Category Archives: Interviews

A Chat With, Album Release, Album Review, Interviews, New Music

A Chat With: Mick D’Arcy of Corner Boy

Photo Credit : Padraig Grant

Corner Boy have released their highly anticipated self-titled debut album. I spoke to Mick D’Arcy about the album, the band’s upcoming shows and how the tracks on this album span 10 years of the band’s creativity.

“We’ve been together as a band for 10 years. So I think the best thing about this process was that a lot of the songs we were able to revisit. We would have written some of the songs as far back as maybe 2013 and 2014. So there is a lot of newer material on the album but this was a great opportunity to revisit songs and take the songs as they were presented from us from a younger age, and with all of the years of experience, of being on the road, playing live shows and, other recent releases take all of that knowledge and breathe new life into these older songs as well. So it’s been an incredibly interesting and exciting process for us.”

“A lot of them would have been early demos that we would have released and kind of bootleg CDs that we would have taken on various tours with us but a lot of the songs haven’t been released formally. Many people who come to our shows and friends would say to us regarding a couple of the songs “Why haven’t you released that? you know, as a studio album version. That’s my favourite song. You should really release that”. So I guess with the album, we did take that into account with a few of those songs and we’re delighted to properly present it to the world now”

The band have found the perfect blend of folk, rock, traditional, bluegrass and alternative within this album to create a unique and rich sound that showcases each member’s individual musical prowess.

“I guess the sound of the band has evolved over the years. We’ve dabbled in heavier, more loud, harsher sounds, the quieter singer-songwriter side, bluegrass, traditional Irish music, so I guess this album in essence is the exploration of all of that and it’s us arriving at this point where we are comfortable and have clearly defined our sound. So that’s the concept, our journey through the years to arrive at this signature sound that we’ve been trying to establish for such a long time and we really feel we’ve gotten this with this collection of 10 songs, they really represent the band, what we were and what we’ve become along the way.”

Throughout the album, the songs are bright, hopeful and a joy to listeners’ ears. ‘Morning Morning’ is a glorious example. It’s uplifting with each instrument adding a bright twinkle throughout while lush vocal harmonies and banjo elements add a hearty sing-along aspect. This wholesome soundscape cushions the listeners from the melancholic lyrical content. 

“That song I guess we were going through a period of writing sombre down tempo songs. The song itself, it’s a really energetic and positive-sounding song. But lyrically it’s really about a person who’s struggling to get out of bed in the morning. They’re struggling to see a lot of positivity in the world. So we decided to take this concept, a sad theme and write it with the backing of really hopeful and entertaining music. So we’re constantly challenging ourselves and giving ourselves these little projects, there’s another song in the album called ‘The Sea’ and that was another example of us just giving ourselves something ambitious to look for. We wanted to create the loudest most impactful song that we’ve ever written and we felt we achieved that with that as well. Sometimes a lot of the songs and particularly with ‘Morning Morning’, it really starts from this simple idea of taking a subject matter or context and then playing with it and hopefully finding some positive results in the writing process.”

‘The Sea’ follows the darker lyrical theme of ‘Morning Morning’ however with this song the band allow the music to reflect the sombre songwriting. With a thumping beat, thudding guitars and jangly banjo the band manage to create a sense of turmoil through expressive instrumentation. D’Arcy sings “I know That pain, Seen it before, it’s taking my heart, taking it whole” over evocative instrumentation that highlights the band’s ability for creating cinematic soundscapes.

“I guess, ‘Morning Morning’ is interesting because that song is more of an affirmation for somebody who may be in a position of struggling in certain aspects of their life. I guess that’s one way of approaching the songs. With regards to ‘The Sea’, that was more trying to incorporate the notion of painting in a landscape and characters and feelings into the song that reflects those landscapes. So unfortunately, there’s a very high rate of suicide in Wexford town and at the time when we were writing the song it almost felt like every weekend that we woke up, we found out a friend of ours or somebody that we know, had passed away, we wanted to write a response to that. At the time we wanted to explore the notion of there are ups and downs, life is choppy waters at times and we wanted to write something that was a response to what was going on around us. So, again a different way of looking at a challenge and writing songs but something that we felt we were able to reflect that energy, that particularly stormy time in Wexford town where we’re all from, it wasn’t great, but we felt like we needed to respond and we needed to create something as a response to that. “

The album ends with ‘I Dream Of Boston Town’ a tender ballad delicately presented through soft instrumentation and Celtic tones. It’s a beautiful and heartbreaking way to end the whirlwind journey of this album. 

“That’s a song that we had on the back burner for a long time. We weren’t even sure that we were going to include it because it’s seven or eight minutes long, but then we just said we really do need to include it. When we play it live, we typically have the room singing back to us that chorus chant at the end. We felt that was a song that felt like a short story but it needed to tell the story of the heartbreak, the connection or disconnection between two people, the breaking down of something, the original building of something and then watching it subsequently break down. So it is a long song, but it’s different from any kind of single that you might release to radio. This song was really a short story and we felt that it just offered something very different from your standard three to four minutes single. So yeah, we just thought it showed a different dynamic to the band, or a different ability within us to write a different kind of song.“

‘River Born’ is perhaps my favourite song on the album. The vivid storytelling mixed with warm instrumentation creates this almost anthemic and comforting sound that is irresistible. With a sweet string refrain woven between driving rhythms and bright guitars, it’s a glorious tune full of emotion. D’Arcy explained to me which songs on the album he is most proud of.

“That’s a really good question. I think the most recent song we finished before doing pre-production for the album was a song called ‘Blackstairs Winter Snow’, which is the first track on the album. So I guess there’s probably an element of recency bias there but that was a moment where we felt as a band we really arrived at a collective sound that for us felt so distinctive, it felt so unique and different. So it felt that we had gotten to this point where all of that learning over the years, trying to understand how we would use guitar sounds effectively within our songwriting, how we would use our exploration of synthetic music as well. It felt like we found a real safe comfort zone to be able to amalgamate all of those things and yeah, for me, it would probably be a song like ‘Blackstairs Winter Snow’. We have six members of the band, each one would probably tell you that they have a favourite different song and hopefully that’s a testament to the strength of the collection of the 10 songs on the album that they all have different dynamics, different stories, different viewpoints. So hopefully, when people are listening to it, it’s a case that each individual person might see something that’s reflective of them, they might have their own individual favourite in that way.”

Fans can catch Corner Boy live on Friday 2nd December in Whelans and Saturday 10th December in National Opera House, Wexford. These songs are going to be epic live. D’Arcy explained to me what fans can expect from the shows.

“Yeah, that’s the plan. We’ve spent the last six weeks building our live show, rehearsing every week for it. So just trying to make it better and better and refine it as much as we can. So we’re really really excited. Our hometown album launch show in the National Opera House is sold out and we have limited tickets left for Whelan’s now on December 2, so we’re really really itching to get up on stage. We played the Ruby Sessions in Dublin and that went incredibly well. So that’s gotten us match fit as well. So itching to get going. We’re building and can’t wait to play the shows. Hopefully, we’ll be getting out on the road to tour them as well next year. So really, really exciting times for us after a long time waiting”

Showcasing poetic lyrics and dynamic instrumentation Corner Boy’s self-titled album is a fine display of the band’s poignant musicianship. Each track leaves you craving to hear more. The album is a truly special and immersive listening experience. 

Stream the album below 


Author: Danu

A Chat With, Album Release, Indie, Interviews, New Music

A Chat With: Fiachra Treacy of Columbia Mills

Photo Credit: Ray Keogh Media

Columbia Mills are set to release their new album ‘Heart Of A Nation’ on the 14th of October . I spoke to Fiachra Treacy, frontman of Columbia Mills about making the album during the pandemic, the benefits of producing the album themselves and the moving inspiration behind some of the fantastic tracks. 

‘Heart of A Nation’ is absolutely glorious. Columbia Mills pack so much emotion and passion into one album. The songs deal with the impact society has on our lives and gives an overview of our bleak socio-political landscape; immigration, addiction, and the eradication of self-confidence against a backdrop of lush instrumentation and crisp production.

“I think like everybody else over the pandemic, I personally had a lot of time to think about what was going on, specifically in the world. I think that’s what sparked a lot of the revolutions and the protests that came to the fore during the pandemic around the world. Because everybody’s life was put on hold, we got a lot more time to reflect on what was happening and I think that’s where it came from. I always write from a subconscious point of view. So we had all the music done, we wanted to make it a dancey album, as you pointed out, because we wanted people to have something to dance to after sitting around for so long, but in terms of the lyrics, I sit with the music and I just see what came out and that’s what came out. That was obviously what was troubling me when I was writing the songs and I think once I figure out what the song is about, then I can really run with it and start using less of the subconscious to finish the song but usually, the things that are bothering me will come to the fore.”

“For this album, because we couldn’t rehearse and we couldn’t get together in a room we decided we’d write the music first. Usually we do it the other way around and we put all the music together first, and the lads gave me the liberty to move bits of the song around. So if I wanted to put a chorus here, just put a bridge there I could do that with the vocals. But it was quite challenging. I’ve never really done it like that before, maybe the odd song on the other albums we’ve done it like that. But to do the whole album like this, it was quite challenging. I ended up writing the lyrics maybe four or five times for each song and changing them and putting them back together again, but it was great fun. It was a great challenge and I think it’s made for a really good album.”

The band cleverly layer and craft the songs to create a consuming listening experience. We discussed how the excess time the pandemic provided gave the band an opportunity to create an album so rich and evocative.

“Yeah, yeah we had a lot of time and I think that really helped us. The fact that we could live with each part and myself, Uisneagh [Treacy] and Ste [Ward] would send each other parts like we’d write a synth part pattern or a guitar part or a drum loop and we’d be sending them to each other all the time. There’s an awful lot of stuff that we didn’t use. The parts that we left in, we feel they really worked and we spent a lot of time thinking about them and we were able to mull over it. Then we put the vocals on and then we took a few more bits out, stuff that was clashing with the vocal. So yeah, it was a great, great way of working. We’ll probably do it again.”

