The Popes Reformed
2008 - 2013

THE GUARDIAN- Our music team pick the songs or albums, old or new, they just can't turn off;

They are best known as Shane MacGowan's other band (now fronted by the equally gravel-voiced Paul "Mad Dog" McGuinness), and this strings-led cut from The Popes' excellent Outlaw Heaven album is what The Waterboys would have sounded like had Mike Scott sipped from the streams of whiskey. A true rough diamond.Dave Simpson - The Guardian

 

 

The Popes, the band Shane MacGowan assembled in the early '90s after walking The Pogues' plank, would always suffer by comparison to their near-namesakes and fellow ex-pats, but comparisons are misguided. Now led by Paul 'Mad Dog' McGuinness and with a lineup bearing little resemblance to its original incarnation, theirs isn't a potty-mouthed take on Irish traditionalism - Outlaw Heaven is a rough, tough rock record. Occasionally the meaty sound offers up a little gristle - McGuinness's strident voice isn't the best vehicle for nuance and his lyrics don't quite offer the romance and poetry of MacGowan's pen - but there's no lack of fire and conviction here. After all, these are songs the chief Pope wrote while doing a stretch in HMP Pentonville ("the mother of all creativity", McGuinness notes of his alma matter). Other plusses include the reappearance of MacGowan on three numbers and the title track, which carries the distinction of being the first song to name-check all of these names and more - Bobby Sands, Robert Johnson, James Joyce, John Dillinger, and "Lord Fucking Nelson".NIGE TASSELL  THE WORD

 

Outlaw Heaven ***

Those waiting the annual Pogues live outings to produce a new album may be in for a long one. Meanwhile, tin whistling co-vocalist Spider Stacy and his ole pal, the indestructible Shane MacGowan, assist Paul McGuinness' crew on an album which is a rowdy blend of crude metal and broken-bottle folk rock.

Gavin Martin The Daily Mirror   May 8th 2009 

Is it really nine years since Holloway Boulevard? Apparently so and the intervening years have seen the death of Tommy McManamon, and Paul (Mad Dog) McGuinness spending a few months as guest of Her Majesty. Emerging from those experiences, Outlaw Heaven is big and loud but not in a last-one-in-the-bar's-a-wuss style. You might hesitate to call it thoughtful but it's close. The opening track is 'Black Is The Colour' and you can forget Donovan and folky girls with long blonde hair; this is a McGuinness original and it starts with the biggest crashing chords you'll hear this side of Metallica just so you're in no doubt. that's followed by 'Let The Bells Ring Out' and 'Angels Are Coming', two songs with the anthemic qualities of great rock music. Fiachra Shanks and Ben Gunnery provide banjo, mandolin and fiddle to contrast with the wild electric guitars of McGuinness and Charlie Hoskyns. Old mates Shane MacGowan and Spider Stacy guest on the title track and Shane appears on three more numbers, taking the lead on the closing 'Loneliness Of A Long Distance Drinker'. There's pain and hope on this album and some fine music.

THE POPES FEATURING SHANE MacGOWAN

Paul McGuinness drew on his four month spell in Pentonville prison top write a batch of songs dripping with rage and exploding with the need to be heard. It's a chaotic, red-blooded mix of punk, rockabilly, Celtic and country, surging to ferocious peaks in 'Let The Bells Ring Out' or the tormented 'Crucified', or 'Outlaw Heaven' (the latter featuring Shane MacGowan). MacGowan also excels in 'Bastards', but with then succumbs to his own myth in 'Loneliness Of A Long Distance Drinker'.   ADAM SWEETING - UNCUT Magazine

 

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More Background On ThePopesOfficialSite.com

 

ThePopesOfficialSite.com served as the official online home of The Popes during an important chapter in the band's history, particularly the years from 2008 through 2013. The website documented the revival of a group originally formed by Shane MacGowan after his departure from The Pogues, and it highlighted the musicians who helped transform The Popes from a celebrated backing band into an independent recording and touring act.

