Have Pay the Reckoning Traditional Irish Music perform at your upcoming wedding
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"We loved it. It was better than Cats. We're going to get married again and again." - anon. bride
PRICING
Ceremony
Starting at $600
Wedding Ceremony including 30 minutes of prelude music.
Additional Time
$300 per hour
Additional hours such as Reception and/or Cocktail Hour.
Travel Logistics
Fee for travel more than 30 miles may apply.
Sound Reinforcement
Fee for PA (amplified sound reinforcement) may apply.
Inquire & Listen
Dreaming of a beautiful Celtic sound for your special day?
Share your details with us or listen to our music to help plan your celebration.
Listen to curated samples of our traditional Irish music
Beyond our spirited dance tunes, Pay the Reckoning offers a graceful collection of "folk-classical" melodies perfect for your ceremony or formal event. We invite you to explore these selections, crafted to add a timeless, heartfelt atmosphere to your beautiful day.
Enjoy a preview of our wedding and ceremonial music on the player above, and read about the historical and cultural significance of each selection below.
Sí Bheag, Sí Mhór
(pron. shee beg, shee vor)
This is a beautiful and historic traditional Irish tune, widely celebrated as the very first composition by the legendary blind Irish harper, Turlough O'Carolan, in the late 17th century. The title translates to "Small Fairy Mound, Big Fairy Mound," referencing two hills in Ireland that, according to local folklore, were the sites of a mythical battle between rival fairy courts. It is a gentle, flowing air typically played in a 3/4 waltz time, characterized by a sweet, graceful, and deeply lyrical melody.
Sí Bheag, Sí Mhór is one of the most beloved Celtic tunes chosen for weddings. It brings a touch of ancient romance to the day without being overly heavy or melancholic.
King of the Faeries /
Poll Ha'penny
King of the Faeries is one of the most iconic "set dances" in the Irish tradition. It has a distinct, asymmetrical structure that gives it a sense of ancient authority and mystical energy. The tune is famous for its haunting, modal melody that feels both regal and supernatural. This tune is steeped in folklore; legend suggests that the tune was "given" to a mortal by the fairy host. "King of the Faeries" is a bold choice that adds a touch of Old World magic and gravitas to a wedding.
Poll Ha'penny is a quintessential Irish hornpipe which posses a structured, deliberate pace that feels grounded and stately. It is an excellent choice for a wedding service, particularly for couples who want a piece of music that feels authentically folk without being overly boisterous. Its moderate tempo and melodic rise and fall make it highly functional.
Down the Hill
Included in Francis O'Neill's collection The Dance Music of Ireland: 1001 Gems (1907), "Down the Hill" is a traditional Irish set dance—a tune meant to accompany solo step dancers. It is an evocative Irish melody with a gentle, rolling rhythm, and a distinctly dramatic, ancient, and slightly moody Celtic feel. The melody of "Down the Hill" shares a strong musical kinship with the traditional Irish Gaelic song "Molly na gCuach Ní Chuilleanáin" (also known as "Is fada liom uaim í" or "She is far away from me"), and the two are sometimes paired together in performance. When played at a slower tempo with a waltz-type rhythm, this contemplative tune could be an appropriate selection for the prelude or meditation.
Give Me Your Hand
Tabhair dom do Lámh
Perhaps one of the most iconic and beloved pieces in the Irish tradition, Tabhair dom do Lámh was composed around 1603 by the harper Ruaidhrí Dall Ó Catháin (ca. 1580-1653) as a gesture of reconciliation and peace. This tune is a stately air written in 3/4 time. It is characterized by a sweeping, melodic elegance that feels both regal and deeply personal. Its structure is sophisticated, moving through soaring high notes and grounding low phrases that evoke a sense of timelessness and sincere emotion.
The title alone—"Give Me Your Hand"—makes this tune an almost literal musical representation of the marriage vow. It is widely considered the "gold standard" for Celtic wedding music. This tune is very effective for processional or recessional, but it is particularly poignant for a meditation such as the offeratory or unity candle. Because the melody is so lyrical and flowing, it works beautifully as a piece of reflection music. If you are having a candle lighting or a hand-fasting ceremony, the historical context of the song (reconciliation and joining hands) adds a layer of symbolic depth to the moment.
The Princess Royal
"The Princess Royal" is one of the many celebrated compositions by the legendary 18th-century Irish harper Turlough O'Carolan (1670-1738). While it originated as a harp piece, its infectious energy and elegant structure have made it a staple in the traditional Irish session repertoire and a sophisticated choice for formal occasions. The tune is a set dance (often played as a march or a hornpipe) written in a minor key, although it is far from mournful; it possesses a stately drive that feels both royal and spirited.
Selecting "The Princess Royal" adds a layer of cultural depth and classical folk-elegance to a ceremony. Because the tune is often played as a stately march, it is an excellent alternative to the standard Bridal Chorus. It provides a rhythmic step-beat that helps the bridal party maintain a steady pace. Its regal tone announces a sense of importance and tradition without being overly clichéd.
