Names can haunt. In “Finbar,” Kerry Kenny channels a woman driven half-mad by repeating one, until it spills into drums, wild dancing, and ink scrawled only to be set alight. The Scranton, Pennsylvania singer-songwriter cracks open her forthcoming album Brutal Best with a single that doesn’t confess so much as combust—its imagery of effigies in flames, co-directed with Tom Robenolt of Point Five Films, searing itself into memory. “She’s not well,” Kenny says with a laugh, but the vision sticks.
Kenny’s gift for intensity didn’t come from nowhere. Raised in hard scrabble Scranton in a family steeped in traditional Irish music, she was performing by the age of four, harmonizing with cousins in “The Kenny Kids” and singing at festivals and on local TV. Her family’s pub—celebrated as the region’s oldest Irish Public House—still erupts with fiddles and bagpipes every St. Patrick’s Day. But tradition was only the spark. Kenny devoured Beatles harmonies in headphones, pursued opera in college, and now folds rock, punk, folk, country, Celtic, blues, and hip-hop into songs that follow no rulebook but her own.
That drive to expand has carried her far beyond Scranton. Kenny studied Irish music in Limerick and computer music in Krakow, taught English in South Korea and Thailand, and speaks several languages, including fluent Polish. Each move sharpened her ear for rhythm and story, shaping the perspective she now brings to songwriting. On stage, she has toured clubs across Germany, Belgium, and Amsterdam, where crowded rooms echo her blend of tradition and rebellion—and where promoters keep inviting her back. Back home in Pennsylvania, she’s also “Miss Kerry,” leading an early childhood music program that brings nearly 90 children per session into song.
In the studio, Kenny works with engineer Eric Ritter at Windmill Agency Studios in Mt. Cobb, Pennsylvania. She describes their sessions as “lusciously creative, ego-free and super fun”—a chemistry now fueling both Brutal Best and its lead single “Finbar.” With Colorado shows booked and another European run already on the calendar, Kenny is not chasing momentum so much as setting her own pace. As she puts it, “Every track has to feel alive in its own way, or it’s not worth making.” With this new album on the horizon, Kenny isn’t easing up. And if “Finbar” is any sign, she’s ready to set names, stories, and stages ablaze. This time, the fire isn’t going out.
“Finbar” feels less like a song and more a catharsis — raw, poetic, and invigorating. What was going through your head when that idea first hit you?
Having grown up performing St. Patrick’s Day gigs in an Irish Pub, my mind is full of traditional Irish songs about everything from drunken antics to more serious themes like adultery, betrayal, and death (often sung with a lighthearted lilt). WIth this background, it was easy to craft the story of “Caoihme,” (pronounced Queeva), an obsessed, unhinged woman who absolutely refuses to move past her intense love for “Finbar.”
The woman in “Finbar” sounds both tormented and liberated — like she’s burning her way through heartbreak to find herself again. Who is she to you?
The character is largely inspired by the heartbroken heroine in “The Blacksmith,” one of my favorite traditional songs (and one I perform every St Patrick’s Day ad nauseam). I imagined Caoihme’s heartbreak could make her go a bit off the edge mentally. In “Finbar,” she croons all manner of persuasive things to Finbar, and she is not taking ‘no’ for an answer. As they say in Ireland: “Yer man had better be looking out after himself.” (Be sure to read that in an Irish accent.)
You conceived and directed the video, and it’s striking — the fire, the ink, the movement. What did you want the visuals to say that the music couldn’t say on its own?
I conceived the video to portray Caoimhe’s unhealthy mental state in multiple layers. Initially, we see a functional, yet distraught, version of her alone in a pub. Shortly thereafter, another side of her performs onstage before what appears to be a solitary man, leaving her vulnerable to judgment or ridicule. Her descent into madness is shown in the third and fourth sections: she wildly throws herself about in what could be some Pagan ritual, and she seems to play a lot with fire. Then there is the drumming obsession, which can also be deemed unhealthy for some. Lol. (That’s a discussion for another interview.) In the end, she burns an effigy of Finbar. Wouldn’t you!?