For fans of Irish folk-rock, Celtic punk, and alternative music, the website offered considerably more than basic promotional information. It featured band biographies, album discographies, concert schedules, press interviews, critical reviews, and news about the group's changing membership. It also preserved the story of Paul "Mad Dog" McGuinness, whose leadership shaped the band's later identity and whose serious accident in November 2013 brought an unexpected interruption to its activities. Although the website is now primarily a historical resource, its material provides insight into a distinctive period of British and Irish music, when The Popes occupied a musical space between traditional Irish storytelling, punk rock, country, blues, and the energetic live performances associated with London's Irish music community.

Origins of The Popes and Their Connection to Shane MacGowan

The history of The Popes begins with Shane MacGowan, one of the most influential figures in Celtic punk. MacGowan had achieved international recognition as the lead singer and principal songwriter of The Pogues, whose combination of Irish traditional music and punk attitude helped establish a distinctive musical movement during the 1980s. After leaving The Pogues in the early 1990s, MacGowan assembled a new group of musicians to support his solo recordings and live performances. The Popes emerged from this project, with their association becoming established around the recording of MacGowan's 1994 album The Snake.

The original musicians included Paul McGuinness and banjo player Tommy McManamon, both closely associated with the wider musical circle surrounding The Pogues. Their involvement helped maintain a connection with the raw, energetic sound that had made MacGowan's earlier work so recognizable. The group's early activities centered on supporting MacGowan, but the musicians gradually developed their own collective identity. Their performances combined traditional Irish instrumentation with electric guitars, driving rhythms, and the irreverent atmosphere of London's Irish pub-rock scene.

MacGowan's distinctive songwriting and public persona initially attracted much of the attention. Nevertheless, The Popes eventually demonstrated that they could create and perform music independently, establishing the foundation for their later recordings under McGuinness.

From Backing Band to Independent Recording Artists

The Popes' transition toward becoming an independent band became particularly evident during the late 1990s. While they continued to be associated with MacGowan, McGuinness and McManamon pursued recordings that allowed the group to develop its own material. Their independent releases included the singles Are You Looking at Me and Holloway Boulevard, issued through Scarlet Records. These recordings helped establish an audience for the band's music beyond its association with MacGowan.

In March 2000, The Popes released the studio album Holloway Boulevard through Snapper Music. The record represented a significant step in the band's development, demonstrating its ability to produce a complete collection of original and interpreted material under its own name. The album's promotion reflected the band's unconventional personality. One particularly memorable event involved a musical pub crawl along Holloway Road in North London, with performances at six venues in a single day. This unusual promotional approach connected the music directly to the neighborhood and drinking establishments that formed part of the band's cultural identity.

The album featured songs such as Holloway Boulevard, Vaya Con Dios, Sleepless Nights, Pump Action Paddy, Hills of Connemara, New Rose, and Last Call. Its mixture of Irish themes, punk energy, and rock arrangements helped distinguish The Popes from more traditional folk ensembles. Live recordings also became an important part of the group's catalog. Release the Beast preserved the intensity of their performances, while recordings associated with MacGowan, including Across the Broad Atlantic, documented their continuing musical relationship.

By the middle of the decade, however, the group faced major changes. The Popes performed their final show with MacGowan on March 17, 2005. The death of Tommy McManamon in December 2006 was another profound loss, bringing an end to a formative period in the band's history.

The Reformation of The Popes Under Paul McGuinness

Following McManamon's death, Paul McGuinness began rebuilding The Popes around a new collection of musicians. This reformation became the central subject of ThePopesOfficialSite.com and provided the website with its historical significance. McGuinness, widely known by his nickname "Mad Dog," assumed the principal leadership role as guitarist, singer, and songwriter. His background connected the reformed group to its earlier incarnation, while his new collaborators introduced different musical influences.

Among the musicians involved in the revival were guitarist and producer Charlie Hoskyns and drummer Will Morrison. Other members and collaborators during this period included Laurie Norwood, Jim McAllister, Ben Gunnery, Fiachra Shanks, Dave Allen, and Whiskey Mick Rowan. The personnel varied across recording sessions and live performances, reflecting the evolving nature of the reformed band. The website's biographies documented these changes, identifying the musicians responsible for guitars, drums, bass, fiddle, banjo, mandolin, and backing vocals.

