Padraic O Cathain lives in Barna as far as I know.
Regarding Caisdeach Ban etc, and its transmission, there is a good chance that the very fine text quoted above from AOF's singing, current in Conamara now, has been influenced by that published in "Amhrain Chlainne Gael," edited by the O Maille brothers in 1905 and republished by CIC, ed. William Mahon in 1990 or '89, as have a number of other songs sung in the same area. The "Ulster" text "Thug me Ruide" is peculiar to Tory island and does not, as far as I am aware, contain a verse usually found in Donall Og. As to the oft repeated error that it contains a verse from An Droighnean Donn; it has only one line in common with DD, "Da mbeinn 'mo bhadoir nach deas mar shnamhfainn." DD's line is "Da mbeinn 'mo bhadoir nach deas mar shnamhfainn an fharraige anonn," where TMR's line goes "Da mbeinn 'mo bhadoir nach deas mar shnamhfainn gach ceann is gach cearn a mbiodh gra mo chroi." The commonality ends there, and amounts to no more than that shared by some other songs,which is to be expected in an orally transmitted tradition, largely independent of manuscript influence as Tory undoubtedly was before the late nineteenth century, especially for Irish language song. This text is not a "revival" text despite the claim made above. The issue of a what a "composite" is is also debatable, again given the strong oral component in transmission, in a culture where literacy was extremely limited and decreasing all the time. Is there a hierarchy of authenticity being invoked here?
Brian O'Rourke, in his discussion in "Pale Rainbow", has pointed out that "Thug me Ruide" reveals a detail of Cassidy's story that is not otherwise attested, that he continued to perform marriages - "phosfainn lanuin, da mbiodh siad sasta ar ghreim dha laimh agus le ceangal cruaidh." BO'R also correctly points out that the twin processes of attrition and accretion are an integral part of any living folk tradition, so that variants, floaters, extra verses and truncated versions, are to be expected and cannot simply be dismissed as corruption.
In fact, it is interesting and instructive to compare TMR from Tory to the Aranmore Island variant on Roise na nAmhran's "Songs of a Donegal Woman." ed. Cathal Goan 1994 (RTE). Roise's AABA tune is clearly related to the Tory ABAB version, and could even be said to have been picked up from it or from a similar air. Clearly, the learner only got the the first phrase of the melody, not having picked up the "turn". The version by Aine Ui Laoi from Gaoth Dobhir, is similar to the Tory tune in its ABAB structure but otherwise quite different. Another interesting variant was sung by Joe McCafferty from near Bloody Foreland and is to be found on a cassette produced by Hugh Shields, "Ceolta agus Seanchas Thir Chonaill," available from Ulster Songs. This air is very close to "Thug me Ruide" but is sung more rhythmically. Neili Ni Dhomhnaill also sang a version of this song to a tune that she also used for the English ballad "As I Roved out on a bright May morning."
Roise na nAmhran's beautiful melody and text has recently been taken across the North Channel and peformed by the renowned Scottish singer Mairi Smith on her acclaimed recent album "Sgiath Airgid."