Tom Robenolt of Point Five Films, internationally recognized for his horror filmmaking expertise, was the ideal collaborator for bringing my Caoimhe character to life. He quickly understood my vision and dove right into the insanity with me.
Growing up in a musical Irish family outside Scranton – in Archbald, Pa – must’ve given you a strong sense of rhythm and storytelling early on. How do those roots show up in your work now, even when you’re bending genres?
Growing up in my family’s Irish Pub gave me a unique perspective. We’ve seen and heard a lot over the years, as you can imagine. To say that some of the “regulars” are “characters” is an understatement, where almost everyone has a nickname and a background story.
As a musical family running an Irish Pub, our performance range was incredibly broad. We played far more than just traditional Irish music. My passion for performing started with my aunt, a musical legend in Northeast PA, who frequently performed alongside my father (her brother). In fact, all of the Kenny family were talented. My mother’s family was also very talented – with my Grandfather Brier heading up a barbershop quartet in Scranton, and my uncle leading a folk quartet.
I spent countless hours listening to my father’s record collection, and on those albums – The Beatles, for example – harmony was almost always central. My love for harmony is so strong that I often say I would love to be a backup singer.
My songwriting developed from a love of storytelling, drawing inspiration from master songwriters like Elvis Costello. I began channeling my energy into creating my own songs. I mostly prefer to express my ideas through characters rather than solely from my own perspective.
My biggest inspiration comes from my father and his passion for music. Growing up, I was exposed to his vast record collection, as I said. He had everything from The Kingston Trio and Gordon Lightfoot to Steely Dan, The Four Tops, Elton John, Tony Bennett, John Denver, Dionne Warwick, and The Beatles. This wide range gave me a lot to absorb early on. He’s seen Cyndi Lauper in concert! At 82, he’s still singing and will even be featured on my new single in December. Listen for him singing back-up on our cover of Buffalo Springfield’s “For What It’s Worth.”
You’ve lived everywhere — Limerick, Krakow, Seoul, Thailand — and speak multiple languages. Do you find that each place leaves a different kind of imprint on how you write or how you listen?
I am sure it is inevitable that my writing is affected by both my personal history and my global perspective.
For instance, the song “Finbar” draws inspiration from my time studying Irish Music and Literature in Limerick, Ireland. I met a couple of fellow students named “Finbar” and a girl named “Caoihme.” While the song itself has no connection to that particular girl named Caoihme, I was captivated by the name (pronounced “Queeva”).
And yes, my work is deeply rooted in a passion for learning languages. I even have a background in teaching English in other countries. This love of language drives me to incorporate elements like wordplay, metaphors, and nuanced turns of phrase from different cultures into my writing.
I like to explore various topics, often adopting a witty yet reflective tone, and I incorporate allusions to classic literature when appropriate. For instance, I wrote “Finbar” right after reading Pride and Prejudice. That book, with its focus on family approval of relationships, inspired the lines about “meeting your sister.”
With regard to traveling, my work is affected by the realization that across the planet, people are facing the same fundamental human struggles. Though the appearances, languages, and landscapes may vary drastically, we are all sharing this single experience called humanity. We are all in this together.
More broadly, my travels have instilled in me the belief that “anything is possible.” If a girl from a small, working-class town in Pa can travel the world learning, teaching, and creating, anyone can make their dreams happen.
Your fans mention everyone from Stevie Nicks to Nick Cave when they try to describe your sound — but who are you hearing in your head when you write?
Who do I hear or who do I WANT to hear? Lol. The artists who inspire my work—or who I aspire to sound like—are pretty varied. And I think that comes out on my record,s where the songs are so very different from each other. I am a massive fan of PJ Harvey; I genuinely believe she has never done anything wrong. Ever. In her life. Her influence is definitely something I strive to hear in my own writing. I’m also a huge Elvis Costello fan—so much so that I call him ‘Declan’ (though he never responds). Have I mentioned The Beatles? I have studied every lyric and harmonic line of theirs, so they have always been in my arsenal.