Hoskyns and Morrison played especially important roles in developing the group's new sound. Their musical backgrounds extended beyond Irish folk traditions, allowing them to incorporate contemporary rock production, electronic textures, and alternative arrangements. The resulting music retained recognizable elements of The Popes' earlier identity but was not intended simply to recreate the sound of The Pogues. McGuinness and his collaborators sought to establish a distinctive style that acknowledged the band's history while demonstrating its continuing creative development.

Outlaw Heaven: The Album That Defined the Revival

The 2009 release of Outlaw Heaven was a major milestone for the reformed Popes. It represented their first substantial studio statement following years of personnel changes, personal difficulties, and interrupted recording activity. The album brought together McGuinness's songwriting with the musical contributions of Hoskyns, Morrison, and other members of the new lineup. Its sound combined Celtic influences with punk, rockabilly, country, blues, and contemporary rock.

One of the album's most notable features was the return of Shane MacGowan as a guest vocalist. MacGowan appeared on several recordings, including the title track, while fellow Pogues musician Spider Stacy also contributed to Outlaw Heaven. These appearances created a bridge between the band's original identity and its new direction. Rather than functioning as a complete reunion, the recordings demonstrated the continuing musical relationships among performers who had helped shape the Celtic punk movement.

The album included Black Is the Colour, Angels, Raw, Back in Your Heart, Outlaw Heaven, Boys Don't Cry, Let the Bells Ring Out, Crucified, Bastards, and Loneliness of a Long Distance Drinker. Its arrangements ranged from forceful electric-guitar passages to atmospheric compositions featuring traditional instruments. The combination gave the record a broader stylistic range than listeners might have expected from a band closely associated with Irish folk-punk. The album artwork was created by London-Irish artist Brian Whelan, adding a visual dimension to a project strongly connected with themes of identity, adversity, and personal experience.

Paul McGuinness and the Personal History Behind Outlaw Heaven

One of the most extensively documented subjects on ThePopesOfficialSite.com was the personal history that influenced McGuinness's songwriting. Before completing Outlaw Heaven, McGuinness experienced serious difficulties involving substance use and a period of imprisonment on remand at HM Prison Pentonville in London. Contemporary interviews described how the experience became an unexpected catalyst for writing.

McGuinness spent approximately four and a half months in custody and later described the isolation, limited writing materials, and difficulty accessing musical instruments. He reportedly composed melodies mentally, wrote lyrics on the small amounts of paper available to him, and occasionally used a guitar borrowed during religious services. Although the circumstances were difficult, the experience helped generate material that eventually developed into Outlaw Heaven. McGuinness was subsequently acquitted of the charges for which he had been held on remand.

His interviews emphasized that completing the album required more than simply writing songs. He also needed to rebuild his personal life, establish working relationships with new musicians, and find a way to perform without returning to destructive habits associated with earlier touring. The album consequently acquired a personal dimension that distinguished it from a conventional rock release. Its themes included anger, loss, survival, regret, defiance, and the possibility of renewal.

This background attracted considerable attention from music journalists, who frequently discussed McGuinness's experiences alongside their assessments of the album. The resulting coverage helped establish the reformed Popes as a group with its own story rather than merely a continuation of MacGowan's former backing band.

New Church: The Popes' 2012 Album

The release of New Church in 2012 demonstrated that The Popes were continuing to develop creatively rather than relying exclusively on their earlier reputation. The album contained 14 tracks and presented a varied collection of rock, folk, punk, and blues-influenced compositions. Its material included Storming Heaven, New Church, How Many Bullets, Throw Down Your Aces, Alice, Queen of Manhattan, Love Shines, Hanging Up My Guns, Are We Still Lovers, In a Broken Dream, and Back in the Day.

Guest performers contributed additional variety. Howard Marks provided spoken-word material for Throw Down Your Aces, while singer Jo O'Meara appeared on the band's interpretation of In a Broken Dream. The album demonstrated the versatility of the group's musicians. Storming Heaven emphasized aggressive guitars and punk-influenced rhythms, while Hanging Up My Guns offered a more reflective acoustic atmosphere. Queen of Manhattan incorporated contrasting rhythmic and vocal arrangements, and Back in the Day introduced a brighter sound featuring prominent horns.

