After selling out their first run of shows for 2017, The Gloaming have announced three more shows for the National Concert Hall from March 6th to 8th next year. These seven shows will be their only Dublin shows next year.
The Gloaming have been announced to play at at twilight (otherwise known as gloaming) on the Friday of Body&Soul.
It will be the band’s first ever outdoor festival show in Ireland and I can’t think of a better place for the band to play than that main stage on the summer solstice weekend.
Festival director Avril Stanley said:
“We have long harboured an ambition to present The Gloaming at Body&Soul and we are thrilled that they will join us this Summer Solstice. Body&Soul’s June timing is aligned with the ancient Celtic Solstice tradition and The Gloaming’s stunning, virtuosic talent will be a fitting complement to this special time. Even more special for our audience is that their sets takes place during the actual gloaming; that spectacular time before dark when the sky is still illuminated though the sun has set.”
The Gloaming at Body & Soul outdoors will be only magic.
Body&Soul operates a 5 Tier Ticket system for Weekend Camping Tickets. Tiers 1-4 have now sold out. Tier 5 tickets are now go on sale. Tickets can be paid for in instalments – 50% payable on booking, 50% taken on June 1st.
General and *Family Weekend Tickets: Tier 5 €169.50 incl booking fee
Combined Weekend & Bus (return from Dublin) Tickets:
This weekend, and part of the next week, The Gloaming will take up a sold out five-night residency in the National Concert Hall in Dublin.
Arriving just in time for those performances, is album number two from an international band with an Irish heart, a trad band with a contemporary worldview.
Together, fiddlers Martin Hayes and Caoimhin Ó Raghallaigh, pianist Thomas Bartlett (Doveman), sean-nós singer Iarla Ó Lionáird and Chicago-born guitarist Dennis Cahill weave music that crosses genre boundaries between Irish trad, contemporary classical and ambient music.
Recorded in Real World Studios in December, The follow up to that Choice Music Prize-winningfirst album, this second album was recorded live in a short time period of five days (as was the first).
The pleasing aspect of album two is that snapshot feel. The dynamic between the musicians has strengthened resolving in a recording that is more confident in its purpose yet also content to not cover over the arrangements with too much distraction, allowing the rich emotion in the music to dominate.
The band have stated in the past that the recordings are often a starting point for what comes after – the live performances. The songs have found themselves stretched, elongated and changed from its origins. Album two finds these songs in a spacious setting.
When you have seasoned players who have such talent and put that to alchemic use, the songs are always in transition, living, morphing and being interpreted. The songs take the tradition (‘Repeal The Union’, ‘Slán le Máighe’, ‘Casadh an tSúígáin’) but go outside the boundaries in interpreting it.
Ó Lionáird’s vocals add grace and warmth, the fiddles emote to the heart, the piano and guitar support and nourish these songs. This is a five-way process, as heard on first single ‘Fainleoig’.
This is the sound of five great musicians playing to best of their abilities. The best part? The best versions of these tunes may be yet to come.
1. The Pilgrim’s Song 2. Fáinleog (Wanderer) 3. The Hare 4. Oisin’s Song 5. The Booley House 6. Repeal the Union 7. Casadh an tSúgáin 8. The Rolling Wave 9. Cucanandy 10. Mrs Dwyer 11. Slán le Máighe 12. The Old Favourite
The Gloaming’s second album, simply titled The Gloaming 2 will be released on February 26th on Real World Records.
The contemporary trad supergroup, fiddlers Martin Hayes and Caoimhin Ó Raghallaigh, sean-nós singer Iarla Ó Lionáird, pianist Thomas Bartlett (Doveman), and Chicago-born guitarist Dennis Cahill, reconvened in December to record the album and ‘Fáinleog (Wanderer)’, the album’s first sound exemplifies the band’s beatific rich music that crosses the border between Irish trad, contemporary classical and modern spatial textures.
It’s the followup to their Meteor Choice Music Prize winning debut.
