Shane MacÂGowan died yesÂterÂday, less than a month shy of his 66th birthÂday — and thus less than a month shy of ChristÂmas, which hapÂpened to be the same day. Though coinÂciÂdenÂtal, that assoÂciÂaÂtion has made perÂfect sense since 1987, when the Pogues, the Celtic punk band frontÂed by MacÂGowan, released “FairyÂtale of New York.” That duet between MacÂGowan and Kirsty MacÂColl (the stoÂry of whose proÂducÂtion we’ve preÂviÂousÂly feaÂtured here on Open CulÂture) still reigns supreme as the UnitÂed KingÂdom’s ChristÂmas song, and by now it tends also to make it onto more than a few holÂiÂday-seaÂson playlists in AmerÂiÂca and across the world.
GivÂen the popÂuÂlarÂiÂty of “FairyÂtale of New York,” many lisÂtenÂers know MacÂGowan for nothÂing else. But he was, in fact, a figÂure of conÂsidÂerÂable imporÂtance to the punk rock of the nineÂteen-eightÂies and nineties, to which he brought not just a thorÂoughÂly Irish senÂsiÂbilÂiÂty but also a strong sense of litÂerÂary craft.
Few well-known punk rockÂers could inhabÂit a place with a song in the way he could, or tap into the propÂer verÂnacÂuÂlar to inhabÂit a parÂticÂuÂlar charÂacÂter. (Even the words he gave MacÂColl to sing as a hard-bitÂten nineÂteen-forÂties woman of the streets have caused no end of strugÂgles with cenÂsors.) For this reaÂson, he had the respect of many anothÂer seriÂous songÂwriter: Nick Cave, for instance, with whom he recordÂed a covÂer of “What a WonÂderÂful World” in 1992.
DurÂing much of MacÂGowan’s lifeÂtime, his musiÂcal achieveÂments were at risk of being overÂshadÂowed by the harÂrowÂing facts of his life, includÂing his masÂsive, susÂtained conÂsumpÂtion of drugs and alcoÂhol and the variÂety of injuries and ailÂments it brought about. In 2015, British teleÂviÂsion even aired a speÂcial about the replaceÂment of his long-lost teeth — which, to judge by the Pogues’ perÂforÂmance of the folk song “The Irish Rover” with the DublinÂers above, were bareÂly hangÂing on even in the late eightÂies. But in a way, this disÂsolute appearÂance was an insepÂaÂraÂble part of a disÂtincÂtive artisÂtic spirÂit. Shane MacÂGowan was a rare thing in the world of punk rock (to say nothÂing of the world of hit ChristÂmas songs): not just an Irish litÂerÂary voice, but an Irish litÂerÂary charÂacÂter.
RelatÂed conÂtent:
James Joyce Plays the GuiÂtar (1915)
Stream a Playlist of 68 Punk Rock ChristÂmas Songs: The Ramones, The Damned, Bad ReliÂgion & More
Based in Seoul, ColÂin Marshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂter Books on Cities, the book The StateÂless City: a Walk through 21st-CenÂtuÂry Los AngeÂles and the video series The City in CinÂeÂma. FolÂlow him on TwitÂter at @colinmarshall or on FaceÂbook.
