Reviews highlighted the band's willingness to move between styles without abandoning its underlying musical identity. The album's mixture of theatrical arrangements, rough-edged vocals, and traditional influences helped reinforce the argument that The Popes deserved recognition as an independent recording act. For ThePopesOfficialSite.com, New Church represented an important addition to the discography. The website promoted the release, presented its track listing, and preserved reviews discussing the group's evolving sound.

Concert Tours, Festivals, and International Performances

Live performance was central to The Popes' identity, and the website devoted considerable attention to concert schedules. Its archived listings document performances throughout Britain and continental Europe, along with accounts of touring in Australia. The 2011 schedule included appearances at Festival Rencontres et Racines in Audincourt, France; Glastonbury in Somerset, England; Na Fir Bolg Festival in Vorselaar, Belgium; and GuilFest in Guildford, England.

These appearances demonstrate the group's ability to reach audiences through both major festivals and smaller events. The variety of venues also reflected the broad appeal of its music, which could fit into folk, rock, punk, and alternative festival programs. One of the most substantial touring commitments documented by the website occurred in March 2012, when The Popes supported The Stranglers on a series of British dates.

The itinerary included Leeds, Glasgow, Liverpool, Nottingham, Cambridge, London, Birmingham, Oxford, Portsmouth, Brighton, Bristol, Newcastle, Sheffield, and Manchester. Notable venues included London's Roundhouse, Nottingham's Rock City, Cambridge Corn Exchange, and several O2 Academy locations. Supporting The Stranglers introduced The Popes to audiences already familiar with British punk and alternative rock. The pairing made musical sense because both groups shared connections to the late-1970s and early-1980s punk tradition, even though The Popes incorporated stronger Irish folk influences.

The band's additional 2012 appearances included Exeter Phoenix, Bedford Esquires, The Duchess in York, Bearded Theory Festival in Derbyshire, and Watchet Live in Somerset. These tour schedules are among the website's most useful historical records. They demonstrate the geographical extent of the band's activities and provide a timeline for its public performances during the revival period.

The 2013 Accident and Its Impact on the Band

The reformed Popes' momentum was interrupted by a serious accident involving Paul McGuinness in November 2013. According to information preserved on the website, McGuinness was struck by a vehicle in London on November 21, 2013. He sustained a serious brain injury and was hospitalized at the Royal London Hospital in Whitechapel.

A statement associated with a live concert recording reported that McGuinness had regained consciousness by December 4, 2013, and was responding to medical staff. Although this was encouraging news, the statement emphasized that his recovery would require considerable time. The band's community responded with expressions of concern and support. A benefit fundraiser was scheduled for December 20, 2013, at O'Neill's in Muswell Hill, London, to assist with McGuinness's recovery.

The website also preserved a list of proposed performances for 2014, including dates in Sarlat, Le Havre, Santes, Albi, and Chartres in France. These listings illustrate the group's touring ambitions before the full consequences of the accident became clear. They should not be interpreted as confirmation that every scheduled performance ultimately occurred.

The accident contributed to an extended interruption in the band's activities. As a result, the 2008–2013 material preserved by ThePopesOfficialSite.com documents a relatively complete period of revival, recording, and touring before a major change in circumstances.

Press Coverage and Critical Reception

The Popes received coverage from several established British and Irish publications, particularly around the release of Outlaw Heaven in 2009. The website collected reviews and interviews associated with Q, The Guardian, Uncut, Clash, The Word, the Daily Mirror, Rock'n'Reel, The Irish Post, and The Irish World.

These publications approached the group from different perspectives. Some emphasized the relationship with Shane MacGowan, while others concentrated on McGuinness's songwriting, the band's renewed energy, and the broader musical influences introduced by the reformed lineup. Adam Sweeting's coverage examined the circumstances surrounding the creation of Outlaw Heaven, including the band's history, McGuinness's experiences, and the contributions of Hoskyns and Morrison. His assessment emphasized the album's emotional intensity and its combination of different musical styles.