The comparison to Nick Cave likely comes from my penchant for writing dark narratives. While my themes aren’t quite as murderously balladic (that’s a word now), I love his writing. Finally, Tom Waits is another one of my favorites—if you don’t know his work, consider that your homework! I even recorded a cover of his song, Jockey Full of Bourbon, on my first record, Pining Time. I love spotting the Tom Waits fans in the audience when they recognize the song, which is arranged and performed nothing like his original version.
The sessions at Windmill Agency with Eric Ritter sound like they’ve unlocked something new in you. What’s your favorite part about working together, and how does that space feed your creativity?
Recording studios often have an intimidating atmosphere, with an attitude of, “You’re lucky to be here.” Eric Ritter at Windmill Studios is not only exceptionally talented but also incredibly welcoming and down-to-earth. Having lived in NYC and traveled globally, I never thought I’d find a studio of this caliber so close to home in Pa. Eric’s studio has changed my entire perspective, and now I refuse to record anywhere else. When you are in the room with someone who genuinely appreciates what you do, it can’t help but fuel your creativity.
I honestly consider Windmill Agency Studios a second home. You’d believe that too, if you saw the amount of food I bring into our sessions. We’re talking homemade soups, homemade hummus, guac, and charcuterie…. I make sure the team is well fed!
You’ve said that every track has to feel “alive.” When you listen back to “Finbar,” what moment makes you feel that spark most clearly?
“Finbar” was conceived as sort of a Celtic homage – but I deliberately chose to fuse different musical styles in it, giving it a unique twist. I blended a gypsy-reggaetón feel into the song, which I think sounds refreshing and infuses it with a groove you wouldn’t expect to hear in a Celtic tune. I’m certain my Irish and my Puerto Rican friends would approve of such a merger.
I envision a group of Irish drummers laying down the high-energy introduction to set the tone. I’ll make that happen live soon enough. Get Bill Whelan on the phone!
You’ve toured across Europe, and those audiences clearly get what you’re doing. How has performing overseas shaped the kind of artist you’ve become — or the kind of risks you’re willing to take?
Touring overseas has heightened my appreciation for delivering a polished, live performance. European audiences have a deep, authentic respect for live music – for the sheer willingness of an artist to get on stage and share their own work. While they definitely enjoy cover music in Europe, there’s a special gratitude for artists who share their original creations live and in person. When you play to a crowd so silent you can hear a pin drop, your skills are definitely put to the test! What I also appreciate is that European crowds are completely straightforward – if they don’t like you, you’ll know immediately
With all that stage time, I have also learned to capitalize upon my own strengths. I have no problem demonstrating my sheer joy when I play and that has translated well overseas. The audience seems to almost want to live vicariously through me when I’m on the stage. Having fans asking for autographs after the show has also been a testament to how well they love the performances. We can’t wait to get back to Europe – and we plan to tour Asia soon too.
With Brutal Best on the horizon, what’s the emotional truth you want to leave people with when they hear it for the first time — what’s the heartbeat behind all that fire?
I expect the songs on “Brutal Best” to deeply connect with listeners, primarily because many are rooted in intense emotional experiences. I also hope the album’s variety—with each track exploring a distinct rock sub-genre—will be appreciated, offering both those emotionally driven pieces and also some more lighthearted themes.
My deepest aspiration is for my music to be a catalyst, inspiring listeners to chase their own creative calling – whether it be through music or any other form of artistic expression. Putting your work out there requires some courage, but remember that in the grand scheme of your life, it’s a blip on the screen. Stop wasting time second-guessing yourself! Just put your pen to paper, your chisel to the stone, your brush to the canvas, or your hammer to the nail. Now!
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