Southwind
An Ghaoth Aneas
"Southwind" (or An Ghaoth Aneas) is one of the most beloved "air" melodies in the Irish tradition. Composed in the 18th century, it is attributed to the harper Freckled Donal Macnamara, who reportedly wrote it out of a deep sense of homesickness for his native County Mayo. "Southwind" is a gentle, flowing waltz that captures a sense of warmth, nostalgia, and natural beauty. The tune is named for the "wind from the south," which in Irish lore often symbolizes the return of spring, the softening of the weather, and a sense of coming home. This thematic layer makes it deeply resonant for a union of two people.
As guests arrive and take their seats, "Southwind" sets a tranquil and welcoming tone. It is unobtrusively beautiful—it fills the room with a sense of calm and helps settle any pre-ceremony jitters. Because "Southwind" is an air, it can be played very slowly and softly. This makes it a perfect underscore for a non-verbal part of the ceremony, such as the lighting of a unity candle or a traditional Celtic handfasting, where the music needs to be present but not distracting.
Planxty Irwin
Planxty Irwin (also known as Colonel John Irwin) is one of the many beloved compositions by the legendary 18th-century blind Irish harper, Turlough O'Carolan (1670-1738). O’Carolan was a traveling musician who composed "planxties"—tributes or toasts—for the patrons who hosted him. This specific piece was written for Colonel John Irwin of Tanrego House in County Sligo. It is a waltz-like air written in 6/8 time, characterized by a graceful, sweeping melody that feels both regal and intimate.
Planxty Irwin possesses a sophisticated, melodic flow that bridges the gap between Irish folk tradition and the Baroque classical style of O’Carolan’s era. It is naturally mid-tempo, making it an excellent choice for a processional. It provides a comfortable walking beat for bridesmaids or the bride, allowing for a relaxed but dignified entrance.
Since the word "Planxty" is widely believed to be a celebratory toast to a person's health and honor, playing it at a wedding is symbolically fitting. You are essentially playing a musical tribute to the couple's new life together.
Inisheer
Inis Oírr
While many traditional Irish tunes have origins lost to the mists of time, Inisheer (or Inis Oírr) is a modern masterpiece that feels ancient. Composed by Dublin accordionist Thomas Walsh in the 1970s after a visit to the smallest of the Aran Islands, this piece is a Slow Air that perfectly captures the desolate, haunting beauty of the Atlantic coast.
It is written in 3/4 time, giving it a gentle, swaying waltz feel. Inisheer is deeply atmospheric, evocative, and slightly bittersweet. It is the musical equivalent of a quiet, misty morning on the Irish coast—calm, reflective, and breathtakingly beautiful. Inisheer is often the secret weapon of wedding musicians because it bypasses the brain and goes straight for the heartstrings.
Inisheer is a celebration of intimacy. It provides a beautiful, non-intrusive backdrop for a quiet symbolic action. It feels like a private conversation between the instruments. If your wedding vibe is more bohemian, coastal, or understated elegance, this tune fits that aesthetic far better than a standard classical march.
Josefin's Dopvals
(Josephine's Waltz)
Josefin’s Dopvals (Josefin’s Baptism Waltz) is a contemporary masterpiece of the folk world. Composed in 1993 by Roger Tallroth, the legendary guitarist of the Swedish trio Väsen, the tune was written to celebrate the christening of his niece, Josefin.
In the 1990s and early 2000s, the Celtic Tiger era of music saw a massive exchange between Scandinavian and Irish musicians. Bands like Dervish and instrumentalists like Alasdair Fraser & Natalie Haas began performing and recording the tune. It filled a specific niche in Irish sessions—the need for a Big Waltz. It provides a moment of soaring melody that stands out between the high-octane reels and jigs.
Josefin’s Dopvals is arguably one of the most requested "non-traditional" traditional tunes for weddings, and for good reason. It is characterized by a rolling feeling, created by a melody that climbs and descends in graceful arcs. Josefin’s has a modern, cinematic quality—it feels expansive, warm, and profoundly optimistic. Because it is a waltz, it is functionally perfect for a First Dance. The tempo is steady and easy to follow, making it ideal for couples who want a classic box-step dance without the stiffness of a ballroom orchestra. It feels rootsy and authentic. Though originally written for a baptism (a "dop"), the tune is fundamentally about family and new beginnings. Its history as a gift for a new child translates beautifully to the birth of a new marriage. It carries an energy of protection, joy, and looking toward the future.
The Butterfly
The Butterfly is one of the most famous slip jigs (or hop jigs) in the Irish repertoire. Unlike the 4/4 reel or 6/8 jig, this tune is written in 9/8 time, which gives it a distinctive, hopping or skipping rhythm.
It was composed in the mid-20th century by the legendary Dublin fiddler Tommy Potts, who was known for his unique, jazz-inflected approach to traditional music. The tune is composed of three distinct parts that mimic the life cycle or movement of a butterfly—starting with a low, grounding melody and ascending into a light, fluttering finish.
