The Wolfe Tones are the most vocal of these groups in and on the subject of the Gaelic language. The only group covered with an album of entirely Gaelic songs, their output in the language reflects the fact that they see it as integral to their conception of Irish heritage.
The Dropkick Murphys fall on the opposite end of the spectrum, with no Irish language songs in their discography. This gap can be contextualized in their performance style as well as their place in the diaspora: Irish is a minority language in its’ own country of origin; indecipherable to the group members as well as their punk audience. Though usage implies cultural significance, the band establishes connection to their identity through other means, such as themes of worker struggle.
The Dubliners include a few songs in the language amongst their output, spread sparingly across a total of three albums. The only song they share in common with The Wolf Tones, Óró sé do bheatha ‘bhaile, is an Irish rebel song typical of the latter group’s work: outwardly Irish, with an explicit message of ridding the nation of foreign occupiers. Though the group usually hesitated to include inflammatory lyrics (notably, their version of The Foggy Dew omitted the last verse which implied British rule as the death of Ireland), they were more emboldened to include them in a language less likely to be understood by foreign audiences.