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Hyde and Hake have a magical ability to give an audience the impression of a much larger band. Their U.S. agent Robyn Boyd agreed, recalling her first experience with the pair. "I was told by a friend, "You gotta go see these guys. It's a two-piece band that sounds like a five-piece band." What makes this possible is the sheer number of instruments the two members can play. Although in their official biographies they list three instruments for Hyde and four for Hake, there are in fact more, so that in each concert you are likely to hear several kinds of bagpipes, whistles, guitars, bouzoukis, mandolines and harps, - and other surprises! Moreover, they are masters at playing them in unusual combinations, and at switching among instruments at lightning speed, - so that what was uilleann pipes and bouzouki can become whistle and harp in a flash. Pipeline can avoid sounding the same, not by adding new sounds or electronics, but by switching instruments and trying new combinations, so that during the same set of tunes you go from hearing pipes and guitar to low whistle and harp, or two whistles, to lilting with bouzouki and back to pipes and guitar. Essentially Hyde and Hake share a musical philosophy that's not common on the Celtic music scene. it involves presenting the audiencewith surprises:traditional material that is new to the folk scene, brand new songs and tunes, and new ways of arranging songs and melodies. "You've got to have a certain element of brand new stuff," says Hyde Every instrument is played with precision and feeling. Melodies flow with ease and grace
and chord changes are interesting. the vocals are passionate and musically impeccable. Not surprising then that their first CD earned almost unanimous critical acclaim from the folk press. Even Paddy Moloney of the Chieftains chimed in, saying PIPELINE was "definitely one to have in your collection."

- Steve Winick


One thing Pipeline are NOT is just another run on the mill Celtic band. Quite the opposite, Pipeline is a dramatic, highly motivated, emotionally charged animal that offers an exhilarating musical experience. My first reaction on hearing their album was like being hit by a truck – it was a classic slap in the face situation that made me think ‘what was that?’ I just kept going, back to reason out what exactly caused such a dramatic reaction and quite simply put ‘Pipeline’ is an authoritative and inventive debut.

This is no ordinary three reels in three minutes affair, the music is complex, multi-faceted, and highly ornate with strong Breton and Galician influences creeping into the brew on occasion. Pipeline shares a preference for epic dramatic arrangements like US counterparts Bohola. On ‘Pipeline’, several pieces are in long suite like tracks some of which run to nine minutes duration. The originality quotient is high with song material hitting every spot between Christy Moore balladry and Robin Williamson like whimsy, and some Gaelic scat singing as well. The result is a tightly knit maze of individuality and tradition all combined in one seamless whole. Like finely woven cloth, ‘Pipeline’ weaves its magic long after the briefest of encounters. Complex arrangements envelope the music and highlights include the epic ‘Adair’s March’ suite based around an eviction in Co. Donegal 150 years ago. This dramatic ‘set piece’ incorporates a narrative song with a march complete with military side drumming and a lament using small pipes. ‘This song tells of something that was very sad and emotional’ Dermot Hyde elaborates ‘I have seen people come out of our shows crying when we have played this on stage. It is a very emotional piece’.

Another extended set that typifies them is the set ‘Pipeline’ which begins slowly before moving into top gear ‘The Irish are the only race that can go from sad to quiet and happy and aggressive within minutes and we want to get that across in our music’. This is a typical Pipeline move skating from one emotional edge to another painting an aural canvas of mood and energy. In songs to there is also a welcome eye to new fresh material ‘ We want to present new songs and tunes to people they have not heard before, roughly 2/3 brand new material, the rest traditional.

Dermot Hyde sees the role of the musician as not being just a musician but an entertainer- ‘Its not enough to just have great music and not to be able to present it on stage, people want something more and its our duty to entertain the audience and they have a right to be entertained. They have a right to leave the concert hall saying that they had a good time. We want to do something theatrical with the music because people pay into see us and they deserve to be entertained. I do not think entertainment is a bad word – in fact, what is more important for us as well as the music is the fact that we can entertain people. When people come to a show and they pay their money at the door to see a Pipeline concert, they deserve to go home happy and smiling at the end of the night’.

Dermot Hyde Uilleann Piper, tin whistle player also doubles on Low Whistle, Small Pipes and composes hails, from a musical family, with both his mother – from Malin Head in Co Donegal, and his father playing musical instruments. Growing up with a mixed Scottish and Irish background alternating between Donegal and Glasgow, Dermot first encountered the tin whistle as a youth, and, before he knew it, found himself-"falling head over heels in love with that magical little pipe". The inevitable piano and classical guitar lessons began to fade and after starting on the uilleann pipes, Hyde was writing tunes and songs. With his brothers Kevin, and Brendan, he helped form Malin Head a popular band touring Scotland and most of Europe. During its brief 1990’s lifespan, Malin Head recorded an album in Germany and played folk festivals from Girvan in Scotland to Guttenbrun in Austria.

