the masters who’ve gone before, as well as a deeply meaningful exploration of the emotions in human life. For a little Irish-American boy growing up in New York City, that second component was a sizable challenge… But fortunately, I met, and learned from men who were keenly attuned to every centimeter of that territory. That was key—because you need a healthy dose of both aspects (Good—-and Deep)--or the Blues just isn’t that interesting!
What moment changed your music life the most? What´s been the highlights in your life and career so far?
When legendary drummer Kennard Johnson left the James Cotton Band, and relocated to Massachusetts, he provided my already full-blown blues obsession with graduate level fine tuning. It was a master class every gig. Then, when I got the opportunity to play with Mr. Superharp… and make him smile!... it told me I was on my way!
"After you experience the power of the blues, and see the universal effect it has on all types of people, it’s impossible not to realize that human beings are all tied together by our common aspects… which are WAY more important than our differences." (Wildcat O'Halloran / Photo by Vinny Natale)
What do you miss most nowadays from the music of the past? What are your hopes and fears for the future of?
Ans.- One trend in newer music that worries me is a tendency to disregard “chops”.....some fnd that too “Spinal Tap”, maybe? That seems like we’re trying to express “deep” emotions without requisite skill! Meanwhile, we have the other extreme, where the dexterity runs wild with no roots. I think that despite the negative aspects of the internet, the fact that you can compare and contrast the “latest thing” with the work of the old masters will, ultimately, be a very GOOD thing.
If you could change one thing in the musical world and it would become a reality, what would that be?
I don’t think it’s a secret that the financial realities of the music world are pretty treacherous…. especially now, when artists are apparently supposed to “work hard to get streams” on sites that pay fractions of cents. After Covid, there’s been a wave of “ OOOH, we’re so glad music is back!” Hope that continues.
What are some of the most important lessons you have learned from your experience in the music paths?
Everything in music is ultimately communication, whether it’s conveying the emotion to the audience, or tightening up the arrangements with the band (or getting the audience to show up!). Putting yourself in the other person’s shoes will invariably provide some valuable insights. Which leads in to the next question….
Why is it important to we preserve and spread the blues? What is the role of music in today’s society?
Picture this: One human, no technology …versus one tiger—advantage tiger. Substitute in Lion, elephant, cobra, poisonous fish, or whatever you like. You see the point. Tiger versus a group of humans, who are sharing support and technology—advantage humans! And that… that key to our success… is based in our innate human interest in co-operation. We are literally PROGRAMMED to help each other….we can’t WAIT to do it. And while we’re developing our empathy, what if we found a music that values sharing our problems, and at the same time, makes us feel BETTER about those (shared) problems. How valuable could THAT be?