Bartlett, with help from Glen Hansard covered David Bowie’s ‘Lazarus’ in tribute to the great man this week:
The Gloaming 2 – Tracklist
1. The Pilgrim’s Song 2. Fáinleog (Wanderer) 3. The Hare 4. Oisin’s Song 5. The Booley House 6. Repeal the Union 7. Casadh an tSúgáin 8. The Rolling Wave 9. Cucanandy 10. Mrs Dwyer 11. Slán le Máighe 12. The Old Favourite
ON TOUR in the United Kingdom/Ireland 2016 26 February London – Union Chapel SOLD OUT 27, 28 February; 1, 2 & 3 March 2016 – Dublin – The National Concert Hall SOLD OUT 21 September Bristol – Colston Hall 22 September London – Royal Festival Hall 23 September Manchester – Bridgewater Hall 24 September Edinburgh – Usher Hall 25 September Birmingham – Symphony Hall All shows on sale now
Sounds from a Safe Harbour is a new festival put together by Cork Opera House’s Mary Hickson with curated lineup by Bryce Dessner of The National taking place around the city of Cork from September 17th to 20th.
Billed as a festival of music, art and conversation, music will come from The Gloaming, Julianna Barwick, My Brightest Diamond, Sam Amidon, a collaboration between Lisa Hannigan and Aaron Dessner, New York So Percussion and Nadia Sirota, a bunch of Icelandic artist including composer Valgeir Sigurðsson, Amiina, Ragnar Kjartansson, Kjartan Sveinsson, Skúli Sverrisson and the record label Bedroom Community; This Is How We Fly; English organist James McVinnie, Donal Dineen, Crash Ensemble, Eat My Noise and more.
Wave Movements – a new composition by Bryce Dessner and Richard Reed Parry of Arcade Fire will be the focal point of Sounds from a Safe Harbour. It will be performed at Cork Opera House by the RTE National Symphony Orchestra and accompanied with film by the celebrated Japanese photographer Hiroshi Sugimoto.
Many of the events are inspired by the “harbour environs, themes of waves, water and movement.”
There will be screenings of Sigur Ros’ ‘Heima’ and The National’s ‘Mistaken for Strangers’ with conversations and a music trail to be announced. Cork Opera House, The Everyman Palace Theatre, UCC, Port of Cork, Triskel Christchurch, Firkin Crane, Crawford Art Gallery, Wandesford Quay Gallery and Sternview Gallery are some of the venues involved.
Tickets on sale from May 21 with more announcements in June.
“Sounds from a Safe Harbour has grown exponentially from my initial conversation with Mary Hickson into a huge, imaginative celebration and contextualisation of the initial idea alongside the port aspects of Cork,” says curator Bryce Dessner. “Rolling with the water, wave and sea themes, we decided to look to the river, the harbour and the port in making Sounds from a Safe Harbour. I’m especially looking forward to bringing ‘Wave Movements’ to Cork and performing it along with another composition of mine entitled ‘St. Carolyn by the Sea’, which myself and my brother Aaron will perform live the RTE National Symphony Orchestra.
“Collaboration is a huge part of my own practice and I enjoy very much exploring cross genre engagement. We have injected this energy into our festival and will be presenting music, art, film, conversation, dance and food across the weekend. The unifying factor being the music, this is the special glue that brings Sounds from a Safe Harbour home.”
Congrats to The Gloaming for winning the Choice Music Prize – Irish Album of The Year award last night. Their self-titled beautiful album is rich with true artistry which takes something traditional and makes it anew. A modern Irish classic and a deserved winner.
For winning, The Gloaming received a cheque for €10,000, a prize which has been provided by the Irish Music Rights Organisation (IMRO) and the Irish Recorded Music Association (IRMA) – as well as a specially-commissioned award.
RTE 2 Television will broadcast a one-hour highlights programme of the Meteor Choice Music Prize on Sunday March 8th at 10.50pm.
Listen to the magic they can make…
Also for a bonus video, watch Caoimhín Ó Raghallaigh and Martin Hayes teach Jeremy Irons how to play fiddle:
The first Nialler9 show of 2015 was broadcast last Thursday at 10pm on TXFM. The two hour show leaned forward and featured some of the best new music coming out in the first months of the new year: from All We Are to Emmy The Great; Laura Marling to Jape, Marina & The Diamonds to Lapsley, Dan Deacon to Panda Bear. HAve a listen below.