‘Nevada’ is such a gem and one of my favourites on the album. The track travels at an intense pace with looped drums creating a pulsing rush of adrenaline as the song ventures between dreamy euphoric tones and intense almost sinister undertones. 

“We had the baseline and the drum loop and then there was a synth line that kind of an arpeggiated synth line which actually starts the whole song. Then while I was writing the lyrics, I came up with the chorus part to go to a major chord so the song opens up and you can feel a bit of hope rather than being so dark the whole time because it starts in a minor chord. So when it goes to the major cord it gives people a bit more hope. You don’t want to be too miserable and the lyrics came from when I was in Mexico with my wife who is from Guadalajara in Mexico. That’s an area where a lot of people come through. There’s a train that goes through the centre of Mexico and it carries people from Honduras and from more southern America up through and they’re trying to get to the United States and they stop in Guadalajara and they stop and they’ll ask for money or they look for food and stuff like that. So we’d meet a lot of these people and we met a man who was travelling from Honduras and he wanted to get to Nevada that was what he kept saying. I’m going to Nevada. I don’t speak Spanish but he was talking to my wife but I kept hearing him saying Nevada. She told me that he had a son, a daughter and a wife that were left in Honduras and he was going to work in Nevada to make some money and hopefully that they could join him or he’d go back with money. So that’s what the song is about. It’s me fantasising that they do eventually get together again and that he gets to see his son again. So it’s quite emotional. That’s where this inspiration came from.”

Columbia Mills are melody wizards. There is a soothing quality to the melodies on this album that comforts the listeners from the harsh reality of the lyrics. 

“Yeah, for me, the melodies have to come naturally, the vocal melodies especially and I suppose the guitars do as well. They have to come very naturally or else I find if I spend too much time working on a vocal melody or a guitar line, that they just sound, they’re not as soothing. I don’t know if there’s any techniques or anything that we use, but it’s just more of a natural occurrence. The music or the melody will come into my head a lot of the time I’d wake up and a melody would be in my head or I’d be doing something completely different. I’d be working on something else and a melody will come into my head and I think by doing that, as you said they come a bit more naturally and I think people can connect to them a bit more because they’re more human, I suppose.”

‘Momentum’ is another special moment on the album. There is so much musical goodness encased in this song. The song unfolds from pulsing bass lines, chiming keys and intricate guitar melodies into a euphoric groove-infested dance tune. 

“Yeah, it came from the intro. I remember Steven sent me the intro with the drum loop and that song was totally different. I remember we had all sorts of crazy vocals on it. The structure was totally different. It was like a dance track because we do work on a lot of dancey stuff. We never release it. We just make dance tracks just for the craic. We’d finished the album and we revisited that song. It was never going to be on the album and I changed it around a little bit and created a verse and a chorus. Then we put a few guitar parts on and then I just concentrated on the vocals and when we had it finished, we’d already got the album mixed by Rob [Kirwan]. He had already finished mixing the album. So we got our engineer, producer friend Mick Heffernan and he mixed it and we really loved it. So we dropped one of the other songs and moved that one in and we’re glad we did because a lot of people say it’s their favourite. “

Sonically it’s an acid trip yet there are sweet moments on guitar between all the dizzying synths and intricate rhythms. I wondered if the band ever got carried away with all the glorious immersive layers when they were creating the song. 

“We can overdo it sometimes. So we need to be very careful. There are about four synth parts in that song. Then the baseline, the guitars and the vocals and then I often tend to put a lot of effects on the vocals. I think towards the end. I’m just spouting absolute garbage and we layered it all up on top of each other. I don’t think you can make out what I’m saying. I don’t even know if I know what I’m saying. I’d love to hear them isolated again. But yeah, we can get a little bit lost but we always have to pare it back and remember that people need to listen to this stuff.”

As the album progresses, the band strip away some of the disco elements and the sound becomes more delicate. ‘Imposter Syndrome’ displays this more delicate sound perfectly. Fiachra’s echoed vocals stand out above the hypnotic key refrain and guitars creating a compelling melancholic tune for listeners to enjoy.

“With ‘Imposter Syndrome’, Ste had sent me the synth line, and I really loved it and I was determined to make a song out of it. Once he’d sent me that I started playing the acoustic guitar over it, there’s an acoustic guitar on that song. Once I had the acoustic guitar and the chords figured out, I left all the electronics to one side and just sat on my own with the acoustic guitar trying to figure out a song that I could play without any of the electronics. ‘Imposter Syndrome’ I suppose that’s what it’s about you kind of feel you’re not good enough for somebody else and if you’re not good enough to be in a certain situation. I suppose we all feel like that sometimes, well I feel like that most of the time. So I built a song about that. I can’t really remember writing the lyrics. I can remember just being happy with what had been put down. The structure of the song is quite strange as well because there’s kind of a bridge at the end. So there’s not really a chorus to the song. It just kind of plods along but I love people like Roy Orbison, he used to write songs with no choruses. He’d write songs that just went along, but it would feel like there was a chorus there because each part really mattered. So that’s kind of where I got the inspiration from.”

Lyrically the band don’t shy away from real topics and they pack some punch with their hard-hitting lyrics. Our discussion ventured down the intricacies and natural flow of lyrics and Fiachra told me his lyrics flow in a stream of consciousness sometimes. I wondered if these stream-of-consciousness writing sessions need much editing in order to create the eloquent lyrical content we hear within the album.

“Yeah, I definitely do. Yeah, you’re right. I’d go off on a mad one and I’d write everything down. I’d read everything that has come out from the stream of consciousness, but then I need to figure out where the song came from, and what I’m trying to say and then I’d have to hone back some of the stuff, but sometimes I’m left with some nice stuff that I keep and I’m quite surprised. It’s like I didn’t write it, it just came from somewhere else. So yeah, sometimes, really nice stuff that I just want to keep but yeah, I definitely need to hone it in a bit and put a bit more structure on it and make it a bit more palatable, I suppose, is the word you know, so people can understand what I’m trying to say.”

‘Heart Of A Nation’ is an album brimming with solid tunes. There are many musical gems to enjoy from the emotive guitar-driven ‘House Voice’  to the moody grunge-filled ‘Feet Don’t Fail Me Now’. But Fiachra told me which of the songs on the album he is most proud of. 

“Yeah, I really love this song called ‘Here With You’ and another song called ‘Fake Life’. I’d say they’re my two favourites. Just in terms of when I listened to them, they knock me down a little bit because I love the structure of ‘Here With You’. I love where it goes, and how it builds. But in terms of lyrics and what the song is about, ‘Fake Life’ is really nice. I really liked it because I didn’t see that song coming. Ste had sent me this string section and we had that for a long time and I had been trying to write a song over it for ages and we couldn’t. So I got the string section and I put it into my computer and I put a beat over it with a groove box. Then once I had the beat it was like it unlock the key to the vocal melody. Then I had the vocal melody in my head and then the lyrics all came down within like, half an hour. It came really quickly. It was a surprise to me. So I really like listening to that one.”

Columbia Mills have a tour coming up in the UK and Ireland in October. We discussed what fans can expect from this run of live shows. 

“ I think we’re gonna be a little bit more dancey this time. We’ve done a couple of shows, we’ve done festivals and obviously with festivals you have to hone it in because there’s a lot of people there that never heard of us. So we were trying to grab them as well. So we kept everything upbeat. When we’re doing our own shows, obviously, we can bring in some of the more melancholy songs which I loved the most but yeah, we’ll be doing a lot more dancey stuff. We have a new drummer, Jamie Duff, he plays the drums standing up and he’s a little bit more full on in terms of making the songs dancey but we’ve left a lot of electronic beats in as well. So it’s kind of changed our sound. We’re going to play a lot of the new album and then a select few off the other two albums and we’ll see where we go with that. Yeah, it’ll be a mixture of everything.”

With ‘Heart Of A Nation’ being the band’s third album there are a lot of songs in their arsenal to play at shows and I wondered if the band found it difficult to pick songs to play live as they would all have their own favourites as well as trying to please the fans with their favourites.

“We have arguments over it a lot which is good. It’s getting better. It’s very healthy to have three albums and to have an argument over what songs we’re going to play. There’s some songs that are a given like ‘City’, ‘Close To You’, ‘Battles’, I think we always play but the rest of the songs are open to play and we also feel when we’re rehearsing you go okay, that one’s really feeling good , and we’re getting a nice buzz off it and if we’re reacting to it, we hope that other people will react to it as well and if songs aren’t working, we just throw them to the side, we’ve plenty more to pick from.”

On their third album, Columbia Mills find new and refreshing ways to express their ever-evolving sound through dancefloor bops and thrilling lyrics that express sorrow, hope and self-knowledge. The band have raised the bar with these intricately layered tunes as they take an array of shimmering synths, punctuated beats and indie rock elements to create impeccable moments of sonic musicianship that mark Columbia Mills in a league of their own. 

‘Heart Of A Nation’ is set for release tomorrow October 14th. Until then stream ‘Momentum’ below


Author: Danu

A Chat With, Interviews, New Music, Singer/Songwriter

A Chat With: Damian McGinty

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Damian McGinty has released his new single ‘Like Moments Do’ alongside announcing his upcoming album “Moments” which is out on the 25th November. I spoke to the singer-songwriter about what inspired the song, how this new album is a new creative facet to his songwriting and a new cycle to his sound and the prospect of an Irish show.

“This is the start of a new cycle for me and a cycle I’m really excited about. It’s been such a fun creative experience writing this album and the theme and the feelings behind it are very important to me. I stand strongly behind what the album represents and what the new single represents. I’m genuinely proud of it. Yes, this is what my music looks like right now. It’s common knowledge that as an artist, the hardest thing to do is, find your sound and hone in on that. ‘Moments Do’ is just a perfect representation of where I am as an artist and I just think it’s an uplifting song that I’m excited for people to hear and enjoy in their own time.”

