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BEGIN:VEVENT
DTSTART;TZID=UTC:20260703T200000
DTEND;TZID=UTC:20260703T200000
DTSTAMP:20260624T091848
CREATED:20260423T175350Z
LAST-MODIFIED:20260603T111620Z
UID:10000219-1783108800-1783108800@foggynotions.ie
SUMMARY:GOLDBUG
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/goldbug-bello-bar-july-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/04/Goldbug-S-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260704T200000
DTEND;TZID=UTC:20260704T223000
DTSTAMP:20260624T091848
CREATED:20260407T144804Z
LAST-MODIFIED:20260410T140614Z
UID:10000212-1783195200-1783204200@foggynotions.ie
SUMMARY:THAIBOY DIGITAL
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/thaiboy-digital-dublin-july-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/04/THAIBOY-DIGITAL-Website-OPIUM.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260709T200000
DTEND;TZID=UTC:20260709T230000
DTSTAMP:20260624T091848
CREATED:20260218T145434Z
LAST-MODIFIED:20260310T164119Z
UID:10000188-1783627200-1783638000@foggynotions.ie
SUMMARY:DEAD PIONEERS
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/dead-pioneers-dublin-july-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/02/Dead-Pioneers-Website-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260710T200000
DTEND;TZID=UTC:20260710T230000
DTSTAMP:20260624T091848
CREATED:20260413T084632Z
LAST-MODIFIED:20260413T154711Z
UID:10000216-1783713600-1783724400@foggynotions.ie
SUMMARY:PANSY DIVISION
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/pansy-division-dublin-july-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/04/Pansy-Division-Instagram-Post-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260711T200000
DTEND;TZID=UTC:20260711T230000
DTSTAMP:20260624T091848
CREATED:20260512T145143Z
LAST-MODIFIED:20260513T085555Z
UID:10000224-1783800000-1783810800@foggynotions.ie
SUMMARY:GOODTIME JOHN
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/goodtime-john-bello-bar-july-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/05/GTJ_BELLOBAR.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260714T190000
DTEND;TZID=UTC:20260714T223000
DTSTAMP:20260624T091848
CREATED:20251215T170540Z
LAST-MODIFIED:20251215T171559Z
UID:10000150-1784055600-1784068200@foggynotions.ie
SUMMARY:PATTI SMITH
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/patti-smith-limerick-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/12/PattiSmith_insta_1080x1350-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260722T193000
DTEND;TZID=UTC:20260722T230000
DTSTAMP:20260624T091848
CREATED:20260202T084252Z
LAST-MODIFIED:20260303T103628Z
UID:10000177-1784748600-1784761200@foggynotions.ie
SUMMARY:THE BETA BAND
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/the-beta-band-vicar-street-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/02/THE-BETA-BAND-website-SO-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260725T200000
DTEND;TZID=UTC:20260725T230000
DTSTAMP:20260624T091848
CREATED:20260127T085106Z
LAST-MODIFIED:20260623T121143Z
UID:10000174-1785009600-1785020400@foggynotions.ie
SUMMARY:AGNES OBEL
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/agnes-obel-dublin-july-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/01/AGNES-OBEL-Instagram-Post-S-SO-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260819T193000
DTEND;TZID=UTC:20260819T230000
DTSTAMP:20260624T091848
CREATED:20260210T091922Z
LAST-MODIFIED:20260608T120100Z
UID:10000181-1787167800-1787180400@foggynotions.ie
SUMMARY:CHAT PILE
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/chat-pile-button-factory-dublin-19-aug-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/02/CHAT-PILE-2ND-Night-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260820T193000
DTEND;TZID=UTC:20260820T230000
DTSTAMP:20260624T091848
CREATED:20260213T091957Z
LAST-MODIFIED:20260608T121308Z
UID:10000186-1787254200-1787266800@foggynotions.ie
SUMMARY:CHAT PILE
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/chat-pile-button-factory-dublin-20-aug-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/02/CHAT-PILE-2ND-Night-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260824T200000
DTEND;TZID=UTC:20260824T230000
DTSTAMP:20260624T091848
CREATED:20260212T165007Z
LAST-MODIFIED:20260621T133237Z
UID:10000185-1787601600-1787612400@foggynotions.ie
SUMMARY:PROSTITUTE
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/prostitute-dublin-august-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/02/Prostitute-WC-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260826T200000
DTEND;TZID=UTC:20260826T223000
DTSTAMP:20260624T091848
CREATED:20260408T085239Z
LAST-MODIFIED:20260527T131750Z
UID:10000214-1787774400-1787783400@foggynotions.ie
SUMMARY:THE TALLEST MAN ON EARTH
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/the-tallest-man-on-earth-national-concert-hall-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/04/Tallest-Man-On-Earth-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260826T200000
DTEND;TZID=UTC:20260826T230000
DTSTAMP:20260624T091848
CREATED:20260310T165717Z
LAST-MODIFIED:20260310T174835Z
UID:10000198-1787774400-1787785200@foggynotions.ie
SUMMARY:EARL SWEATSHIRT & MIKE
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/earl-sweatshirt-mike-vicar-street-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/03/EARL-MIKE-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260830T200000
DTEND;TZID=UTC:20260830T230000
DTSTAMP:20260624T091848
CREATED:20260525T180320Z
LAST-MODIFIED:20260621T134415Z
UID:10000233-1788120000-1788130800@foggynotions.ie
SUMMARY:WAY DYNAMIC