The Nialler9 TXFM show airs every Thursday night at 10pm for two hours. You can listen live on 105.2FM, online, the TXFM app or if you missed it, on the listen back function on the site, as per below. The show starts six minutes in,right after the news in each hour. Click the buttons to launch the TXFM site autoplaying links.
Tune back in Christmas Day and New Year’s Day at 10pm for my songs of the year specials.
For the ninth year, I’ve handed the mic over to you guys to see what Irish albums made you move or moved you. This year 92 individual albums voted for and if you want to see the top 50, it’s at the end. But here’s a focus on the top 25 Irish albums released in 2014 as voted for by Nialler9 readers.
If anything tickles your fancy, be sure to drop into one of the Tower Records in Dublin, on Dawson Street or Eason’s, O’Connell Street and support the artist by buying a copy, preferably on vinyl.
NYC-based robotic Dubliner’s second album on DFA Records
With artwork from fellow Dublin globe-travelling artist Maser, Marcus Lambkin’s second album for the influential label is thoroughly of the DFA cannon. Those drums often associated with the label are felt throughout: post-punk-style yet filtered through Lambkin’ productions.
For the most part, the songs rely on club textures and modes: filtering from synth-disco to rave to electro to house. Dance and pop tropes are reinforced by vocalists Nancy Whang, Jenr and particularly by Holly Backer on ‘Feels Like’. The title track featuring the comedian Reggie Watts doing his soulful warble thing to a house-piano beat is a highlight.
Fourth album from the rejuvenated Dublin indie rock band.
“Assured from start to finish, Delorentos can even offer a peon to their hometown (‘Dublin Love Song’) that doesn’t leave you curled up in a ball of embarrassment. Yes they’re not exactly swimming against the musical tide but that makes the results all the more impressive, that in a world full of guitar bands they can still leave their mark. Another potential hurdle cleared with few difficulties, there’s even the feeling that the real Delorentos story is only just starting.” Phil Udell – State.ie.
The Galway kid moves from fiddling around into EDM pop circles on his own.
From his first forays into fiddle-assisted electronica, Daithí O’Dronaí has really raised his own bar and his sights. The music on his debut album In Flight (Co-produced by rising talent Ian Ring of Young Wonder) was unlike any other Irish album made this year as it was unabashedly a pop record: albeit one with the underlying structure of house, pop, trad and electronic music
Granted Irish radio is less accepting of this type of music than the UK is which maybe explained why the album didn’t spawn a big hit but in tracks like ‘Case Closed’ with Cork singer Senita, ‘Chameleon Life’ with singer Raye and ‘Have To Go’ featuring soul singer Jesse Boykins III there are certifiable chart house-pop bangers. No-one else in Ireland is making that kind of crossover music right now. Time for some catchup.
Yes, the electronic music pioneer is from Limerick so his first record in 13 years has been claimed.
“We know now that the contents of Syro is just some of the material recorded in the intervening years in one of James’ many studios. The oldest track stretch back six or seven years, using a massive 138 pieces of musical equipment (all listed in spiral on the artwork).
What appears before it also echoes the heavier side of Druqks but repeated listens reveal new textures, new moods, new avenues explored by James. The trademark eeriness of melody and general cheeky humour is still evident throughout but the greatest part of a new Aphex Twin record is that is truly allows you to get lost in its puzzle, a completely different musical terrain even when there are expected imprints of ambient works, electro, acid, jungle and squiggly funk.
The 10 minute experience of ‘XMAS_EVET10 [thanaton3 mix]’ feels different every time with environmental listening experiences changing the focus and feel (headphones, outdoors, late-night) as all the best electronic music can do. Syro still offers much to explore, many repeat listens in.
And that is the key to why Aphex Twin is pored over so minutely, because he goes into such detail in his music. James’ intricate compositional skills remains his biggest asset. While his sounds have been copied over the years, his brain is still peerless.”
A brilliant grimey hip-hop collaborative album via Clare, Zimbabwe and Limerick..
“As they describe it, ‘a Zimbabwean Christian and an Irish pagan sit down with a pot of tea’ with the expressed interest of changing the game.
What God Knows, the founding member of the Random Acts Of Kindness collective and Ennis-born mynameisjOhn came up with (along with MuRli) is a game-changer in the way it drags Irish hip-hop into a fully-formed album/mixtape format with a confidence and skill that is unfamiliar in this country’s rap output.