“Honestly, it wasn’t even something that I was searching for. It’s a period of time that I went through where last autumn myself and my wife moved from California to Nashville. We bought our first home, moved across the country and what I didn’t expect, was just shortly after the very harsh covid period, in the industry and it had fully reopened I was just so slammed with work, and with the personal life and moving across the country and setting up a home. So it was the first time ever in my life that I was waking up every day and just felt like I was suffocating. It just felt like I couldn’t catch a breath. Like I was on a hamster wheel and I couldn’t stop it. I couldn’t get off. No matter what I did. It just wasn’t working and my brain was going 1 million miles an hour every day and it felt very overwhelming for a fairly long period of time. Then I just started having some conversations about how to fix it like how to slow things down a little, how to be more present and that’s just where ‘Moments Do’ was born. It’s about appreciating small moments. It’s about appreciating moments that don’t get the notoriety or the recognition. You know life isn’t always about bright lights and limousines in the magazines and the billboards and as the song says, it can be something as simple as having a coffee in the morning or having a conversation with your family or just the really simple stuff that doesn’t get recognition. It was about being present and appreciating those moments. That’s just where the single was born. That’s where the whole album grew from.”

‘Like Moments Do’ is a bright upbeat song filled with warm guitar and light piano twinkles between a powerful uplifting soundscape. There is something soothing about the song that creates a wholesome atmosphere throughout.

“Yeah, you’re spot on. I think we started out the session and I was very clear that I wanted something upbeat. But I wanted, it not just upbeat. I wanted it to be hopeful. I think hopeful is the keyword. So you know whenever you go into a writing session, you sometimes throw things on a page or you’ve been messing around with a few chords on the guitar and the piano, whatever it might look like, but just hoping that you can find something and for this particular song, I really knew what I wanted. I’ve been writing all week at this point in Nashville and it was the last session of the week and I just want to write something hopeful. I want to write something that feels like it’s gonna inspire people. I want people to feel simultaneously like they’re getting a hug but also like they’re being told that your life is as normal as my life and that’s great. You don’t need big lights. You don’t need your name on billboards, on magazines. You don’t need all that to live a fantastic life, social media truly is a highlight reel and that’s all we see and therefore that’s a problem of our generation. You compare yourself to what you see on your phone. But yet the moments of the song talks about the in between moments that I think actually have the most beauty. When you are present in those moments, you learn to appreciate them a little more. So it’s definitely like a tip of the hat to all of that.”

The single comes alongside the announcement of McGinty’s upcoming album “Moments” which is out on the 25th November and the singer explained to me the concept behind this album.

“This is the first single and it is the concept of the album. So the whole album dives into these moments that I’m talking about, these moments of the in-between. Different moments in our lives where we feel happiness, where we feel sadness, where we feel contentment, where we’ve been challenged. It’s an album that goes on a journey of all of that and what I like to call you know the journey of the in-between because it really is about normal life and because I just felt there wasn’t a lot of representation for that and I think that a lot of people will hopefully relate. So the album really goes on a journey of all of that and ‘Moments Do’ is the lead single. It’s the perfect song I think to represent the first track and to give the flavour of the album. Then the album takes you on a journey through the in-between.”

In 2021 McGinty released a pandemic project, where he released a new single every month. This album takes a different approach. We discussed how differently he approached this album.

“Initially whenever you’re starting out a project or a record and you’ve got a blank canvas sometimes the only way to start filling that canvas is to just naturally start writing and start creating and see what comes out. That was the really fun thing about this project. I did start writing and start essentially, like painting on the canvas for the lack of another analogy, I started painting on the canvas, and the album and the idea started presenting itself very early on. So I was able to hone in on what boxes I wanted ticked on the album because the album is all about being present and recognizing little moments that never get the recognition because life so fast-paced. Because the album is about that I was reminded on a daily basis to be present. I was reminded on a daily basis to slow down. So it happened to be the record cycle that I’ve enjoyed the most just because I was so present and just because it didn’t feel overwhelming. The entire process has not felt overwhelming. It’s felt well timed, well-paced, so much so that the last song on the album is a song I was able to write whenever the other 10 tracks were already finished. I was like, I want to write a song that really wraps up this theme and I was able to do that which is not like any other writing experience I’ve ever had. So that felt really nice as well.”

To celebrate the release of his new album, Damian McGinty will be hitting the road this autumn for his ‘Live in the Moment’ tour across the US, with dates in eastern Canada as well. With a lot of artists approaching touring differently since the pandemic, I wondered if McGinty was going to take touring at a slower pace and if a show in Ireland would be a possibility. 

“Yeah, I’m really excited to get on the road. I’m really excited to perform this music. Obviously, I’ve never performed it live yet. It’s gonna be great. Live music looks a lot different now. It just feels different in a very weird way and I think almost in a healthy way live music for the artist doesn’t feel like it’s 100% necessary anymore. I’m trying to explain that because I’ve seen a lot of artists being like I don’t want to tour right now. It’s not good for my health. It’s not good. So I think we’re entering a really healthy period for music, where people are not letting it define them. Which is really important because touring, sometimes can feel like the be-all and end all and how many shows you do in a year, defines how successful your year is. Whereas now, people are just learning a little more to look after themselves and the music and the performance will then benefit from that. So it’s almost like a partnership. It’s like if you take care of your health, and if you’re in a good place, then the performances don’t feel like a chore. They just feel like something that you enjoy, and that you happen to do and you’re lucky enough to do. So that’s where I’m at. I’ve been just trying to be present, be steady look after myself and then I just feel very fortunate that I get going and do six weeks of live shows in the autumn. That just feels really exciting to me to get to see people on a face to face basis. So I’m really excited.”

“It’s something that I’m very interested in [ a show in Ireland]. I’m heavily considering so I’ve had a couple of conversations about it. At the moment, it’s most certainly a watch this space thing so yeah, that’s definitely something I’m gonna keep my eye on.”

Filled with wonderfully expressive instrumentation, sweeping melodies and warm lyrical content ‘Like Moments Do’ is a compelling glimpse into the joyous musicianship of Damian McGinty. This song is a fantastic appetizer for his upcoming album. 

Stream ‘Like Moments Do’ below 


Author: Danu

A Chat With, Indie, Interviews, New Music, Singer/Songwriter

A Chat With: Moncrieff

Photo Credit: Nicholas O Donnell

Having performed with Adele and impressed greats like Elton John and Avicii with his songwriting, Moncrieff is back with his new EP ‘Warm’ via German label energie. I caught up with Chris Breheny aka Moncrieff to talk about the EP, playing the main stage at Electric Picnic and how he lays all his raw emotions bare through his intimate and powerful songwriting.

‘Warm’ is an emotive EP that takes a different approach to Moncrieff’s music. His previous release ‘Class Of 2020’ was angst-riddled with powerful punk/pop elements while the earnest emotion pouring from ‘Warm’ showcases a more tender side to Moncrieff’s sound.

“Well, to be honest, I’ve always struggled to stay inside a box because I get bored of myself very often. I think with the ‘Class of 2020’ I was just very influenced by how crazy the world was seeming to get and Yeah, songs like ‘Playloud’ and ‘America’ spoke about that and I don’t know, even within ‘My Room’. I just felt even the sort of soundscape of that EP, portrayed how I felt really about that year. It’s a big mix of craziness. But after the sort of two years it was pretty hard in those two years with the pandemic. I had a time where I was thinking, should I keep going at this? Or should I call it quits? and I think what made me realize that I wanted to keep going was the fact that I hadn’t done something super personal. I ended up making these songs along those lines that are just trying to be as personal and as honest as possible and I think that’s what it’s come back down to.”

The lyrics within the EP are very raw and honest. Lines such as, “If I don’t believe in God who can I call? Maybe it’s easier to end it all” from ‘Talk’ see Breheny re-imagine difficult moments in his life through powerfully evocative songwriting and the singer-songwriter explained to me how cathartic the writing process was for him.

“I think it was definitely quite cathartic. ‘Warm’ is quite a positive song, ‘Ruin’ is kind of a positive song. ‘Talk’ itself is kind of sad, but I think the overall theme across the EP is Hope and that’s the thread that brings it together. So yeah it was like anything when you’re trying to make something super personal, you’re gonna have some challenges, but I feel it definitely was more cathartic than anything.”

‘Talk’ is a heartbreaking but beautifully presented gem. Breheny recounts the first time he opened up about having suicidal thoughts. His soulful vocals sincerely pour out lyrics of pain while the music delivers this song with a ray of hope. It’s as if the artist gives strength to the listener to push through whatever they are going through. That’s quite a special impact.

“Yeah, it kind of came together on the piano. I was just sitting down one day and usually, it doesn’t happen, where it just comes together so easily. But the song just fell out and I don’t know I feel maybe it’s the chords that are kind of reassuring. Because it keeps coming back to that major root chord and that gives it that reassuring vibe, that sense of hope within me and hopefully for other people. But yeah, it wasn’t done, really on purpose. It just came out that way.”

Breheny has a knack for writing powerful and uplifting melodies. He explained to me how melody drives his songwriting process.

“The melody comes first generally. Or it’s maybe a little phrase or something. But melody is the main thing that really inspires me and then that will influence where the lyric goes.”

The title track ‘Warm’ was an instant hit when it was released. It went to the top 10 in Irish Radio and was performed live on Germany’s ARD Network (“Frühstücksfernsehen”). 

“Yeah, considering ‘Warm’ was the first track off the EP that I wrote and that was in, I think November 2021. I was like, wow, this is really, really good, not like patting myself on the back but it made me feel something. I wrote it with a couple of friends and I was like, this feels like something special. So seeing people react the way they did, considering it was written at a point where I was at my lowest, feeling the lowest in terms of where I felt in my career. Seeing then the next song be like the biggest received song in Ireland that I’ve ever done is crazy.”

