The Congos ADD
Review: The Congos in Ireland 2025 - The Show Must Go On
10/28/2025 by Gerry McMahon
Jamaica’s legendary vocal trio, The Congos, returned to Ireland for 2 shows, on October 24th and 25th last. Billed as their ‘first headline show in Ireland in 18 years’, the Congos had in fact performed at the Beatyard festival in Dun Laoghaire (just outside Dublin) in 2019. And as it happened, both of these recent shows – in Dublin and Cork – were sell-outs, leaving audiences at both locations baying for more!
After a 3-hour set up and sound check, the (first) Dublin show opened when Jimaï (Jimmich Kayans) – a big personality with a long-time presence in the reggae arena – took to the microphone, to break the ice and welcome the Congos on stage. Jimaï is double double jobbing on this 22-date tour, as he serves as compère, tour manager, bus driver and guitarist – and there’s no shortage of enthusiasm evident in how he copes in any of these roles!
efore the introductions rolled, Toots and his Maytals dictated the atmosphere via the sound system, with 54-46 That’s My Number playing, before Winston Jones - the Congos’ drummer for the last quarter of a century – took control. Twenty-five years touring is tough work, but according to Jones ‘it’s not tough work when you’re enjoying it’! This disposition was clearly evident via Jones’ punky and pacey playing, as appropriately interspersed with petite pulses and patterns.
The setlist started with Open Up The Gate from the group’s classic and immortal 1977 Heart of the Congos album, as expertly compiled under the watchful eye and elastic ears of producer Lee ‘Scratch’ Perry. Or as the publication Reggae: The Rough Guide puts it, it is: ‘the most consistently brilliant album of Scratch's entire career’. This is quite an accolade for a man who was able to record a No.1 hit album whilst well into his 80s! The track was promptly followed by the melodic and moving Lost Sheep from the popular Swinging Bridge album. However, as this classic was drawing to a close, the great Cedric Myton fell to the floor, prompting a scurry of activity from band members and stage crew to help rehabilitate the towering vocalist.
When health was restored and the mighty Myton resumed his position at the microphone, one couldn’t help but reflect on the chastening experience that the Dublin audience had just witnessed. Truly, ‘health is wealth’ and all wished this magnificent Congoman well, as he gamely struggled to resume his role. The band had already lost vocalist Kenroy ‘Talash’ Fyffe pre-tour – a man who once told this reviewer that he was the one to re-unite the Congos back in the 1990s - to an illness that prevented his participation on this tour.
Ever the consummate showman, the brilliant baritone and decent human that is Watty Burnett, thanked the understanding crowd for their patience during Myton’s recovery, whilst assuring all that ‘the show must go on’. And go on it did, with Ashanti Roy Johnson leading the charge with his tenor pitch on Food for the Rainy Day from their 1979 Image of Africa album. This was followed with Youth Man from the aforementioned 1977 classic, as Watty lightened the mood via a host of playful stage antics, whilst Lauren lent a jazzy effect to the track with his keyboard.
Understandably, the set persisted in drawing from the 1977 classic release, as the Ark of the Covenant and La Bam-Bam were unfurled, before Watty gave up a characteristically captivating version of his favoured Rainy Night In Portland. The mood and pace then quickly altered, as the band got stuck into a foreboding track called Warning. This new track was recently released with the able assistance of Senegalese singer Lidiop and it certainly hit the spot with the audience, who jived in the aisles to its prophetic lyrics. Following in the foreboding vein, the band next gave up the relatively new song entitled Babylon Have Control Over The People, as Alex and Coxx came to the fore, wielding their axes with some mechanical menace!
Thereafter, Cedric rose from the chair that had been judiciously placed side stage, to give a fine rendition of La La Belle (from the Swinging Bridge album), before the vocal trio brought the show to a peak, via Free The People, Revolution and their well-known anthem Fisherman. Bringing the 75-minute show to a close, Jimaï retired his guitar to take the microphone again, thanking the Dublin audience and assuring them that their good wishes would be conveyed to Cedric.
The next night in Cork city witnessed another full house – one of the first shows at Cork’s legendary Jazz Festival to sell out - as the female vocal trio FyahRed warmed up the early arrivals with a classy celtic reggae set. On arrival on stage, Watty apologised for Cedric’s absence, but re-assured all with his explanation that the ‘show must go on’. And ‘on’ it did go! After Jimaï and his fellow-musicians worked through a short medley – under the eagle eye and melodic manoeuvres of Calvin at the sound desk – Ashanti Roy (and Watty) treated us to a short Nyabinghi bongo beating accompaniment to Congo Man. Having set the tone, we were then transported back to 1973 and the Wailers’ haunting and everlasting Rastaman Chant, which seemed entirely appropriate, given that the concert was being hosted in a (deconsecrated) church.
Thereafter, Open Up The Gate kicked in to maximum effect, followed by Lost Sheep, a sweet and seductively reworked Food for the Rainy Day, Youth Man, Ark of the Covenant, Rainy Night In Portland – and after Ashanti had reminded his audience that he’d been coming to Cork since 1991 (with Prince Fari), the audience were treated to La Bam-Bam. Next up came the aforementioned fast, furious and real rootsy Warning (with Watty to the fore), before Ashanti trotted back more than a quarter of a century to give the audience a rare and special treat with his very own high-quality African Blood.
By this time the church’s congregation had abandoned their pews and were hot stepping it on the floor! Building to a climax, the set then turned to Revolution, Free the People and Sodom and Gomorrah, as both Watty and Ashanti showed that (despite their advancing years) there was no shortage of firepower in their legs, as they ducked, dived and danced, whilst swinging, swaying and singing their way through the tracks with an array of engaging interplay between these inspiring octogenarians!
And so, the curtain came down with ‘Fisherman’, leaving all with the abiding wish that Cedric comes to a speedy recovery, whilst his colleagues carry the can with some aplomb and considerable class. Watty closed this Cork show after Ashanti departed, leaving the skilled musicians to soak applause from an appreciative audience, as Jimaï took their bows, but directed all to the departed Watty and Ashanti.
Ireland prays that the gap until their next visit won’t be as long as the last one.