The Butterfly offers a mood that is quite different from the regal waltzes or slow airs you might typically hear at a ceremony. It brings a sense of magic and momentum. Because it is a hop jig, it has a natural, infectious bounce. It feels triumphant and joyful without being as heavy as a military march. The 9/8 rhythm creates a literal spring in your step. It is the perfect soundtrack for a couple walking back down the aisle as newly-married partners, signaling that the party has officially begun.
The butterfly is a universal symbol of transformation, rebirth, and beauty. Incorporating a tune with this name into a wedding ceremony is a subtle, sophisticated way to acknowledge the transition into a new stage of life. It is a musical metaphor that resonates deeply even if guests don't know the title. It works exceptionally well for outdoor weddings or garden ceremonies, as the melody feels very much of the earth and the air.
Eleanor Plunkett
"Eleanor Plunkett" is a tender, slow air that is widely considered one of the most poignant and evocative melodies in the traditional Irish repertoire. The piece is deeply reflective, characterized by a sense of longing, melancholy, and gentle warmth. It is often described as a "musical comfort" or an embrace in musical form. It is traditionally played at a slow, deliberate tempo. It carries a lilting, waltz-like rhythm (often interpreted in 3/4 time) that gives it a graceful, swaying quality. While it was originally composed for the wire-strung Irish harp, it is beautifully adaptable to the fiddle, acoustic guitar, flute, tin whistle, or uilleann pipes.
The tune was composed by Turlough O'Carolan (1670–1738), and dedicated to Eleanor Plunkett of Robertstown, County Meath. Born in the late 17th century, Eleanor was a member of a once-wealthy Catholic family whose ancestral home was at Castlecome. The Plunkett family's history was marred by immense tragedy and political upheaval. During the 17th century, they repeatedly lost their lands—first to Oliver Cromwell's confiscations in the 1650s, and later as a consequence of supporting the losing Jacobite side at the Battle of the Boyne in 1690. Eleanor and her sister Mary spent years fighting lengthy, difficult legal battles to reclaim their family's stolen estate in the face of severe anti-Catholic discrimination. O'Carolan, who was from the same home county of Meath, likely composed this tune either to comfort Eleanor in her grief or to honor her resilient legal fight to restore her family's legacy.
"Eleanor Plunkett" might initially seem like an unconventional choice for a wedding, however it is actually a highly popular selection for Celtic and traditional ceremonies. The melody is intensely romantic and deeply moving. The tune simply sounds like a profound expression of enduring love and tenderness. Its slow, stately pace lends a sense of gravity and elegance to a wedding. It forces the room to quiet down and invites attendees to reflect on the importance of the moment. The tune fits perfectly into several key moments of a wedding ceremony: The Prelude- played softly as guests arrive, setting a peaceful, intimate atmosphere; The Processional- the slow, waltz-like cadence is an excellent, unhurried tempo for a bridal party or bride to walk down the aisle; Reflective Interludes- It is an ideal background piece for quiet ceremonial moments, such as the lighting of a unity candle, a handfasting ritual, or the signing of the marriage register. Ultimately, "Eleanor Plunkett" is a testament to survival and resilience. Bringing a piece of music that was written to heal a broken heart into a celebration of a new family's beginning adds a beautiful layer of depth to a wedding day.
Lord Inchiquin
William O'Brien, 4th Earl of Inchiquin
Portrait by William Hogarth
Turlough O'Carolan (1670–1738) composed "Lord Inchiquin" around 1719 while staying as a guest at the O'Brien family seat, Dromoland Castle in County Clare. The O'Briens were a highly prominent Gaelic family who traced their lineage directly back to Brian Boru, the famous High King of Ireland. The piece is a planxty dedicated to William O'Brien (1694–1777), the 4th Earl of Inchiquin.
Unlike many folk tunes that evolved anonymously over centuries, "Lord Inchiquin" survived because of the lasting fame of its composer and the distinct, structured nature of the melody. It remains a staple in the repertoire of Celtic musicians today. "Lord Inchiquin" is a stately, elegant instrumental piece that beautifully illustrates O'Carolan's unique compositional style. It is bright and cheerful, yet deeply dignified. Often played as a slow air or a stately dance, it possesses a majestic, sweeping quality that feels both formal and inviting.
O'Carolan was a unique transitional figure. While deeply rooted in the traditional Gaelic harp music of Ireland, he was also heavily influenced by the Italian Baroque music (like that of Vivaldi and Corelli) making its way to Dublin at the time. "Lord Inchiquin" perfectly marries the ornamentation and melodic shape of Irish folk music with the courtly, structured harmonic progressions of the European Baroque era.
Because of its distinct blend of courtly elegance and folk warmth, "Lord Inchiquin" is an incredibly popular and appropriate choice for weddings. The majestic, steady, and unhurried tempo makes it an ideal piece for the wedding party or the bride to walk down the aisle to. It carries enough gravitas for a formal ceremony while avoiding the cliché of standard classical wedding marches. If you are looking to honor Celtic or Irish heritage—or simply want a romantic, historical ambiance—this tune sets a sophisticated tone without feeling overly stuffy. It works wonderfully as background music during a cocktail hour or reception as well.