Breheny also provides the listener with a little treat on the EP in the form of a time-stopping version of Avril Lavigne’s ‘I’m With You’. I wondered what sparked his decision to cover that song.

“ I think I wanted to make something for the tour that I was doing. I wanted to make a cover for the tour and I think I did it towards the end of 2021. I produced it myself. I was bored in my room and I was like, this sounds really good and I wasn’t really planning on releasing it. Then I was like, Why the hell not? I mean, what’s the point in having another mp3 sitting on my laptop? So yeah, I just put it out and because I made a little video to go with it back when I was on tour in Limerick we did this one-shot video where we do like a transition and I walk out onto the stage. I was like, that’s a cool video, its a cool song, people would enjoy it if I put it out. So that’s why I did it.”

This year Breheny was moved up to play The Electric Picnic main stage last minute and we discussed the excitement and anxiety that came with the news.

“Yes, I did. That was amazing, it was super special. I was very worried, to be honest because I wasn’t supposed to be on the main stage and then Thursday morning came around and my manager gave me a call and said we’ve been asked to move up to the main stage which is obviously such an amazing privilege to have. But I was a bit worried at the same time, what if it’s raining, and it’s like pretty much second on Sunday, like what if nobody shows up and all this stuff. Luckily, it was really good weather and luckily it was really busy, so many more people turned up than I thought would. So yeah, all in all, it was something I’m not going to forget for a long time.”

Moncrieff has announced a headline show in The Olympia in December which has since our interview sold out. 

“ The Olympia is something for the bucket list really. So yeah, hopefully, we can get it sold out and move forward, I can’t wait for it. We’ve got also Belfast in November, and London in November and two shows in Germany as well which can be my first ever two shows in Germany and show in Amsterdam as well.”

.

Moncrieff is a passionate musician and an exceptional songwriter. Within ‘Warm’ EP he provides moments of heightened emotion while the depth in the lyrics will take your breath away. He is a musical wizard who can break your heart in an instant with one gripping line while his refined and uplifting music comforts your soul. It’s quite a masterful display of musicianship that Moncrieff finds effortless. He is an artist to treasure and the songs within ‘Warm’ are a fine example of this musician’s boundless talent.

Stream ‘Warm’ below


Author: Danu

A Chat With, Indie, indie rock, Interviews, New Music

A Chat With: Ronan Hynes of N.O.A.H

N.O.A.H have released their new single ‘Stay Here’. I spoke with drummer Ronan Hynes about the new single, prospects of a new EP in the coming months and their upcoming gigs.

Hynes and I spoke after the band’s exciting Electric Picnic performance. With all the madness that goes on at the festival, the now hoarse drummer explained how well the show went down.

“Yeah, it was great. We went down on the Friday and we didn’t play until Sunday but we did a lot of networking between Friday and Saturday and then played on the Sunday and we were quite shocked at the amount of people that we got down, for the time anyway, because it was twenty to one, I think, on the Jerry Fish stage. So we felt that a lot of people would be hungover or wouldnt be at the festival yet so we were delighted to get around 200 odd people down to the tent at that hour so it went really well. 

“To be honest it’s still one of those things to us, that’s kind of unusual. We’re still not used to that either. It feels great and obviously, it’s quite reassuring that we put a lot of work and a lot of effort into making music and trying to get it out there in the smartest way possible. So to realize that it’s connecting with people and they’re starting to feel the need to come and see us and check us out. It’s really special and we’re really taken aback by it. “

The band have self-produced ‘Stay Here’, with mixing and finessing by Grammy Winning Ruadhri Cushnan. We discussed how producing their own track gave the band confidence and empowered them. 

“Yeah, I think it is quite empowering because when you’re working with producers and other people are involved in the process of songwriting or just the overall recording of a song, different people’s ideas can come in and sometimes it’s for the better and then sometimes, your own ideas may be the best for, a particular song. So yeah, definitely. This time around, being able to convey our own ideas and be confident in what we’re doing was really special to us because it is something that we are used to in terms of demos before we managed to get into the studio and a lot of the time because Adam, Adam studies music production in college so a lot of the time it is quite high quality to a point when we even wrote ‘Stay Here’, it was almost ready to be released. It just needed a little bit of cleaning up but not a lot, that makes us feel even better because it means that we can do this again and we can do it successfully again. So yeah, it certainly is empowering.“

“Yeah, and it’s super handy as well because one thing that we come up against quite a bit is time schedules. Sometimes it can be quite stressful for us when things are outside of our control. So the fact that we’ve released this and people have reacted in such a way to the song… that’s good for us. “

‘Stay Here’ is a groovy light tune filled with shimmering synths and ethereal melodies and shows a different side to the band’s sound. This subtle shift in sound keeps N.O.A.H’s music fresh and invigorating.

“It’s the progression, I suppose in ourselves and how we make songs, but it’s also an experimentation. Sometimes we want to show people of course that we’re not just a one-trick pony and we’ve said from the start that we don’t like being pigeonholed into one genre or one area of music. We like to explore and never let people know your next move kind of vibe you know, sometimes it might not work out, but we’re lucky enough so far, that it has been received quite well. In my own personal view of the song. It reminds me of, I suppose, because we’ve been learning, songwriting, production-wise and stuff like that it’s as if we wrote ‘Hands Up’ now that it’s almost like ‘Hands Up’s’ biggest brother. It’s on those vibes but yeah, it certainly is different. We want our fans to feel refreshed as well as ourselves, it’s for both parties really.”

There is a hypnotic synth melody running throughout the song and Hynes explained how that hook was the birth of the song. 

“It literally started off with that kind of a loop and Ryan had his guitar going along with it. There was only probably around a 15-second loop between the guitar and that synth and all of a sudden it started to progress into something because we got a beat behind it. We got a lovely baseline from Adam, and it just started to expand and grow itself. In the end, it just grew legs and we had our Management and our PR saying that this is the single this is something that we need to release now. So yeah, it was actually rather quick, the way it grew and progressed and the last few singles that we’ve put out, haven’t necessarily been that easy in terms of how quickly they formed. So it was certainly a surprise to us, but it’s a good feeling as well because there’s nothing better than when a song comes together immediately and you’re just already excited to release it. But yeah, it did start from that strange little synth loop and progressed from there.“

‘Stay Here’ is a sweet and comforting track with lyrics that offer an unconditional, selfless vow to help a friend in need. Hynes explained to me how the band managed to create this soothing and comforting tone within the music to mirror the lyrics

“Usually how it works is the music always comes first. We all write lyrics and we all have our input once we have a theme and once we have something in which we can connect to but generally how we write songs would be that the music would come and then we will get the feeling from the music and that’s where our theme would then come in. Then we would go and start brainstorming how we were going to write it how we were going to project the overall message of the song and realistically with this song, it is something in which the lyricist observes and comforts a friend in need by giving themselves unconditionally without the need of recognition themselves. So we really wanted to bring out the human elements of the lyrics, and in some ways, it’s preaching what we all need to hear, because, we all have that friend or could be that friend within the story. That was something that we really wanted to convey to the listener. So yeah, it was really important in that way. We went for that soothing, and I suppose comforting elements of a story within these lyrics.”

N.O.A.H’s debut EP ‘Echoes of the Night’ grabbed the attention of those on the international music scene, not just the rock and noise genres. I wondered if the band felt pressure deciding what track would follow the success of that EP.

“I don’t think so, to be honest, because I think with the EP it came out and we’re always super excited for the next thing. We spend a long time working on things that come out and they’re brand new, but they’re not brand new to us. So we’re always moving on to the next idea and always the next step ahead. So for us, it’s more an excitement really. I think the only pressure to us is if we come up with an idea, and we look back and we don’t think it’s to a standard than say, you know, any of the songs on the EP, if we don’t feel that it could match one of them or fit into one of them then that’s where the pressure comes from a writing element. Other than that I think it’s more of an excitement really for us, we’re just excited for the next release. So we released this song on Friday, and we’re already thinking about the next one. So we’re quite happy. I suppose in a way we’ve got a short-term attention span when it comes to what we release because it’s just we’re always excited for the next thing.”

‘Stay Here’ feels like it is an appetizer for an EP or album to come and Hynes explained to me the band’s hopes for releasing music in the coming months.

“So we’re playing around with the idea of having an EP out by December. It’s not entirely confirmed as of yet but it is certainly something that the three of us are playing around with. In terms of an album, it would probably be this time next year before we get an album together because we do really want to sit down when it comes to an album and really spend time to get it all together and do it in a way that we’re happy with, that we can connect with. At the moment, we’re more needing to get ourselves out there on a live basis more so than constantly releasing studio songs. We still see ourselves as a small band and a band that’s still developing. So in order to do that, and in order to get more listeners, more fans, we need to be out there in front of people playing what we already have. So at the moment, it isn’t something that’s on the cards, album wise but certainly an EP you know, we are playing around with the idea. “

The past few months have also seen N.O.A.H dip their toes in the UK market. Working with Lander Pr the band secured regional UK radio play as well as their UK debut TV appearance on CBBC ‘Saturday Mashup’, the guys performed live on the show as well as taking part in games and comedy skits throughout. N.O.A.H also performed on Virgin Media Television’s 6′ O’Clock Show on May 27th. This opportunity gives the band more scope to gain fans and tour new places.

“Yeah, absolutely. You see all your peers and all the people you look up to, obviously they’re doing European tours, American tours and stuff like that and it certainly is something different when you can then turn around and see yourself getting on a plane to go play a gig. It’s something that’s quite surreal to us in a way. We can get in a car and go to Dublin and play a great gig and it feels good. But there’s something quite different about getting on a plane or a boat and going elsewhere to a different country and getting new fans over there. It certainly is exciting and with the UK market we certainly have been trying to get more and more vibes going over there. Thankfully, we have a PR company over there under Lander, so they’ve been helping us out quite a bit over there. So we’re really excited that we have a London gig and Manchester gig and a Glasgow gig coming up in November, and we’re really excited with that and then obviously to finish off those string of gigs in Whelan’s on the eighth of December is something that we’re extremely looking forward to because the last time we played there, the crowd was crazy. So we’re hoping that we can up that game even more to finish out the year. “

“I suppose it brings it all back, as I said, it’s quite surreal going to different countries and stuff like that to play. So then to bring it back to where we started, and almost bring it full circle again, it grounds us when we get there. But the crowd is the fourth member of our band so when they show up, it just makes it even more special for us and reminds us why we do it.”

