Shania Twain, currently captivating audiences across Ireland and the UK, has been presented with a bespoke guitar by EPIC The Irish Emigration Museum.

The guitar was crafted by acclaimed Hot Press illustrator, David Rooney, and researched by genealogy partners at The Irish Family History Centre, at the award-winning EPIC Museum, in Dublin. The image burned onto the back of the guitar, intricately weaves together the narrative of Shania’s Irish lineage.

The guitar, adorned with intricate designs symbolising her family’s journey from Ireland to Canada, was presented at Malahide Castle, where she played her only Irish show on the current tour. In response, Shania expressed her heartfelt appreciation of its finely-wrought craftsmanship.

Shania Twain was born Eilleen Regina Edwards. She revealed in her 2011 autobiography, From This Moment On, that she was named after her Irish grandmother, Eilleen Pearce, who was born in County Kildare and played a significant role in raising her.

The bespoke guitar stands as a lasting tribute to her heritage.

“Shania, you are a prime example of the global impact of Irish emigration,” EPIC CEO Aileesh Carew said. "We are proud to present this bespoke genealogy to you, told in a new and innovative way. Your music has touched millions around the world, and we hope this guitar – which tells the story of your ancestors – intrigues, excites, and informs you as much as it did us during our research. We believe that this unique piece will serve as a cherished reminder of your roots and the incredible journey of your Irish ancestors.”

Fiona Fitzsimons, Director at the Irish Family History Centre, explained a bit more about the lineage of Shania Twain.

“Shania’s family history is a testament to the resilience and spirit of her ancestors,” Fiona said. "Her family narrative spans the battles of the 1798 Rebellion, to the mountains of County Down, and the plains of County Kildare, to Ontario, Canada – and is truly inspiring.

"Presenting your family history through this unique guitar is a special honour for us,” she told the singer, "combining the art of storytelling with the beauty of music. We hope this bespoke creation offers you a deeper connection to your heritage.”

• Here, Hot Press illustrator and musician David Rooney tells the story behind the shaping of the bespoke guitar presented to Shania Twain:

"I’m very fortunate in that every now and again someone says “Who’s the guy that does that dark engraving stuff – maybe this would be a job for him?"

It happened in 2010 at a BBC office in London, which led to a career altering The Story of Ireland documentary series featuring 100 illustrations. Again five years later at a meeting at the Royal Irish Academy which led to the 1916 Portraits and Lives book and a world-touring exhibition.

On this latest occasion, a former student of mine, Paul Kinsella, recalled my NCAD visiting lecture and Hot Press student project ten years earlier. They were scratching their heads at The Public House agency, wondering who could do a custom guitar design reflecting Shania Twain’s Irish ancestry, in the space of a couple of weeks, for their client EPIC museum. “I think David Rooney could do that” suggested Paul.

PYROGRAPHIC TOOL

A video chat briefing with The Public House account director Terri Turner led to a frantic search for the donor guitar for the project. I knew a Fender Telecaster-type body would offer the best platform and also what technique I would use. I had long contemplated trying out pyrography on an electric guitar. I went so far as exploring the possibility with luthier Derrick Nelson many years ago but never got around to it.

Now it was urgent. Derrick didn’t have a Tele’ body; neither did Jimi at Jimi’s Music Store – but he directed me more locally. Salvation came at Everest Music, Bray – just down the road from where I live. Hardly five minutes into a conversation with in-house luthier Mark Walsh, he pointed to a pale pink Tele-style guitar on the wall. Hand made by Woodstock, in the Ukraine, and beautifully aged with a light relic finish and dull hardware, it seemed perfect. Furthermore, it played beautifully.

The next port of call was The Carpentry Store in Naas to purchase a pyrography machine, to burn the engraving into the wood. Mark kindly agreed to strip the guitar and sand the front. In the meantime I had done the drawing for approval by EPIC and the agency.

The hardest part of the project was waiting for the go ahead. Never having used a pyrographic tool, I tried the machine on some scraps of wood but, really, I wouldn’t know how it was going to work until I tried it on the actual guitar.

LEGENDARY FIGURE

The green light finally came. I hovered over the pristine alder guitar surface with the pin point tip of red glowing metal, took a deep breath and off I went following the guide I had traced on the surface. A few minutes in, I knew it would work. The next five nights saw the image grow and the aroma of burning alder permeate my studio. I thought of the scarred Ukrainian landscape of the frontlines with its broken trees and endless bomb craters. This alder had been locally sourced before the war.

By the time I had finished, I had almost forgotten that it was a guitar. Mark reassembled it and suggested an oil finish, which was perfect.

Then I had one day with Shania’s guitar before handing it over. I had been thinking of writing a tune on it – and having spent an hour or two noodling, something came out. Then it was down to my Echotal collaborator and producer friend Torsten Kinsella of God Is An Astronaut, for some amp try-outs and a few little tweaks in the set up. All the while the tune was being refined. We finished late, did a rough demo, Torsten took a snap and I put the guitar in the case for the last time.

It had been a very special couple of weeks. Driving the short distance home around the Sugarloaf mountain I hoped Shania Twain would enjoy the art, the story of her ancestry it told, and maybe find a tune in there too. I smiled at the idea of a former student having opened this new vein for me – as ever with no idea where it might lead. Starting with a commission for a legendary figure like Shania was simply extraordinary.

Before I went to bed I took an acoustic up and plucked the chords of ‘You're Still The One’. Kitty curled up and purred on the sofa. She has an ear for a good tune."