• Privacy, Freedom, Bliss and Breadth: An Interview with Hilary Woods

    Dublin native Hilary Woods found herself thrust into the public eye while still just a teenager, playing bass in the commercially successful alternative trio JJ72. Her tenure with the band saw her tour the world, grace the covers of music magazines and even appear on Top of the Pops. After two albums though Woods parted ways with her bandmates, ready to follow her own creative voice. The road to launching herself as a solo artist may have been a winding one but since 2013 fans have been treated to three darkly dreamlike releases showcasing Woods’ delicate voice and deft song…

  • Pragmatic Endeavour: An Interview with Ben Folds

    Ahead of his sold-out Belfast show at the Cathedral Quarter Arts Festival and Dublin’s Vicar Street – musician, photographer, talent-show judge, music therapy advocate, and soon-to-be author Ben Folds speaks to Jonny Currie about managing song requests, making the case for arts funding, and balancing artistic instincts without becoming a snob. You’ve performed in Dublin a number of times, but this is your first visit to Belfast. Is there anywhere else in the world you’d still like to play? That’s a big one. I just recently played New Zealand. I’ve played Australia over and over again but just never got to…

  • Bringing It All Back Home: An Interview with Our Back Yard Festival

    This time last year, we spoke to organisers of Our Back Yard, one of the country’s most inspired small, homegrown festivals. Ahead of returning to Gilford on June 30 with acts including Hunkpapa, Petty Youth and Beauty Sleep, we catch up with organisers to discuss the past, present and bright future of the festival. Hi guys. Featuring the likes of Bonnevilles and Emerald Armada, reports from last year’s Our Back Yard were very positive. How was it compared to previous years? Our Back Yard 2017 was a watershed event for us. Whereas previous years had a distinctly lo-fi, amateurish vibe,…

  • Political Partying: An Interview with Room For Rebellion

    Ahead of its next takeover in London, Belfast and Dublin on March 23, we talk awareness, action and momentum with Jess Brien, Anna Cafolla, Isis O’Regan, Hollie Boston and Cait Fahey of Room For Rebellion, a “political party” who host synchronised events in aid of Abortion Support Network. Go here to buy tickets for Room for Rebellion Hi guys. Take us back to the roots of Room for Rebellion. When and how did it come about? Room For Rebellion was first set up by Isis who felt implored to do something about the state of women’s healthcare in Ireland. Anna and…

  • In Their Hands: A Conversation with Wyvern Lingo

    Bray’s Wyvern Lingo chat to Nicole Glennon about being women in the Irish music industry,their camaraderie, activism and plans for the future. What does it mean to each of you to be a woman in 2018? Caoi: It’s socially more acceptable as a woman to dress in a garish fashion..? I don’t think about being a woman. The day our album was released, we were loading the van after our sold out gig in the Button Factory in Temple Bar, and some random prick walking past smacked my ass. When I ran after him, punched him in the back and screamed at…

  • Southern Hospitality: A Conversation With Aisling O’Riordan

    Aisling O’Riordan is a musician, booker, promoter, radio host and is about to add tour manager for Brigid Mae Power to her already exceedingly impressive CV. Amidst all of these roles, Aisling also co-founded the Southern Hospitality Board and the revered annual Quarter Block Party festival which hosts a variety of music, spoken word and theatre throughout Cork city. A vital figure in the Irish music industry, O’Riordan spoke to Zara Hedderman about her beginnings, experiences and the importance of women encouraging each other within the business. Photo by Brid O’Donovan. What was your introduction to the music industry and…

  • Those Who Can, Do (and Teach): A Brief Herstory of Girls Rock School Northern Ireland

    Established in March 2016, Girls Rock School Northern Ireland offers workshops and mentoring in electric guitar, bass, drums and vocals to women and girls of all ages. Taking inspiration and mentorship from it’s sister school Girls Rock School Edinburgh, it was the very first collective of its kind in the whole of Ireland. Since then, there is now also Girls Rock Dublin; just as Girls Rock camps and schools have been popping up across the world since the very first camp was held in Portland in 2001. GRSNI welcomes participants who self-identify as female, trans and/or gender non-conforming; they are…

  • Phil Kieran on Soundtracking EdgeFest: East Belfast Boy

    We grab a few words with Belfast DJ, producer and jack of all trades Phil Kieran about his experience soundtracking East Belfast Boy – an EdgeFest production currently on at Belfast’s the MAC – his forthcoming EP, Polyrhythmic, and more. Hi Phil. You’ve written the music for East Belfast Boy as part of this year’s EdgeFest. How did the collaboration come about and what attracted you to the project? I was approached by Emma Jordan who is the director of the play, we have been friends for years. I mentioned to her last year I would love to have a go at…

  • Interview: All The Luck In The World

    Following the release of their second album, A Blind Arcade, on 23rd February, Ben Connolly of Berlin-based alt-folk trio All The Luck In The World chats to Nicole Glennon about contrasting studio spaces, sonic experimentation and the importance of originality. TTA: A Blind Arcade has just been released. How are you feeling about it? BC: Overall we’re really excited about it. We put a lot into this record and then had to sit on it for almost two years, so there’s a sense of relief in knowing that the songs are finally going to make their way to people. I would say that…

  • Explorations in É: An Interview with Dowry

    There is an ambient apposition at work through the debut single from Dowry, the solo moniker of multi-instrumentalist and composer Éna Brennan. In É unfolds with measured purpose, the instrumental track building gently in tension as it moves from a drone base through subtle orchestral counterpoints towards its dramatic, understated conclusion. Éna creates her sounds with violin and a loop pedal, inviting the listener to become entangled in the earthier low tones, and the ghostly high register notes that pull away from their mire like will-o’-the-wisps. It’s that same emotional evocation that we’ve encountered on Éna’s earlier compositions, and in…