N.O.A.H are building their sound superbly and fast becoming one of Ireland’s finest indie gems. ‘Stay Here’ is an intriguing glimpse of what’s to come from this talented band. Exciting times ahead.

Stream ‘Stay Here’ below 


Author: Danu

A Chat With, Album Release, Electronic, Indie, Interviews, New Music

A Chat With: Daithí

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Photo Credit: Brendan Canty

Irish electronic artist Daithí is set to release his highly-anticipated third solo record, ‘I’m Here Now’, via Strange Brew Records this Friday the 9th of September. I spoke to Daithí about how he created this mesmerising collection of tracks, the fantastic collaborations on the album, the inspiration behind his songs including the spontaneous and grounding moment that inspired  ‘Keep It For The Next One’.

‘I’m Here Now’ is an immersive listening experience, each track flows beautifully into the next with ease. 

“Yeah, it was an interesting one. I came at it a very different way to what I would usually do. My last two albums, I would write a whole pile of songs, maybe almost 30 or 40 songs and then I would just pick the best out of them and then try and improve on them. Whereas this album was written differently. I had two or three songs that I really liked, that I thought were really important to me at the time of writing them. Then I spent the rest of the time connecting those dots writing songs that I thought would run from one to the other in a really nice way. So it was a really interesting way to do it and I think the main reason I was able to do it that way was because I had plenty of time and I was out in the country. This was the first record where I was in my hometown as opposed to traveling around and working in different places. I did it all in the one spot in this place called The Beekeepers in Ballyvaughan, which I kind of run as an artists retreat and yeah, I just spent these big long weekends with a couple of different mates working on different pieces and getting to play different parts over it and stuff. Yeah, I agree with you it has this very kind of connecting, run altogether. You can listen to it as one big long project and there’s a lot of big open spaces with no vocals and stuff like that as well. So yeah, it was really fun to make that was the main thing, you know.”

As the album progresses the beats become heavier, more intoxicating and frenetic. However, Daithí expresses moments of euphoria through his music amongst the agitated expressive soundscapes. Tracks like ‘Polypoly’ and ‘Like The Water’ show this element perfectly and create a compelling listen from start to finish.

“Yeah, I think a lot of the songs are built around these chord structures and melodies. After the pandemic and the lockdown I think a lot of people felt there was a big kind of a question mark over everything that you were doing, and you were feeling like, Am I really here? Is this actually what I’m doing? Then I think a lot of people had these moments as well after those two years where it’s like you made these big, large kind of life decisions and I think one of mine was planning to be more at home in my hometown and stuff and on one side, I really liked that because it was out in the country and I got a really great newfound love for where I’m from. Then at the same time, I think, all kinds of young people once they move away, kind of going back to the place that you’re from.. there’s a bit of trepidation to it. So I find myself leaning into those types of melodies and those types of feelings throughout the whole thing and once I started realizing I was doing that I started leaning into it a lot more. ‘I’m Here Now’, for instance, has a whole pile of natural recordings from around that area and then I used the Concertina in certain parts as well because that’s what my grandfather played. Then there’s all these different sections where it’s like question marks of things that I found interesting in the time and the place and just trying to explore that feeling and emotion of this weird question mark that’s over a lot of people’s lives at the moment, you know”

There are interesting and unique sound bites placed throughout the album. like a creak of a heavy, rattling farm gate on the title track ‘I’m Here Now’, Daithí explained to me how he finds these little audio treasures and where he decides to place them in the songs.

“Yeah, most of my music is written in a specific way. Basically what I generally try and do, [ is ] collect up a huge sample library of sampled recordings. I’m always going around with my phone or a recorder and when something strikes me, I’ll record it but I’ll just put it into this vault of samples that I have that I’ve been building up for like 10 years. Then you can take stuff out and play around with it, and it can kick off an idea. But another really helpful thing is it’s all dated, and it’s all where it is and stuff so let’s say I’m thinking about a certain time in my life or a certain person and I think back to when I was with them last. Then I can go into my vaults of samples and find a recording that was done around that time. Then there’s all these connections from the different elements that make a really interesting collage, and then after that, a lot of it has to do with melody. I’ll come up with one melody, and then I’ll bring on some friends to write stuff and they can take their own experiences of what I’m trying to talk about, and plant their own experiences of that on the song as well. So you get this lovely collection of different experiences and inspirations throughout the whole record and it tends to be the best way to make something unique, it tends to get you away from trying to sound… well like other people, you know.”

In the album, Daithí has a wonderful array of supporting artists – Ailbhe Reddy and Sinéad White (‘Sunset’), David Tapley of Tandem Felix (‘Polypoly’), Uly (‘Like The Water’), and Neil Dexter (‘Keep It For The Next One’). These collaborations elevate each song and create a unique refreshing aspect within the track. 

“So for this record, it was a bit different again, so I had this place Beekeepers in Ballyvaughan and basically I would pick a weekend and then I would pick maybe one or two people, like two very good artists that I knew, who knew each other and we just kind of whisked them off to this place in Ballyvaughan and get them to spend a weekend just literally playing around with stuff and kind of toying with different things and showing them the different tracks and seeing what immediately resonates with them. It was a really good way to work I think because if you have two different really good artists people tend to try and egg each other on in different ways and as long as they’re comfortable with each other it becomes this really nice positive experience and I had a really good weekend with them, Ailbhe Reddy and Sinéad White, who have played together and done loads of different things. Ailbhe’s an amazing guitar player, and Sinéad is an amazing piano player as well as being really good vocalists, so they could jump on different things at different times. You know, like Ailbhe might be writing a vocal lyric and then Sinéad will be toying around on the piano and then suddenly you just start trying to record everything at once and you start getting this big rush of ideas. It was a really good way of working because it was just bringing really nice people together, having a really nice time and a private location. Yeah, it really got the best out of those artists you know, which is great.”

‘Familial’ is a mesmerising track and stand-out moment on the album with soothing melodies and lush electronics that build and become more intense and psychedelic, it’s a track that lingers in the listener’s head for days. 

“Yes, so ‘Familial’. Yeah, I built that drum beat on a drum machine and I had been kicking around with it for ages. Then I’d gotten another synth that I was playing with, and I was adding in those extra ideas. That’s those little bloopy key ideas. Then I had gone back to Clare for a good while and I was exploring all the stuff that my granddad had worked on. My granddad passed away a couple of years ago and just when he passed, I was trying to learn more about him. He was an amazing concertina player and I knew so much about him from a personal level, but I was getting all these different people coming up to me from the traditional Irish music world telling me different stories about him and I started going back down through all the people that he worked with throughout the years and I found this very amazing, like very, very old Sean-nós sample kind of based around those times, and for some reason, it just really stuck with me. Then I thought about how you would fit Sean-nós into electronic music and I put a massive auto tune on the Sean-nós so that it stuck in with the melodies that I had. So it was this weird moment where I was just like, is this like heresy is it like something that really works, which excited me a lot because I was like, oh my god, I’m putting auto-tune on Sean-nós it’s like the weirdest thing ever. Then that’s how I got that vocal melody that’s there. It has this lovely Irish lilt to it, but also it has a hip hop feel to it as well. So that was the birth of that track for sure.“

One of my favourite tracks on the album is ‘Keep It For The Next One’. It’s a beautiful tune that pivots around fuzzed beats, lush textures and ethereal soundscapes. The song provides a lighter take on Daithí’s dense expressive sound.

“That one came together really quickly. It was kind of amazing. It came together in the space of two days. So Neil Dexter is the vocalist on that. I had heard a couple of his songs before but I hadn’t really met him properly. He came up to The Beekeepers with David Tapley who’s a very good friend of mine. He’s in Tandem Felix and David was in my last record. They both came together and they were bringing some instruments up that they thought I wouldn’t have. David Tapley brought like a pedal steel you know, like a real country western pedal steel. We ran that through a whole pile of different electronic effects and that’s how that starts off. You can hear these kind of pad sounds behind it. That’s all pedal steel. It’s kind of an amazing story on the record, actually because Neil had arrived and it was only about two or three hours at The Beekeepers and his wife was pregnant at the time. She’s a nurse and she actually got a bit faint and had to sit down at work. So she called him and there was this amazing moment where we were all here in this lovely idyllic location and there was something really serious going on and once he hung up the phone, he was like Yeah, I think she’s okay, everything’s fine. My mother’s gone over to her. That’s all fine. Then we had this long conversation about how when we were in our early 20s, we didn’t really have that kind of responsibility so we could do whatever we wanted and now that we’re slightly older, you know, we’re up into our 30s now, life has changed so much and he literally just went over to the microphone and just started singing into it. That’s where we got the lyrics from. So it was one of those really great, amazing moments where everything just kind of clicks in this big inspirational way, and he was on fire at the time. Yeah, I love that track as well. It’s definitely one of my favourites. Can’t wait to play it live. It’s gonna be really fun.”

Daithí doesn’t do anything by halves. His music is immersive and rich and the videos to accompany his music follows this trend. Filled with cinematic visuals ‘Familial’, (courtesy of award-winning New Zealand filmmaker Ayla Amano) is a short film in itself that presents the well-worn fractures of a family through the strains of a father-son relationship and ‘Sunset’ is another touching film directed by Michael-David McKernan and features the American actress Annie Ryan (who was in the seminal 80s film Ferris Bueller’s Day Off). It’s a beautiful, touching film that follows a woman in middle age coping with loss and grief in the most poised and hopeful way.