Dave Simpson of The Guardian singled out Angels Are Coming as an especially compelling recording. His comparison with The Waterboys reflected the group's combination of Irish-influenced instrumentation and forceful rock arrangements. Q magazine's Nick Duerden also recognized the album's traditional Irish influences while emphasizing the strength of McGuinness's vocal delivery. Clash magazine's Rick Rawlins awarded Outlaw Heaven an 8/10 rating, highlighting its exuberance and emotional character.

Other reviewers were more reserved about particular aspects of the group's sound. Some considered McGuinness's vocals less nuanced than MacGowan's songwriting and delivery, while still acknowledging the band's conviction and instrumental strength. This range of responses is significant because it demonstrates that The Popes were evaluated as musicians and songwriters in their own right. Their connection with The Pogues remained an important part of their identity, but reviewers increasingly examined the reformed group's recordings on their own merits.

The critical attention should not be confused with major commercial awards. The available material documents favorable reviews, festival appearances, and recognition in music publications, but does not establish that ThePopesOfficialSite.com or the reformed band received a major industry award during the period covered.

Musical Style and Cultural Significance

The Popes occupied a distinctive position within the development of Celtic punk and London-Irish rock music. Their work drew on a musical tradition in which Irish folk songs, ballads, and storytelling were combined with the amplified instruments and confrontational energy of punk. The Pogues had helped bring this combination to international audiences, and The Popes extended the tradition through both their work with MacGowan and their independent recordings.

However, the reformed band's influences were considerably broader than Irish traditional music. McGuinness frequently referenced artists such as Thin Lizzy and Van Morrison when describing the group's direction. Contemporary reviews also identified elements of The Clash, Bo Diddley, country music, blues, rockabilly, and alternative rock. This variety was particularly evident in the contrast between Outlaw Heaven and New Church. The former emphasized personal struggle, forceful arrangements, and emotionally charged songwriting, while the latter explored a wider range of moods and musical structures.

The band's London connections were equally important. Holloway Road, Pentonville, East Dulwich, and other London locations appeared in its recording history, personal narratives, and promotional activities. These places connected the music with the everyday experiences of the city's Irish community and its wider independent music culture.

The Popes also belonged to a tradition of musicians whose performances were inseparable from the atmosphere of pubs, small clubs, and festivals. Their music was designed to communicate directly with audiences, combining storytelling and instrumental skill with the excitement of live rock performance. Their cultural significance therefore extends beyond record sales or mainstream chart positions. The group represents the continuing influence of Irish musical traditions within British alternative music and the ability of musicians to reinterpret those traditions across generations.

The Website's Structure, Content, and Purpose

ThePopesOfficialSite.com was organized primarily as a promotional and informational website for the band. Its principal content areas included a biography, concert dates, discography, and press reviews. The biography introduced the musicians and explained the group's history, particularly the transition from its association with Shane MacGowan to the lineup led by Paul McGuinness.

The tour section provided dates, venues, festival names, and occasional ticketing information. These details were useful to fans planning to attend performances and to promoters interested in the group's touring schedule. The discography presented the band's principal releases, including Holloway Boulevard, Outlaw Heaven, and New Church. Track listings helped visitors identify songs and explore the group's recorded output.

The press section brought together interviews and reviews, creating a collection of material that demonstrated the band's critical reception and provided context for its recordings. Video content also formed part of the site's presentation. Material associated with Outlaw Heaven and a live performance of Dirty Old Town allowed visitors to encounter the group's music beyond written descriptions.

Unlike a commercial entertainment venue, the website did not provide restaurant menus, accommodation details, or visitor facilities. Its purpose was to promote a touring musical act and preserve information about its recordings and performances.

Ownership, Management, and Geographic Identity

ThePopesOfficialSite.com identified itself as the official website of the reformed Popes. Its content was closely associated with the lineup led by Paul McGuinness, but the available historical information does not conclusively establish the domain's original legal registrant, website developer, or hosting arrangements. The distinction between the band's artistic leadership and the domain's legal ownership is important. McGuinness was the principal musical figure during the period documented, but that does not necessarily mean he personally registered or owned the website.

