For the recording of 'Pipedreams' Davy and his band who include Anthony Drennan on electric and acoustic guitars, Tony Molly on bass guitar, James Delaney on piano, organ and synths, and Paul Moran on drums and percussion are joined by old friends from 'Moving Hearts' days Noel Eccles on percussion, Keith Donald on sax. As well as ex Stockton's Winger, Tommy Hayes on Bodhran and Andrew Boland on keyboards.

"The possibility of bettering the excellence of 'Shadow Hunter' might itself have seemed like a pipedream, but it's ample tribute to master-musician Davy Spillane that on his new album he has done just that by taking the melodic and rhythmic innovations of his last outing a stage further.
For incredible confirmation, look no further than 'Call Across The Canyon', which brings together all the influences at work on the music in the most awesome fashion, as pipes, low whistle, didgeridoo, electric guitar and percussion weave pure magic, straying into areas more usually associated with movie soundtracks than the intimacy of the native muse.
But there are also pieces like 'Undertow' and 'Shorelines' which remain closer to home territory, Davy's pipes and whistle interfacing very effectively with drums, guitar and keyboards.
It is fitting, I suppose, that the closing track 'Corcomore' brings this remarkable young man full circle. A piece in tribute to his late mentor Johnny Burke, it is played solely on low whistle, its mesmeric melody line invested with a melancholy which remains long after the track has ended.
With this album Davy Spillane has proved yet again that the richness of the native tradition is as strong as ever it was perceived, and its potential for development is quite a ways from being exhausted.
Stirring, exuberant, and powerful, 'Pipedreams' moves the feet and the heart in equal measure."
Oliver P. Sweeney - Hotpress

"For Celtic folk-rock of the smoothest order, it's hard to beat uilleann piper Davey Spillane, whose latest excursion, 'Pipedreams' takes him yet further into the realms of jazz, although there are still remnants of tradition to be heard - 'Call across the Canyon', for instance, with his fluid piping insinuating itself around elemental cross-currents of percussion, didgeridoo and vocal whoops, suddenly reveals itself as a slowed-up reel. Once again, he has surrounded himself himself with first-rate rock and jazz musicians - some of them, like saxophonist Keith Donald and percussionists Paul Moran and Noel Eccles, old hands from Spillane's Moving Hearts days, and there are substantial shades of that band's sound in tracks like 'Undertow' (another more traditional set). Other tunes, like the North-Africian-flavoured 'Mistral', with its querulous sax and keyboard carousel, or the swaying Indian grace of 'Rainmaker', sound all geared up for the 'world music' market.
The musicianship is superb all round; Anthony Drennan's electric guitar employs less of the slide work that flavoured the last album, and James Delany's keyboards add touches of delicate tonal wash or brassy chunkiness. Spillane's piping is more fluid than ever, although one can't help pondering the fact that although the disc's cover picture shows Spillane nursing a fully plumbed-up set of uilleann pipes, drones and regulators glittering purposefully, you only really hear the chanter on these recordings.
One is reluctant to carp however, on hearing that chanter sing so eloquently in beautiful 'Midnight Walker'. In a similarly lyrical, if more brooding, mood, the album closes with 'Corcomore' played on unaccompanied low whistle - velvety, haunting and - for anyone who knows the ruins of Corcomore Abbey in West Clare - with just a touch of Burren bleakness."
Jim Gilchrist - Cencrastus

"Davy Spillane has a perfect pedigree. In a Crufts for musical diversity he'd be the odds-on favourite. The Uilleann piper's fourth solo LP is an aural fireworks display of solid playing and invention. Producers Anthony Drennan & Spillane have harnessed this seething energy to a sweetly melodic bandwagon, driven by Spillane's virtuoso playing. The well-oiled sigh of numb melancholy on such tracks as 'Shorelines' & 'Midnight Walker' slips into the shadows of eternal night on some great melty slabs of pipe, guitar and keyboards. The whole CD possesses a fiery emotional rush that just oozes class. For once, sumptuous is the word. It's certainly worthy of greater public acclaim, but to achieve the potential 'crossover' market, maximum radio exposure is essential."
GW - Folk on Tap