“Yeah, a lot of my good friends will be video directors. One of my best friends is Brendan Canty, who’s a very well-known music director and he does a lot of shorts and adverts and stuff like that. So the culture of doing really good high-quality videos has always been there. Then my partner of two or three years is Norman Howard, who’s a very well-known film producer. So I’m very lucky to be surrounded by an awful lot of people who were involved in the film world and stuff like that. So getting directors on to do that stuff was super important to me, and I think when you make a video there’s so much work involved and so much kind of toing and froing and so high risk to make sure that it’s like really good and it kind of solidifies a track a little bit more. ‘Familial’ is a really interesting one. So Brendan, my friend is married to Ayla Amano who is this amazing New Zealand director and they were in lockdown in New Zealand and that’s where that video was filmed. It was all filmed in New Zealand while they were over there, and then ‘Sunset’ was all filmed in The Burren. We threw a film camera into the sea with a waterproof box and got this amazing feeling of what the West of Ireland is like when it’s at its absolute best you know when the sunsets going down in Fanore Beach. So yeah, it’s always been a big thing for me and I think it really elevates the songs”

Daithí has a solid fan base. He told me how excited he is to be able to go out and tour this album and share it with his fans. 

“Yeah, It’s brilliant, the tour is the biggest tour I’ve ever done before. I’ve never really been on a proper tour of England or anything. So that’s one of the really exciting things about it. We played Body & Soul this year, and it was just this massive show and I still had everybody that I had from before the pandemic coming to the shows and stuff and it felt really, really special. So getting out on the road and really performing them is one of my favourite things to do, you know, so it’s going to be great. Yeah, yeah, I’m really looking forward to it. “

“ I think most artists realize there’s a good bit of responsibility involved in making sure that people have a good time at a show you know, as you get older, you’re consciously aware that it’s a really big thing for somebody to go out of their way and actually go to a show, so I feel I have a really big responsibility to make sure that it is the absolute best that it possibly can be to make it worth people’s time. I feel that if you do that and you consistently do that, and they know that they’re going to a good show, they’ll stick by you and a really good audience is really loyal as well and that’s so important for an artist to keep going you know, so I see it as a big responsibility to always make the shows as best as I possibly can and to always just keep making them better and better and better.”

Daithí has made a name for himself as a pioneer of electronic music and I asked him what advice he would give to an aspiring musician.

“Yeah, that’s a good one, it’s hard to make the career, that’s the hard part. I think my biggest advice would be to get really good at playing live to be honest because, as far as I could see, like I’ve been extremely lucky that I’ve gotten to be able to be a musician for about 10 years full-time. But the only way I’ve ever been able to do that is by touring and doing loads and loads of gigs as much as I can. So as early as possible if you can get out and build a scene around yourself with people, other people playing and try and play as much as you can, the experience of doing that will stand to you so much over time. Once you start going then, you just have to really like playing gigs and going around and travelling. The other obvious one as well is just surround yourself with really good people. One of the best things about being a musician is that there’s a brilliant, beautiful scene and it’s a really good way to meet new people and it’s such a sociable experience. So yeah, surrounding yourself with really good people and really amazing musicians is a blessing and super important as well for sure.”

‘I’m Here Now’ is a joy to listen to. Daithí has an impressive ability to create tunes that excite the imagination and thrill the senses. The album is a musical marvel and cements Daithí’s reputation as a trailblazer for electronic music. 

‘I’m Here Now’ is set for release this Friday. Until then check out the video for ‘Sunset (feat. Ailbhe Reddy)’ below 


Author: Danu

A Chat With, Interviews, New Music, Singer/Songwriter

A Chat With: Bradley Marshall

22-year-old Irish artist-songwriter, Bradley Marshall has just released his brand new single ‘Better Left Unsaid’. I caught up with the singer-songwriter to talk about the single, his upcoming headline show in The Workman’s Cellar and working with Danny O’Donoghue (The Script), Ryan Hennessy and Jimmy Rainsford (Picture This), Jimbo Barry and David Lucius King on the song. 

“Yeah, it’s quite surreal to be honest, working with people that I’ve looked up to for the last few years and writing with them was a really great experience because you get to understand how they work and you learn a lot from it. So it was really cool.”

“It was kind of me bringing some ideas to them and then they had ideas for me and so we just mixed them together. But, I’m confident in my ideas and what I had. It was daunting at first, but when they said that they liked the ideas and stuff then it was really cool.”

“Luckily enough when I was in London with the guys, we were there for two days and we got three or four songs done which was really cool, which doesn’t really happen a lot but I’m happy that it did work out that way.”

“Sometimes I think when I go into a studio ‘will something come out of today?’ but if something doesn’t come out of studio session, then that’s okay. You just do it again and again and again and something will finally come.”

‘Better Left Unsaid’ is a wonderfully tender tune that discusses coming to terms with the fact that some relationships are just not meant to be. Marshall told me how the idea for the song formed and the personal concept of the song.

“In relationships sometimes things aren’t just meant to be and that’s okay, and sometimes things are just better left unsaid. That’s why it’s called Better Left Unsaid, yeah, that was the reason behind the song.”

“It was on my behalf an experience, but it was also an idea that the lads had as well. So when they actually had the idea I was like, that’s really cool because I’ve actually experienced something like this.”

Emotional cinematic tunes seem to be Marshall’s forte. ‘Better Left Unsaid’ follows the heart-gripping power ballad aesthetic of his first single ‘Make Believe’ – the song exudes lush soundscapes and an elegant soaring piano melody before the anthemic chorus kicks in. 

“Personally, I don’t love too much crazy production because I think the piano and vocals are really most important to me. You can add some drums and some strings just to make it really heartfelt and emotional that’s really all that I need in a song. So when I’m writing, I imagine the production and I say to the lads what I would like in it. Jimmy Rainsford produces most of the stuff that I do right now, and he’s just incredible. So, I let him just do what he does and I’m always happy with it.”

Marshall released a stripped-back performance of the song which was captured on video by Jimmy Rainsford during a recent London trip and recorded in Hoxa Studios. Stripped-back versions of Marshall’s songs are so impactful. Marshall told me he feels at his best performing live.

“Yeah, I’ve done a few gigs, the last couple of months and it’s just been my pianists, Jake Richardson and me and I feel that’s where I thrive”

The track is awash with relatable content and eloquent lyrics. Lines such as “few more years of being broken trying to right my wrongs and when I find a brand new person I’ll still write you breakup songs” are honest and impactful. We discussed how daunting it is for artists to pour their heart and feelings into lyrics for other people to hear and interpret.

“Yeah it really is because you’re putting all your personal experiences that you haven’t really talked about to anybody into a song, and everybody listens. So everybody knows what you’ve gone through and stuff like that. So it’s a little bit daunting, but that’s the reason why I do it because I know that through my experiences other people will also have experiences like that, and that’s why I write music. I want people to relate to it”

“It’s absolutely therapeutic for me. Definitely. I’m not the best at talking about things. So writing was always my way of just getting things down. It’s literally like talking to somebody when you’re writing a song because you’re putting it out there even though it’s not out yet. When you’re writing on paper it’s still like you’re putting it out to somebody. So yeah, it’s definitely therapeutic for me.”

The last time we spoke Marshall told me he was building up his tunes and I wondered if we can look forward to an EP soon.

“Yeah definitely. I do have a next single lined up. I will probably do singles until the end of the year, maybe two or three more and then next year, we’ll think about something like that [an EP]. Last time we talked, I didn’t have many, but now I have a lot of songs lined up so they’re all ready to go out and it’s just about patience and time. “

Bradley Marshall is a talented artist who is growing and developing his sound wonderfully. He is an artist to keep an eye on and his velvety voice is sure to charm all who hear it. Luckily for fans, Marshall has some live shows coming up. 

“I actually just announced my debut headline show in Workman’s Cellar on December 16th. So really happy about that and then I’m also playing a festival next month Kildare so yeah, just a few things lined up”

Stream ‘Better Left Unsaid’ below


Author: Danu

A Chat With, Indie, Interviews, New Music

A Chat With: Mick D’Arcy of Corner Boy

Corner Boy have released their new single ‘Kingdom Come and Go’. I spoke with singer Mick D’Arcy about the new single, upcoming gigs and their fantastic video filmed in Johnstown Castle.

‘Kingdom Come and Go’ is a spirited tune laced with the band’s passionate musicianship and irresistible melodies. With a foot-tapping rhythm and vibrant instrumentation, this song is a musical gem sure to delight listener’s ears.

“This was a song that we had worked on a couple of years ago. Sometimes, you might work on a song and it might not click at that moment, but we were in a rehearsal room about two years ago and we were playing through the song and yeah, it just came back to life. Sometimes it happens with songs that when you play it, just new ideas will come to it and I guess the story of the song as well, it’s an exploration of a connection between two people, the highs and the lows. So we started working on the song with the new energy we had brought. We were able to finish it then lyrically as well. That new energy like I said, it just breathed life back into it. So it was a song that we had on the backburner for a long time and we just thought it’d be a great single to release”

There is a lively atmosphere in the song enhanced by fiddle and banjo elements. Corner Boy pivot the track around the fiddle/banjo embellishments and driving guitar to create a folk/ indie fusion that is a joy to listen to.

” I guess our sound will be considered to be folk and from a young age, we would have been raised in the folk tradition with aspects of traditional Irish music as well. That’s always really important for us to retain what got us into music, folk and traditional Irish music. It’s really important as a band to try to find the balance with contemporary sounds as well. You’re brought up in traditional music from a young age but then, you know, you leave home, you see a bit of the world on your own two feet, you take new sounds and you begin to allow yourself to be influenced by newer ideas, new sounds and contemporary themes, music structures and songwriting. So combining that with what we knew from a folk sense, all of a sudden for us as a band, we arrived in this place of writing songs that sounded really fresh and exciting to us and something worth developing. So I guess it’s kind of exploring the potential of that feeling. That’s where we are as a band, taking a bit of old, taking a bit of new and then finding something that’s fresh and exciting in between too.”

