X: 4
T: The Butlers Of Glen Avenue
R: jig
M: 6/8
L: 1/8
K: Gmaj
|:DEG EDB|DEG B3|DEG ABe|dBe dBA|
DEG EDB|DEG B3|dBd gfe|dBA G3:|
|:gab age|deg B3|gab gab|dBd e2 d|
gab age|deg B3|dBd gfe|dBA G3:|

The Butlers of Glen Avenue is one of those tunes that quietly slips into sessions and stays there. It has the kind of flowing, memorable melody that feels instantly familiar after only a few listens, while still having enough shape and movement to keep experienced players interested for years.

Like many modern Irish tunes, it now lives in that interesting space where players often assume it is “traditional” simply because it has become so widespread.

The tune was composed by Tony Sullivan (“Sully”), an influential musician and tune collector whose compositions have travelled widely through sessions and recordings. Over time, however, The Butlers of Glen Avenue became wrapped up in one of the great modern session tune confusions.

Many players actually know a different Tony Sullivan tune — The Roaring Barmaid — under the name The Butlers of Glen Avenue, largely because of the famous Lúnasa recording on Otherworld, where the tune appears to have been labelled incorrectly. That recording became hugely influential, and the naming confusion spread naturally through sessions, tune books, and recordings across the world.

The version we’re looking at this week is the “actual” Butlers of Glen Avenue — a distinct tune in its own right, even if session history has occasionally blurred the lines between the two.

A Tune with Lift and Flow

This is a jig that rewards relaxed playing.

Rather than driving aggressively forward, the tune has a lovely rolling momentum to it. The phrases breathe naturally, and when played at a comfortable session tempo it develops a beautiful lift that can easily disappear if rushed.

A few things worth listening for:

• Clear pulse rather than sheer speed
• Letting phrase endings settle naturally
• Gentle emphasis on the first beat of the bar
• Allowing the melody to “dance” instead of forcing it

For flute and whistle players especially, this tune sits very comfortably under the fingers and responds nicely to subtle phrasing and light ornamentation.

It is one of those tunes where rhythm and togetherness matter far more than complexity.

Modern Tunes Becoming Traditional

One of the fascinating things about Irish traditional music is how modern compositions gradually become absorbed into the tradition itself.

A good tune survives because musicians keep choosing to play it.

Over time:

• recordings influence sessions,
• sessions influence younger players,
• tune names drift,
• regional versions appear,
• and eventually the tune simply becomes part of the living tradition.

The Butlers of Glen Avenue is a perfect example of that process in action.

Even the confusion surrounding its title feels strangely fitting — tunes in the session world often travel by ear long before they travel accurately on paper.

Session Thoughts

This tune works beautifully in a mixed session because:

• the melody is memorable,
• the structure is clear,
• and the rhythm naturally encourages good ensemble playing.

It also pairs nicely with other modern jigs that have a similar flowing feel rather than a heavily accented “bouncy” approach.

As always at the session, we’ll begin steadily and allow the groove to build naturally together.

Recommended Listening

Kevin Crawford – D Flute Album

One particularly important reference for the “actual” Butlers of Glen Avenue is Kevin Crawford’s classic 1995 recording D Flute Album. The album includes Christy Barry’s Set, which many players associate with the correctly named version of the tune rather than the later Roaring Barmaid / Lúnasa mix-up.

For many flute players, this album became one of the defining recordings of modern Irish traditional flute playing during the 1990s — full of lift, tone, rhythm, and tasteful phrasing without ever feeling overplayed.

https://en.wikipedia.org/wiki/D_Flute_Album

Tune Discussion and Demonstration

A particularly interesting video exploring the tune and the naming confusion surrounding it:

https://www.youtube.com/watch?v=jFLNAWJ32VI

Session Version

Another strong session-style rendition of the tune:

https://www.youtube.com/watch?v=-7xbJik6GfY

Lúnasa – Otherworld

Lúnasa’s hugely influential recording helped spread the tune internationally — although it also unintentionally helped create the naming confusion that still follows the tune today.

See You at the Session

Whether you already know the tune, know the “other” tune with the same name, or are hearing it for the very first time, come along and join in.

The best part of traditional music has never really been deciding which version is “correct.”

It’s the moment when a room full of musicians locks into the same rhythm together and the tune suddenly lifts off the floor a little.