MC God Knows is a fervent presence, an MC with command, as heard on the soulful clip of ‘Standard’, an easy album highlight. MynameisjOhn provides the horn-soul hip-hop backing but doesn’t rest there, the beats bang, the strings stab and God Knows goes double time to the beat slowing to let the soul sample breathe.
The versatility extends to MynameisjOhn too. ‘Throw The Spear’ reminds me of an MF Doom production – Dangerdoom era, meets Machinedrum. ‘Habbahuk’ is more plaintive, ‘Twentyfourseven’ is psychedelic funk and there are hints of a knowledge of electronic subgenres, even African dance on ‘African Shirts’.
Aspects of being an African boy growing up in Ireland seeps through the lyrics in details about being black in an Irish school. He’s Joined by MuRli and Guide on ‘Words Of Our Fathers’, a track which, in the short history of Irish-African rap would have never been made twenty years ago, and serves as an aural document of one small thing that multi-cultural Ireland has given us.”
The electro-rock band’s swansong leaves us stranded on a Mario Kart cloud.
“It’s facile to call the band math-rock or post-rock because there aren’t many of the standard tropes of those genres really left in the Adebisi Shank sound.
Post-rock used a traditional band set up to create something new with the same instruments but Adebisi strive for euphoria through a larger palette of sounds that they’ve incorporated from 80s music and video game soundtracks through vocoders, one of their dad’s saxophone playing, electro synths and Japanese pop culture. This Is The Third Album Of A Band Called Adebisi Shank is a whizz-bang of flag waving exuberance.”
The two teachers’ second album rocks out with brevity and lyrical craft.
“The first album from John Duignan and drummer Conall O’Breachain as We Cut Corners clocked in at 27 minutes but packed in more passion, melody and meaning than most manage at twice that length. That brevity is one of the band’s greatest assets, the delivery of short, sharp gut punching tracks that bow to the three-minute rule has become a trademark.
The band’s second album Think Nothing, recorded in Donegal with Villagers’ producer/guitarist Tommy McLaughlin is no different in that regard. Two years in the making no less but running at just 34 seconds extra, it wastes little of that duration. We Cut Corners are not a band made for indulgences.”
Martin Hayes’ trad supergroup create an album that breaks many moulds.
“Those self-imposed challenges over the years lead fiddle player Hayes to to form The Gloaming, a group featuring two other Irishmen: singer Iarla Ó Lionáird, Caoimhin Ó Raghallaigh, playing his hardanger fiddle (a special instrument of Norwegian origin with eight or nine strings rather than four) and two Americans, the guitarist and frequent Hayes collaborator Dennis Cahill and American pianist Thomas Bartlett.
The Gloaming does create new ideas in old ones, by gelling the different experiences of the players. “I don’t recognise the lines that the rest of this band sees,” Bartlett says in a documentary about the band. ‘They’re very happy to go outside of those boundaries, but the fact that I don’t even know the tradition helps make them disappear.’
The Gloaming achieves a spacious temporal glow. Its evocative arrangements let the tunes breathe between the players, using familiar language in what feels like fresh ways. It communicates with the outside world from Cork to Clare to Vermont to Chicago to Norway and beyond. It has a context in that wide open world and does something delicate with the weight of history that informs it.”
The Wicklow bluesy/rock singer was Spotify’s most viral artist of the year and defied expectation. My, how he’s grown.
“The Wicklow man’s debut album’s 13 songs reveal an assured lyricist, a powerful singer and dedicated blues guitarist that is a stern reminder, despite his growing ubiquity, of exactly why the dude is only going to get more visible.”
“Taken all together in album format, it’s the howl, the voice that keeps drawing you back. Hozier-Byrne proves he knows how to write a good song or 13, and he knows how to use his Bill Withers bellow to memorable effect. Hozier has the confidence where it matters – in the tunes. Everything else is already on the cards.”
The Dubliner transitions from the folk tag to something much more effervescent.
“Post Tropical is all about breaking away from conventions of McMorrow’s previous form. It is more nuanced and less traditional. Since appearing as a bearded man in a flannel shirt with a guitar, McMorrow has talked about how appearing as a bearded man in a flannel shirt with a guitar has pegged him as a folk artist. Certainly, much of Early In The Morning fit in with that pastoral idea of a folk musician, even going on song titles like ‘Follow You Down To The Red Oak Tree’ and ‘To The Woods!!!’ alone.