‘Kingdom Come and Go’ is awash with lush instrumentation and driving rhythms. The song is brimming with emotive sounds yet each element within the track has its place allowing the expressive soundscape to flourish without becoming overpowering.

“We’ve had a lot of years to refine that process and what it feels like to us. It’s a delicate enough thing. When the band first started out, we released our first EP. It was very roots orientated. It was folk it was traditional Irish influenced, then we would have released another EP that was a bit more Indie influenced and another one that was a bit more rock influenced. So we finally feel that, you know, we’re in a position this year where we’re releasing our debut album that we’ve kind of taken all of that learning, that journey over the last 9/10 years as a band and I guess two years ago, when we decided to finally sit down and record the album we felt that we were in this comfortable position where we really knew the essence of what we were trying to do. We had gone through all of the different stages to get to this point and we feel that’s fairly self evident in the music. We’ve gone through this whole cycle of different genres and exploring them and we’ve emerged with this original sound that’s very much representative of ourselves. “

“I think a lot of artists put a lot of pressure on themselves to be this new all encompassing, fresh and exciting sound. Our band started in fairly humble, modest surroundings. One of the main things we wanted to do was just play a gig outside of Wexford and to write three or four original songs and then all of a sudden, we just had this massive creative burst from early on in the band. We started getting invited to play festivals and we had to start building a set and it was a really, really exciting time for us. When you put yourself under that kind of pressure, a lot of things can get rushed. So we said we’re going to try to take the pressure out of that scenario at all costs and slowly develop our sound, not rush it and make sure that the music is something that’s representative of all of us. It was trying to make sure that we had this collective sound that represented us all equally. That can be a really difficult thing to do. Sometimes that takes time and it certainly took time. My one piece of advice is; try if at all possible to take the pressure out of the situation as much as you can and allow the space and time that you need to evolve naturally. We feel collectively as a band now that we’ve certainly arrived at that place.“

Corner Boy’s songs are filled with vivid imagery, and ‘Kingdom Come and Go’ is no exception. Lines such as “Your careless and free, A Lark on the breeze “ are simple yet wonderfully evocative and add a poetic aspect to the band’s music. 

“Some songs take a long time to write, some songs take you know only five minutes. This was one of those songs that we had originally written the music of but lyrically it’s something that came really quickly. Some people think that’s a really good thing, some people think not so much but for us we were happy this song emerged naturally and finished itself really quickly with regards to the lyrics. This song is about the discussion of connection between two people. It’s almost like a back-and-forth conversation at times, you know, talking about the idea of connection, and what it would mean to one another. So describing these things and bringing in aspects of narrative and storytelling that’s really important to us – painting that vivid imagery within the song and allowing it to match up with the energy of the music as well is key. So, yeah, these different musical ideas within the song that are kind of soaring, really powerful and energetic the music, just trying to match that. So I guess we felt that we had done that really well with the single in particular, then as a result, we decided to have this as a great representation of us, where we are now musically, sonically, lyrically.”

The vocals in this song are quite powerful. It’s not one for a timid vocalist and D’Arcy delivers a goosebump-inducing performance. We discussed his vocal talents and if he was always a confident singer.

“No, I certainly wasn’t a confident singer. I remember in primary school, there was 36 people in my class and 33 of them got picked for the school choir, I was one of the three that didn’t. I always had my own style, but I guess this is something that would have come out from us playing around at different sessions being around other musicians. For me, it was always important, playing with other musicians to have a voice that really had an impact to it and was able to be quiet when it was needed in certain parts of songs, but you know, really show the power of what you’re trying to connect with in the lyrics when it’s needed and I guess, it arrived with this song.The song is incredibly vibrant, energetic and impactful. The vocal melody really needed to match that at certain points. So we’re quite lucky with the band as well that we have five different vocalists as well, five individual strong singers. Yeah we were blessed when it came to laying down backing vocals and stuff like that as well. It was a nice challenge for us to be able to match the intensity of certain parts of the songs.”

The band have released the music video for ‘Kingdom Come and Go’. Shot in Johnstown Castle the band discuss the theme of the song through wonderful visuals.

“We wanted something that embodied [ the ] story. We shoot all of our own music videos, we storyboard it all together, we direct everything. So everything is very much self-contained within the band, all the visuals all of the artwork, it’s done by the band. So the story was that the castle in essence you know, somebody’s been stuck really in their own mind and trying to wander around and figure out what exactly they wanted from a relationship or a conversation and that’s what we’re exploring lyrically in the song.The castle is something that’s very much representative of that, you’re stuck in this place, and you’re trying to figure your way out. The conversations that you have with yourself and the actions that you go through to find your way out of it. So it’s something we wanted to to get across. We all [the band] live within 10 minutes from each other in County Wexford and the one thing in that area is this place called Johnston Castle. It’s right in the middle where all of us live. For a long time, we would have all driven by this huge place and thought wouldn’t it be amazing to shoot a video there one day and luckily enough they were like absolutely. They gave us the keys to the place and we’re able to create the story that we wanted that would match lyrically with the song and for the video to be dynamic and interesting. We feel we achieved that anyway, with the video. We’re really happy with it.”

Corner Boy’s debut album is due for release in October 2022 and D’Arcy told me what gigs the band have planned to celebrate the release.

“Yeah, so I guess our next show will be I think we’re okay to announce that we’re playing Electric Picnic at the start of September so that will be one of the first airings of the song which we’re really, really excited about. Then after that we have dates that are going to be launched soon for shows in our hometown in Wexford, then in Dublin and Whelan’s in October when we’re releasing the album as well. Information on that is going to be coming out in the next week or two. So we’re really excited to start gigging again and be able to air the album in full in the live setting. That’s really, really important to us. Playing live is the thing that’s always been central to the band. So we’re looking forward to getting back on the road from September onwards.”

Corner Boy package their exciting and kinetic sound in one fiery heartfelt tune and the result is a song that boasts glorious melodies, rich instrumentation and heartfelt emotion. Featuring surging brass sections, gripping fiddle outbursts and an anthemic sing-along chorus, ‘Kingdom Come and Go’ is a fine example of Corner Boy’s immense talent.

Watch the video for ‘Kingdom Come and Go’ below 


Author: Danu

A Chat With, Indie, Interviews, New Music, Singer/Songwriter

A Chat With: Gabrielle Aplin

Singer-songwriter Gabrielle Aplin has returned with the release of her new single ‘Call Me’.Throughout her career so far Aplin achieved a UK #1 smash hit with her cover of ‘The Power of Love’ which launched her career, as well as a further four international #1 singles, a Gold-certified debut album ‘English Rain’ plus her most recent album, 2020’s ‘Dear Happy’, has now exceeded 200 million streams on Spotify alone. I spoke to Aplin about her new single ‘Call Me’, releasing music on her own label, touring and if ‘Call Me’ is a taster of a new collection of songs to come.

‘Call Me’ is an exciting glimpse into Gabrielle Aplin’s approach to writing and recording new material. Having moved back to Somerset late in 2020, she began to write alone at home and ‘Call Me’ is the mesmerising result of this writing process. It’s a wonderfully cinematic tune, however, at the heart of this beautifully vibrant track is a delicate piano melody.

“I’m so glad you said it was cinematic. That’s exactly what I was going for. I actually wrote just on piano on my own in lockdown at the start of last year, and it was really loose, and quite old-sounding in a way. We just put the whole band in the studio and we all played it and recorded it and that was it, you know. But I didn’t really want to make a retro-sounding album. I wanted it to be inspired by all the things I love and some of those things happen to be, retro, but I still wanted to make a modern record. I came in one day and Mike [Spencer] the producer had told me to sit down he was like the song’s not on rails. There’s nothing railing it everything’s just floating all over the place. So he put in the sawtooth synth part and then it suddenly made sense and I was like, oh my god this is it. So yeah, it kind of came about from Mike.”

How to introduce a song is a tricky decision because it’s those few seconds at the beginning of a song that captures the listener’s imagination. Aplin creates a unique and refreshing intro to ‘Call Me’ through the use of droning synths that chop and drag before the softer elements of the song are introduced.

“ I did imagine it as this pretty piano intro and Mike just came up with that. It sounded so gnarly when I first heard it because the rest of it was just piano and strings and whatever. When that happened, it suddenly made more sense. But yeah, it kind of scared me because the song was so delicate before that synth came in. I respect that feeling when I get it because it’s usually a good one you know?”

Aplin has proven herself as a diverse artist who isn’t defined by a genre and ‘Call Me’ showcases this superbly. Within the track, cinematic pop elements blend with warm country tones on guitar, indie embellishments, synths and almost gospel choir vibes in the backing vocals. The track is simply a musical delight to listener’s ears.

“ I didn’t want to adhere to a trend that was happening now because I wanted it to feel timeless. So we had our pillars and one of them was that it had to be very human and have loads of real musicians. Everything had to have a space so any kind of non-acoustic instrument, any of the synths and whatever all had to have a space so we weren’t plugging them into the computer. My producer Mike had a Fairchild machine built so everything can pass through all these valves and pass through air and the same with the synth on ‘Call Me’, he went and found some man on eBay who had a certain speaker that we could run it through in a hall. It was just so important that everything had space, was human and true [and] organic. We didn’t really listen to anything trying to steer us any way. We genuinely made it as if we were artists not trying to make anything for anything other than to create something good.”

It’s an honest track with clear and emotional lyrics and Aplin explained to me how the lyrics developed.

“Most of it was like a stream of consciousness and then I flesh it out. The idea was there you know,  I don’t really know what I’m writing about. I just, like you say stream of consciousness, kind of blurting stuff out and record it. Any that stand out to me, I’ll finish them and with that one [Call Me] it just felt like I had to do that one. But it’s like filling in the gaps when I work out what the song is, then I can finish it, you know? And for me, it was that feeling that I had where I was quite isolated in the second lockdown and was just writing because I had nothing else to do. That’s where I was like, Oh God, now that I’m sitting here and I can’t go out and I literally can’t do anything and I can’t see anyone I wish I didn’t bail on all those times I could have had human interaction. It was a longing for human connection, I guess.”