Geographically, The Popes were strongly associated with London, particularly its Irish music community. Their recording and performance history included Holloway Road, East Dulwich, and venues throughout the capital. London also provided a practical base for reaching audiences across Britain and Europe. The city's network of live music venues, recording facilities, and transportation connections supported the band's activities during its revival.

Although the website documented international touring, it did not function as the website of a fixed visitor attraction or a business with a public storefront. No verified public office address or regular visiting hours are established by the available records.

Popularity, Audience, and Online Reputation

The Popes' audience consisted primarily of listeners interested in Celtic punk, Irish folk-rock, British alternative music, and the work of Shane MacGowan. Their connection with The Pogues gave the group immediate recognition among established fans of the genre. However, the later recordings also attracted listeners interested in contemporary rock, traditional instrumentation, and independent music.

The band's appearances at Glastonbury, GuilFest, Bearded Theory, and other festivals indicate that it maintained a meaningful presence on the live music circuit. Its tour supporting The Stranglers further demonstrates its ability to reach audiences beyond specialist Irish music events. The website's extensive collection of reviews also suggests that the band's recordings attracted attention from music journalists and specialist publications.

Nevertheless, reliable historical website traffic statistics, unique visitor totals, and verified audience demographics are not available from the material examined. It would therefore be misleading to assign a specific popularity ranking or claim a particular number of monthly visitors. The website's importance is better understood through the cultural reach of the band it represented, its documented touring activity, and the substantial press coverage preserved in its pages.

ThePopesOfficialSite.com as a Historical Archive

The website's present value lies largely in its preservation of material from the band's revival years. Its surviving content provides a record of musicians, recordings, concerts, and events that might otherwise be scattered across older promotional materials and music publications. The site identifies its historical focus as 2008 through 2013 and directs visitors seeking newer information toward the band's Facebook presence. This distinguishes the archived content from an actively maintained concert schedule.

For researchers, the discography and tour listings are particularly useful. They establish the sequence of major recordings and provide specific examples of the venues and festivals associated with the reformed lineup. The press archive is also valuable because it captures how music journalists viewed the group at the time. Rather than relying exclusively on later retrospectives, readers can examine contemporary reactions to Outlaw Heaven and New Church.

The website also documents the human circumstances surrounding the band's history, including McManamon's death, McGuinness's personal struggles, and the accident that interrupted the group's activities. As with many historical websites, some information requires careful interpretation. Album release dates may vary between original announcements and final releases, while older tour schedules may include performances that were planned but later changed or canceled. The site's material is therefore best understood as a contemporary record of the band's activities and intentions, supported where possible by independent music databases and press coverage.

The Lasting Legacy of The Popes

The Popes' legacy rests on two connected but distinct musical achievements. The first was their contribution to Shane MacGowan's post-Pogues career, helping him develop a new body of recorded and live material during the 1990s. The second was the group's transformation into an independent act under Paul McGuinness. That second chapter is the central subject of ThePopesOfficialSite.com. The website documented musicians working to establish a new identity while remaining connected to a celebrated musical tradition.

The albums Holloway Boulevard, Outlaw Heaven, and New Church demonstrate the band's development across more than a decade. Each reflects a different stage in its history, from the establishment of an independent sound to the more experimental arrangements of the later lineup. The death of Shane MacGowan in November 2023 brought renewed attention to his musical legacy, including his work with The Popes. His recordings with the group remain part of the wider history of Celtic punk and British-Irish alternative music.

For listeners discovering The Popes today, the website provides an accessible introduction to the musicians, recordings, and performances that defined their career. For longtime fans, it preserves a detailed account of a period when the band overcame significant setbacks and returned to recording and international touring.

Ultimately, ThePopesOfficialSite.com is more than an old promotional website. It is a historical record of a band whose music connected Irish cultural traditions with punk rock, personal storytelling, and the energy of London's independent music scene. Its surviving material helps explain why The Popes remain an interesting part of the musical history surrounding Shane MacGowan, The Pogues, and the evolution of Celtic rock.