While Tommy Fleming has not achieved the kind of household popularity and familiarity in Ireland as singers like Mary Black or Dolores Keane, he comes from the same highly reputable stable - veterans of that longstanding traditional group, De Danann. Interestingly, the Sligo man claims that his own choice of listening matter lies in the direction of Streisand and Sinatra. This may account for a lot on this album, but more on that later.
Tommy Fleming's voice is probably of the variety that you either love or hate. Lacking the rawness of Sean Keane or the simultaneous humour and sensitivity of Colm O'Donnell, Fleming possesses a gentle vibrato that heightens his wide, dynamic range at every opportunity. While lovers of traditional song might lament his polish and seeming lack of agility, fans of the big ballad should appreciate his interpretation and ability to dramatically heighten the emotional qualities in everything he attempts.
Fleming's choice of material is commendable. On Sand and Water the range extends from traditional songs such as "Green Grow the Rushes" and "The Bantry Girls Lament" to Paul Brady's "Follow On," Eddi Reader's "The Dark House" and Tom Waits' "Martha". Such strong songs should contribute to an album full of classics. Unfortunately, the result falls slightly short of the mark. "Martha," while admittedly a touching song regardless of the performer, becomes unabashedly sentimental, like something one might expect of Daniel O'Donnell on a Christmas nostalgia show. The wonderful "Follow On" becomes frighteningly reminiscent of Johnny Logan on a Eurovision night. Fleming's version of "Waltzing Matilda" makes Rod Stewart's attempt sound positively raucous.
There are huge Tommy Fleming fans out there - he certainly has his niche in the market, and he probably fits quite well into the general Celtic category. However, it is a pity that a singer with such obvious talent settles for such bland arrangements; that someone who is potentially a great folk singer is happy to let himself veer towards the unchallenging middle ground. Giving "The Bantry Girls Lament" the Streisand treatment just cannot work. Sometimes, just sometimes, less is definitely more.