Tom Hake on guitar and bouzouki came relatively late to Irish music having spent many years involved in theatre-related projects. Hake relishes the job of providing tantalising string accompaniment to the melody, whether it is on guitar, bouzouki, or harp. His musical interests extend beyond the purely Irish-Celtic sphere. While he is equally at home with Viennese cabaret music of the 1920's, as he is with the wonderful Sons of Cuba, where he recently recorded as studio musician, he maintains that his first love remains the music of Ireland and Scotland.

‘Pipeline’ has wound its way to various places with interesting results.‘Things started to move for us a few years back especially in North America, where we immediately got invited to the Goderich festival along with bands such as Dervish and Sean Keane, as well as being invited to the prestigious Celtic Colours in Canada, - the first band ever we are told who have been invited on the strength of their CD alone! - John O'Regan


This excellently made album is a must for any lover of the uilleann pipes and whistle, with wonderful playing by Dermot Hyde. Definitely one to have in your collection.
Congratulations! - Paddy Moloney


Hyde’s compositions draw on the wilder side of Celtic music, and on Balkan and other modal traditions. A Central European sound, heavy on bagpipes and strings, with whirling melodies and shifting rhythms. A recipe for fine entertainment. It’s all good, - including the sleevenotes!
- Alex Monaghan


Hyde and Hake appear to live and breathe these airs and tunes. They seem to have updated this kind of music, turning its traditional soul into something modern and innovative. - Galicia, Spain


PIPELINE are the kind of ambassadors who keep this music alive and kicking. Magic music from two magically musical people!
- Germany


Dermot Hyde writes some of the best traditional songs around!
- Sean Laffey


For Dermot, knowing the boundaries of traditional music is important. It creates the framework within which Pipeline's style of music has evolved-and it is a style deeply rooted in traditional culture. - Alexa Thompson


This duo is offering something new.The music is dreamy and ethereal at turns, then propulsive and angular in other spots.Hyde and Hake take up the challenge, unfurling tunes with their array of wind and string instruments in a manner that challenges the listener to determine whether a tune was composed more than a hundred years ago or just last week. - Scott McLennan


Quel che colpisce maggiormente di questa musica e la richessa espressiva. Mai un momento di stanchezza: Hyde e maestro nel costruire brani che non cessano di colpire l'immaginazione, dotati di notevole fantasia e varieta espressiva. - Alfredo di Pietra


THE RED LINE. Pipeline, 2009
PIPELINE. Dermot Hyde, Tom Hake, 2003



PIPELINE is an amazing duo comprising Dermot Hyde on uilleann pipes, whistles, vocals, small pipes, and Tom Hake playing bouzouki, guitar and harp. The two musicians offer a repertoire which comprises both traditional and brand new music from Ireland, Scotland, Galicia, and Brittany, - not forgetting the tunes and songs of the typical "emigration-lands," America, Canada and Australia. PIPELINE appears to be the only duo in the business that is able to combine the real genuine article, - "frighteningly beautiful music," with what audiences call their "unrivalled and original sense of entertainment." And it's this very mixture which makes the two musicians and their show unique.

The dance music and songs, as well as the moving airs of all the Celtic lands are represented here, played innovatively on a vast battery of instruments from bagpipes to bouzoukis, from flutes to drums. All the while the audience is treated to a “mesmerising collage of sound," interspersed with a witty informative stage presence. With a musical pedigree that is beyond question, Hyde and Hake understand how to take music to the people. Both men bring with them an innate ability to touch an audience, born from years of experience on stage and in the theatre.

"Whilst Dermot Hyde straps on his Irish Bagpipes and grasps for his flute, Tom Hake uses the chance and explains the importance of the love song in the lives of generations of Celts. Hake's fingers glide over the strings of the Celtic harp to the strains of a soulful romantic melody, and then the pipes enter. Overwhelming conviction. The audience closes its eyes and is immediately transposed into a new and very different world. The moment forces its way into your soul. This is music. This is what life is about!"

Living on mainland Europe at the moment, Pipeline's live and TV performances over the past short while have included places as varied as Sacapoli, Casale Monferrato and Buorgonuovo in Italy, Telc and Prag in the Czech Republic, Poland, Vienna and Linz in Austria , Santiago and La Coruna in Spain and Nitra in Slovakia.

Pipeline are regular visitors to North America, and indeed the duo has played all over that continent, from Owen Sound in Northern Canada right down to Memphis in Tennessee, - from New York City to Los Angeles, and from Cambria in Southern California right up to the beautiful wine country of Sebastopol north of San Francisco.The following are some of Pipeline’s favourite North American concert venues over the last couple of years:





Throughout these tours Pipeline has shared the stage with some of the finest musicians in the Celtic genre including Carlos Nunez, Lunasa, Davy Spillane, Sean Keane, Dervish, Tommy Makem, and The Fureys