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Keegan McInroe / Press

“There's an appealing, unhurried nature to Fort Worth singer-songwriter Keegan McInroe's voice. He approaches his songs -- and on his latest album, A Thousand Dreams, there are 19 to choose from -- as though he's telling a handful of stories to a small, attentive audience. Breaking up his evocative tunes with brief instrumentals (often featuring stellar performances from locals like Ginny Mac or Michael Maftean), McInroe fashions a record tailor-made for lazy rainy days or intimate, sunset backyard gatherings. Produced by McInroe with Paul Williams, A Thousand Dreams is simply transporting.”

“...Keegan McInroe’s A Thousand Dreams, a recently released 19-song monster of taste and creativity....Dreams is the Fort Worthian’s third solo album in four years, and it’s easily one of his best....Think of McInroe as a something of a Texan Cat Stevens....Although this artist’s odes are emotionally charged, they’re genuine, which is to say credibly and incredibly folksy....Fiddles factor heavily in many of McInroe’s songs. So do harmonicas, pedal steels, mandolins, organs, violas, and trombones — all masterfully blended into a seamless neo-folk tapestry....Sometimes McInroe keeps it lighthearted and jaunty, as on rolling lyrical tracks like “Old Lover’s Arms,” one of the album’s highlights. On others he gets gruffer though not necessarily darker, like “Don’t Ya Never Leave,” an enchanting yet elegantly simple heartbreak ditty....Its steady strumming and repetitious lyrics show that McInroe knows how to wow without showing off.”

"McInroe, who rose to local fame with the band Catfish Whiskey, set up in a dimly lit corner of the bar... McInroe tore into soul-wrenching covers of songs by Bob Dylan, Tom Waits and then Ophelia, by the Band. He played straight on through till 2 a.m., with a good mix of originals and songs by Dylan, Mississippi John Hurt, Johnny Cash, Stevie Ray Vaughan and Robert Johnson...McInroe's voice has got a serious, gargles-with-Red-Devil-Lye edge to it..."

“Keegan McInroe sings like he was born into the wrong century, with a baritone that’s woozy, ribald, and rambling. But his eccentric arrangements, which slide organically into disparate genres and styles, are definitely here and now....If you were to mistake Keegan McInroe’s music for that of a young Tom Waits, you could easily be forgiven. The connection between Waits’ tunes and McInroe’s funky, frayed-edge work is undeniable; so too is the undercurrent of doom that permeates his latest release, From the Wall & In the City....”

“On the heels of his 2009 solo debut, Mozelle, singer-songwriter McInroe's sophomore effort -- the "spirit" of which McInroe says first began taking shape during the "fear and loathing of the W. Bush years" -- bursts with ambition. With 15 tracks, nearly 30 guests (everyone from Michael Maftean and Ginny Mac to Daniel Katsuk and Justin Pate) and impressively dense compositions that don't collapse into chaos, From the Wall and in the City is a rootsy epic. It's not an easy album to wrap your arms around, but McInroe rewards patience with his keenly felt songs and deliberate pace.”

“***this is a lengthy review, so click the link to read the thing in its entirety*** This will be one of the oddest reviews I’ve ever done...while I am uncomfortable with some of the lyrics here, the music is astounding....From the Wall and In the City is an album of dark songs, but not all of the lyrics are off-putting. The tone becomes more strident as the album goes along, and there are some real gems early on....I hope that he continues with the musical explorations on display here....”

“I don’t know about you, but I always appreciate hearing music from other parts of the country. So while it’s often said that you shouldn’t mess with Texas, I’ll press my luck and write about Levelland resident Keegan McInroe’s new album From the Wall & In the City. His music incorporates elements of rock, country, and the blues, which makes it hard to neatly classify. But it’s good, and that’s all that really matters. As far as instruments go, you get a little bit of everything, including twangy guitar, piano, organs, accordions, supporting tenor saxes and thigh-slapping fiddles. The combinations can be a little unconventional, but the variety keeps your ears from falling asleep. Most importantly, the lead vocals feel warm, engaging, and familiar. Overall, Keegan McInroe is a very capable local musician, and From the Wall & In the City is pretty good driving music for a long summer roadtrip. I give the album a 3.5 out of 5.”

“***this is a lengthy review, so to read it in its entirety, click the link*** ....Keegan McInroe is the closest I’ve come to presenting a folk singer....McInroe does no solos, flashy or otherwise, but he is as fine a rhythm player as you would ever care to hear. For a couple of tunes, he puts down his acoustic, and plugs in his resonator guitar, but it’s still strictly rhythm....Mozelle, taken as a whole, seems to me to be a tale of a man wrestling with his spiritual path. His road is not easy. I don’t think the matter is necessarily settled at album’s end. But this is not an album that requires you to share McInroe’s faith. I am not a Christian, but I am taken with McInroe’s honesty in the telling. And I can relate to the theme of struggling with one’s spiritual path. That can happen in any belief system. Even though McInroe supplies specifics, his theme is universal. And his telling is for everyone.”

“McInroe's debut solo effort, Mozelle, hits the streets this week....Very Dylanesque if you ask me....Seems that the acoustic country blues vibe suits McInroe's world weary voice....solo or group, McInroe's a local songwriter worth some recognition.”

“McInroe wrote a song called “Mozelle”...in the few days between her death and the funeral. It’s a wise, beautiful, acoustic blend of sadness and joy, a celebration of the woman’s life told from his grandfather’s point of view....That was the genesis of Mozelle....”

“The...expansive 14-track collection, which he self-produced...exists largely as a showcase for McInroe’s dusty, intense songs, like the epic opening title tune and the spellbinding, mournful Dreaming ’Bout New York. It’s a deeply felt document sure to please fans of Steve Earle or Tom Waits.”