As, rather to my surprise, my car passed its MOT today, meaning I have the dubious pleasure of driving it for another year, I found myself in a sufficiently positive frame of mind to listen to an album of carousing drinking songs. We previously reviewed a single from this duo, whose story began on board a ferry, where brothers Cian and Tom O’Dowd were employed playing Irish songs to entertain the customers. One particularly drunken trip, which resulted in rather too many pints and the brothers getting fired, inspired their debut single, “20 Pints to Cherbourg”. It was my colleague Lorraine who reviewed that debut single, saying at the time, “this track is an absolute celebration of drinking 20 pints of lager — and it fully leans into that with a wink and a grin. Sung in a pub-ready, summer-festival singalong style, it’s not trying to be anything other than a good time, and there’s no shame in that.”
About The Guzzlers
In Summer 2025, the band packed up and left their home of Limerick for Liverpool, armed with guitars, banjo and a raft of original songs. Busking outside notable Irish bars led to invitations inside, word got around and soon The Guzzlers were gracing the stages of The Jacaranda, The Cavern Club and The Philharmonic, supporting local legend Ian Prowse.
Their reputation grew further with a residency at Anfield, playing for arriving fans at every Liverpool FC home game this season, and a special guest slot alongside The Highstool Prophets at Liverpool Academy in January.
In December, the band entered the studio with producer Jon Withnall (Coldplay, Rihanna, Echo and the Bunnymen), emerging with “Drinking the Dream” – a debut album packed with autobiographical songs inspired by the greats of Irish folk, but with their own unique and intoxicating charm. The album is set for release this Autumn, with further singles to follow throughout the year and live dates across the country, culminating in three more shows with The Highstool Prophets in December.
My Review
The album is released on November 6, 2026, and will be available on all major streaming platforms.
“20 Pints to Cherbourg” is the song that started it all off – a rolling sea shanty celebrating drinking, storytelling and getting to know the French. The track is ideal for an intimate venue, with the drinks flowing and the audience singing along with the chorus. I would happily have a drink with these two – but mine’s a half (and a Coke!).
“The Drunken Tales of Gerry MacLean” is old-style folk storytelling, driven by a strong rhythm and an enjoyable tale. None of us want all those policemen knocking on our door! It’s a singalong, tongue-in-cheek affair, complete with a prison sentence. Such is life!
“Killarney” is the new single, and I could have opted to review the single alone – but I was in the mood for more! It rolls along with one of those sea shanty-style melodies. Again, you can’t help but be taken in by the sheer energy and enjoyment that the lads deliver. Irish folk isn’t something I listen to particularly often, but I really liked this. The song of the search for that special girl, “the one who got away”, entertained me very well. I bet it kills live!
“Long Way From Home” sees the boys reflecting on a broken relationship, with the brothers trading vocals. This was the first track I was a little unsure of. Although the theme is sad, it is delivered against a backdrop of upbeat music, with the tambourine a neat touch. It slotted into the album well enough, but I just didn’t connect with it.
“The Irish Town of Liverpool” starts with harmonica before drifting into more of a folk ballad in praise of Liverpool. I would say this would go down just fine in Liverpool, and I was okay with it, but I dance along to “Coming Home Newcastle” myself!
“Grief”, as indicated by the title, is a sadder song, with the harmonica and banjo drifting through lyrics that tell us to stay strong and hold on when a heavy chest lies upon us. It offers a different perspective on the album, reminding us that beneath all the drinking songs and merriment there is room for something considerably more reflective. This is a sad song about losing the one you love.
“Drinking the Dream” returns us to a drinking song, full of little harmonies and rhythms. It is the type of song the boys do well. The vocals are occasionally rough around the edges, but they fit the genre exactly. It’s another track that would slip into the live set so well.
“A Pint of Plain is Your Only Man” takes our storyteller out on the streets having lost his wife and job – but a pint of plain turns things round just right for him. Sometimes, mental health can benefit enormously from a conversation with Jimmy and Dan. In an age when we seem increasingly disconnected, perhaps we’ve lost something of the community spirit our forebears found in their taverns, where there should always be an Irish folk band on hand.
“Mermaid of Folklore” was a track I liked, a late-album number that was romantic, dreamy and featured some lovely vocal harmonies and instrumentation. It was more intimate, gently uplifting and a neat story; “she is the only girl for me” – and I am sure, listening to this, she is.
“Horse Fair City” is a harmonica-led folk number to close the album. A sway-along folk number very much in the lane for the lads on this album. It brings proceedings to a close without straying too far from the musical territory the band have occupied throughout.
Conclusion
The Guzzlers have delivered an enjoyable debut with “Drinking the Dream”, an album that wears its Irish folk influences proudly and understands the importance of a good story, a catchy chorus and a roomful of people willing to join in. The drinking songs are undoubtedly where the brothers excel, although there are welcome moments of reflection and romance that demonstrate a little more depth beneath the merriment. Their vocals might occasionally be rough around the edges, but that is part of the charm, and the enthusiasm is infectious. I suspect these songs will find their natural home on stage, preferably in a crowded pub with a lively audience.
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Stream music from The Guzzlers here.
By Stevie Ritson
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