McMorrow revels in defying those tags here. Recorded largely by himself, possibly all of the instruments and all of the layered harmonies which are also his, in a studio on a pecan farm in Texas on the Mexico border, Post Tropical is all about keeping away from the obvious.
It’s worth stating again, that the album is the work of one talented man’s intense schedule in isolation. It’s a towering achievement in that case but even without knowing that fact, Post Tropical stands up as a less-immediate release to its predecessor. It’s an emphatically unconventional yet rewarding album and a considerable achievement for its creator.”
The pairing of music and visuals is something I’ve always enjoyed but the concept of a music video has obviously changed in the last ten years. There are of course, still concepts, themes, ideas, techniques and executions that lift a song into another realm but there’s also so much video content out there now, that there are plenty of live video and TV performances, vignettes, parodies, and short documentaries around music that did the same thing a music video is supposed to do: to put the artist in front of more people. Here are 20 of my favourite “music videos” of this year.
The world sadly lost the Chicago footwork DJ Rashad this year to drugs. His music existed in a discombobulating place alongside his partner Spinn. This fan-video for ‘She A Go’ used stock video footage of office life to do the same thing constructing a hyper-real experience in the process.
The singer Angel Olsen returned with Burn Your Fire For No Witness, her second album, which had a throwback rock feel. Suitably, the video feels like its beamed from another time via its filmic cinematography and Olsen’s movements specifically are inspired by choreographed studio performances from female pop stars of old, of which the director said “were always so wild and psychedelic and humorous from afar. The more you watch them, the more wooden and awkward the performances become. There is a certain loneliness captured. The song ‘Hi-Five’ seems to contain the same sort of duality.”
18. Ibeyi – ‘River’
Video by: Ed Morris
The recent introduction of the Chromecast to the home entertainment system has meant more space and time for music videos on a larger screen. After seeing these girls perform at Other Voices last week, I watched this video again, noticing how the French-Cuban twins are held down by male hands under water, how they hold their breath for long periods of time, the dead-eyed stare and the on-time lip syncing at the centre of all of this deceptively simple concept.
Dance music can be a perfect vehicle for a wide-open music video narrative and Simon Landrein lets his animation and imagination run wild on a stylistic train journey full of suggestion to match the chugging rough house track from the Irish producer.
The Dublin duo of Sean Cooley and Kevin A. Freeney, Clu, have always put their electronic music and visual work on a par and on ‘Mirrors’, they’ve nailed both. It’s a complementary collaboration that transcends a typical visual tacked on to music setup. The video directed by Freeney serves as a chassis for a potent mix of music (an amalgamation of bass / garage / post-dubstep) , visual (cinematic sumptuous imagery), interpretive dancing and colour that makes for an impressive display of art in total.
15. Katharine Phillippa – Live at TedX
Video by: TedXStormont
The Belfast-based musician performs two songs with the help of a loop station, a bow, a drum, a keyboard, a laptop and an author’s intensity that leaps through the screen.
With the upcoming Marriage Referendum in May next year, single-sex marriage will go to a public vote. It’s an incremental attempt at recognising the rights of the people in this country and should pass because who are you or are I to say to someone – “no, you’re love is not the same as mine” or “no, your love is not valid” or “no, your love isn’t something to be celebrated or recognised.”
In that context, ‘Glacier’, a song from the gentle giant John Grant who has battled with his identity and control and who has been made to feel bad for who he is, eloquently addresses those struggling with their sexual identity – “This pain, it is a glacier moving through you, carving out deep valleys and creating spectacular landscapes,” goes the chorus.
The video serves as a brief history lesson of the journey for that recognition of gay rights over the years juxtaposing chronological footage of the American gay rights movement, newspaper headlines, and pop culture to leave you with a stirring narrative of the journey so far. Here you can donate to the Marriage Equality campaign for 2015.
13. Vic Mensa – ‘Down On My Luck’
Video by: Ben Dickinson at Ghost Robot.
There’s a wrong decision at every turn. This video shows the possibilities.