“I think most of my favourite songs come from little streams of consciousness. I just sit there and start singing any random stuff, sometimes a chord pattern or you know, something I’m playing might spark a melody and I might just do a little scatter of something. Then that scatter, I might listen to it back and it might sound like a certain word. So then I start with that word and you know, it will stem from there. I literally am just going somewhere meditative when I’m doing it and, I pick out the bits that stand out to me.”

‘Call Me’ marks a new era in Aplin’s career, one which has seen her hit a massive landmark of one billion streams.

“Yeah, I feel so lucky and as an independent artist, it’s just really nice to know that people care. Yeah, it’s mad.”

“It’s nice to know that artists can own their work and still have a career and not feel they have to sign their masters away. Apart from that, for me, it was also really important to work with a team who really cared and were really enthusiastic about what I wanted to create and what I wanted to achieve. So keeping it close to me, and just having people come into our team that want to work on it is really nice. It also means we’re not tied to anything”

Aplin’s last release ‘Dear Happy’ was released independently on her own label, Fade Records, in January 2020 and ‘Call Me’ follows in its footsteps. We discussed how the freedom of releasing music on her own label gave the singer-songwriter more confidence in her work to do what felt right for her.

“Absolutely. This is the most confident I’ve actually ever felt as an artist. I’ve been left to just become who I am and make what I make where I’m at now. No one wanted to hear it until it was finished and when it is done, you know, I will go into people in the label and I will tell them all my ideas and they don’t want to start working on anything until they’ve got my ideas because they want it to be based on everything that I’m creating. Everything has to be real, and they really care about making sure that artists are looked after and treated like artists. It’s really nice to be working with a really supportive group of people. It definitely helps to be left [to] yourself to make something because that’s what your job is essentially. I’m here to create something, just leave me to it and I’ll come back [with] something. I think it does show when artists are nurtured in that way they create really good work.”

A striking and instantly recognisable aspect of Aplin as an artist is her effortless vocals and sweet emotive vocal tone. Within ‘Call Me’ we see Aplin command an eloquent vocal delivery that exudes passion and charm over a bittersweet melody.

“Even now, I get really nervous performing. I find it quite daunting, but in a studio, I’m much more confident maybe it’s because I feel a bit more free and more private. I haven’t always been confident. I really have to gear myself up, especially when I’m performing in front of people. I have to really get pumped up. I find it really scary. I do enjoy it though, once I get going.”

In March Aplin finally got to finish her ‘Dear Happy’ tour that initially started in March 2020. Aplin told me how surreal it was to sing the songs from the album as they were no longer new to her.

“It was so bizarre. But it was amazing though. So much time [has] passed since. I had different people on the road with me and that was weird, but then also at the same time we just stepped back into it like there was no time at all gone. It was bizarre, but it was amazing to finish it. It’s just mad though because when I started that tour, that setlist you know, those songs were brand new and when I finished the tour, I’d made a whole new body of work and I was playing ‘Call Me’ at the shows. I did that to honour who I am now because I felt, [people] myself included, are not the same people they were a few years ago. It’s been a mad few years so I really wanted to honour those things with those shows but yeah, it’s amazing to have it done.”

‘Call Me’ is a teaser for a new collection of work to come. I wondered how soon fans could experience the artist’s music in a live setting. Aplin explained the pandemic gave her time to re-evaluate the tiring manner in which gigging used to be approached by artists.

“Definitely yeah, I’ve made a body of work. I made a load of songs and they were all part of one project. I think it’s really exciting how there are so many ways in which artists can release music now. So I really like the idea of coming up with a cool way of releasing it but I don’t know if it’s an album or not. But there’s a collection of songs that will come out together at some point. I just don’t know in what format”

“ I’m really excited to play new songs but I haven’t got any festivals planned this year. I’m looking forward to going to shows as well and I’m going to a few festivals and stuff.”

“With touring I always found this is not normal…a lot of stuff was just not sustainable. For me, I’m much happier when I have a very solid routine. Everything’s planned well in advance, having nice people around you and looking after yourself. My whole band and crew you know, want to be comfortable and happy and not you know, ruin themselves over something that should be fun and should bring joy to people. We shouldn’t be feeling awful about ourselves after doing something like that. So, yeah, it’s more important for us to take care of ourselves and not overdo it now.”

Before we ended the interview Aplin bestowed some solid advice for any budding artist looking to start a career in music

“I would advise [you] to just do whatever [you] want and make the most of all the resources that are available to you to get your music out there. There are so many, try them all and use the one that sticks or what works for you. Also, I think it’s really important to read up on music law, rights, ownerships, and publishing royalties, and make yourself really familiar with all of those things so you don’t get messed over.”

Gabrielle Aplin is a passionate and dedicated songwriter who clearly pours all she has into her art and the result is compelling, emotive music that is a delight to listen to. Her dedication to creating sincere first-rate quality songs makes her a timeless songwriter and a musical treasure to cherish. ‘Call Me’ is a glorious addition to her sparkling repertoire.

Stream ‘Call Me’ below 


Author: Danu

A Chat With, Indie, Interviews, New Music, Singer/Songwriter

A Chat With: Brian Corbett

Brian Corbett has released his new single ‘Wonder’. I spoke to Corbett about the new single, his return to Ireland after moving to Toronto five years ago and working with Pa Sheehy on a new collection of songs.

‘Wonder’ discusses Corbett’s teenage years as he reminisces on lacking the bravery to tell a close friend that he wanted to be more. Corbett uses beautiful lyrics to take the listener on this nostalgic journey.

“So a couple of months ago I went to Dingle in Kerry. I met up with Pa Sheehy and I was nervous going down because he’s a well-known artist. We talked and he’s like, what would you like to write about? So I told him about the story, about my friend, how I felt. Four hours later we came up with the song. I think it was the adrenaline from meeting him and being nervous it helped me for some strange reason with the writing. Yeah, four hours later, ‘Wonder’ was born.”

“I was like, should I say it? Should I not? [ to Pa Sheehy] Is it too soon?, but then you know what something beautiful could be made here so why hold back and just be honest and put everything on the plate.”

There is a warm twinkling guitar melody that exudes a folk tone and reinforces the nostalgic theme within the song. 

“Pa had a guitar riff that he actually made while we were on our way down there. Just an acoustic, he just looped it and I just fell in love with it straightaway. That’s when the inspiration just straight away clicked. It was just so easy to play off it.”

The song is sonically impressive and boasts deft production and dreamy tones with an intricate pulsing rhythm anchoring the listener in the track’s ethereal soundscapes.

“ We had the guitar sound and we wrote alongside the guitar sound. Then eventually, we left it simmer for a while for a few weeks and then Pa started messing around with these beautiful dreamy sounds that just came into it perfectly and just fitted with the song. I think that’s the feedback we’re getting off the song too. It’s a summer vibe song, it’s a sad song but a happy song at the same time.”

Brian Corbett’s music oozes wonderful folk elements with a contemporary twist. We spoke about how he crafted his style and sound.

“ I think it’s just the way I sing. From a very young age, I was surrounded by folk music, especially Irish folk music, and I was reared in the countryside. So I had that country twang, more or less and I just brought it into my music and gradually developed it over a few years. It goes pretty well with the music that we are making at the moment.”

Corbett moved across the Atlantic five years ago to live in Toronto and found himself in a music scene he had never experienced before. Through rubbing shoulders with a variety of artists and writers Corbett gained a new insight into his music and writing.

“To be honest, I started taking it seriously. I didn’t really believe. I knew I could sing. I knew I could play the guitar. I started going to open mics and stuff like that, just to go to them to listen and have a beer or whatever and then I started making friends and rubbing shoulders with some really amazing musicians. That’s when I started to write and develop my writing. I wasn’t great at the start, but it’s like turning on the tap and getting the dirty water out first, eventually the clean water comes through. So it really helped me, the city life, and just being surrounded by different musicians and different cultures and stuff. It really had a golden plus for me.”

After five years away from home Corbett grew tired of city life and moved home to Connemara and is living in a remote cabin with artistic friends writing music. I wondered if the nostalgia of being back in Ireland is giving Corbett material to write.

“It has yeah, it’s like past situations you’ve been in and moments of sadness, moments of happiness, but it really helped me. It’s really nice to be back. It’s like writing a book, you need to sit down and your like, Alright, what do I write about? How do I feel and when did that happen? When did this happen? So it’s good to be home, it’s good to be on the Irish soil again. But, hopefully, this music takes me out there again.”

“I live in a little house in Connemara. Some of my friends are musicians and I bring them down for the day or two. I have a little studio here in the house and we just chill, we eat, we talk, we make music, we eat more and then we make more music and then it just develops from there. It’s a really nice humbling situation.”

“I live in Clifden in Connemara, it’s just magic. It’s surrounded by water, surrounded by greenery and surrounded by mountains and it’s just inspirational. So being in Toronto in the busy city for nearly five years, six years it was nice to come home. Once I came home I was like this is so nice to be just able to think again and just like relax.”

Corbett has some exciting plans for the rest of the year with new releases and an upcoming EP.

“It’s the first song off the EP, that me and Pa are putting together at the moment. So we have a few more songs down. It’s hard to just put a full stop on it. I was like should we not make another one. It’s easy to make it into an album. But I want to make an EP first and then we can talk about albums. In the next few months, we’ll have another song that we’re ready to put in the oven.”

Brian Corbett is a compelling artist who has the ability to create passionate songs filled with rich instrumentation. He is developing his sound beautifully and displaying a talent for creating cinematic musicianship and emotive lyrics – ‘Wonder’ is a sublime example of this. 

Watch the video for ‘Wonder’ below 


Author: Danu