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/way-dynamic-dublin-august-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/05/Way-Dynamic-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260831T193000
DTEND;TZID=UTC:20260831T223000
DTSTAMP:20260624T091848
CREATED:20251028T100000Z
LAST-MODIFIED:20251113T090733Z
UID:10000109-1788204600-1788215400@foggynotions.ie
SUMMARY:MAC DEMARCO
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/mac-demarco-ulster-hall-belfast-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/MAC-DEMARCO-Website-Belfast.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260905T200000
DTEND;TZID=UTC:20260905T223000
DTSTAMP:20260624T091848
CREATED:20260618T083242Z
LAST-MODIFIED:20260618T083824Z
UID:10000251-1788638400-1788647400@foggynotions.ie
SUMMARY:HANA STRETTON
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/hana-stretton-unitarian-church-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/06/Hana-Stretton-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260909T200000
DTEND;TZID=UTC:20260909T223000
DTSTAMP:20260624T091848
CREATED:20260422T085236Z
LAST-MODIFIED:20260509T142252Z
UID:10000218-1788984000-1788993000@foggynotions.ie
SUMMARY:DÚN LAOGHAIRE FOLK FESTIVAL
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/dun-laoghaire-folk-festival-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/05/format-1080x1080-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260914T190000
DTEND;TZID=UTC:20260914T230000
DTSTAMP:20260624T091848
CREATED:20260407T134956Z
LAST-MODIFIED:20260407T144058Z
UID:10000211-1789412400-1789426800@foggynotions.ie
SUMMARY:KURT VILE & THE VIOLATORS
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/kurt-vile-the-violators-vicar-street-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/04/Kurt-Vile-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260915T200000
DTEND;TZID=UTC:20260915T230000
DTSTAMP:20260624T091848
CREATED:20260526T200225Z
LAST-MODIFIED:20260527T083045Z
UID:10000237-1789502400-1789513200@foggynotions.ie
SUMMARY:RYAN DAVIS & THE ROADHOUSE BAND
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/ryan-davis-the-roadhouse-band-dublin-september-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/05/Ryan-Davis-website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260919T193000
DTEND;TZID=UTC:20260919T223000
DTSTAMP:20260624T091848
CREATED:20260115T085509Z
LAST-MODIFIED:20260413T150213Z
UID:10000169-1789846200-1789857000@foggynotions.ie
SUMMARY:HOLY FUCK
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/holy-fuck-button-factory-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/01/Cen-Holy-Fuck-Website-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260919T200000
DTEND;TZID=UTC:20260919T230000
DTSTAMP:20260624T091848
CREATED:20260501T095454Z
LAST-MODIFIED:20260501T095912Z
UID:10000222-1789848000-1789858800@foggynotions.ie
SUMMARY:DEAD BOB
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/dead-bob-workmans-club-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/05/DEAD-BOB-Instagram-Post-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260925T200000
DTEND;TZID=UTC:20260925T230000
DTSTAMP:20260624T091848
CREATED:20260204T184846Z
LAST-MODIFIED:20260205T140431Z
UID:10000178-1790366400-1790377200@foggynotions.ie
SUMMARY:WILLIAM TYLER
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/william-tyler-bello-bar-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/02/William-Tyler-Website-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260930T200000
DTEND;TZID=UTC:20260930T230000
DTSTAMP:20260624T091848
CREATED:20251015T212428Z
LAST-MODIFIED:20260323T162433Z
UID:10000087-1790798400-1790809200@foggynotions.ie
SUMMARY:LUTE
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/lute-grand-social-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/LUTE-SEPT-Instagram-Post-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261003T200000
DTEND;TZID=UTC:20261003T223000
DTSTAMP:20260624T091848
CREATED:20260112T125243Z
LAST-MODIFIED:20260112T180859Z
UID:10000166-1791057600-1791066600@foggynotions.ie
SUMMARY:ÓLAFUR ARNALDS - FALLING APART TOGETHER
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/olafur-arnalds-falling-apart-together/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/01/OLAFUR-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261004T150000
DTEND;TZID=UTC:20261004T173000
DTSTAMP:20260624T091848
CREATED:20260212T094535Z
LAST-MODIFIED:20260212T095007Z
UID:10000183-1791126000-1791135000@foggynotions.ie
SUMMARY:ÓLAFUR ARNALDS
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/olafur-arnalds-falling-apart-together-sunday-matinee/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/02/OLAFUR-Instagram-Post-MATINEE-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261012T200000
DTEND;TZID=UTC:20261012T230000
DTSTAMP:20260624T091848
CREATED:20260519T202801Z
LAST-MODIFIED:20260522T085331Z
UID:10000230-1791835200-1791846000@foggynotions.ie
SUMMARY:ARAB STRAP
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/arab-strap-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/05/ARAB-STRAP-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261014T193000
DTEND;TZID=UTC:20261014T230000
DTSTAMP:20260624T091848
CREATED:20251126T083951Z
LAST-MODIFIED:20251126T084604Z
UID:10000134-1792006200-1792018800@foggynotions.ie
SUMMARY:MERCURY REV
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/mercury-rev-vicar-street-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/11/MERCURY-REV-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261018T193000
DTEND;TZID=UTC:20261018T230000
DTSTAMP:20260624T091848
CREATED:20251117T100004Z
LAST-MODIFIED:20260521T171131Z
UID:10000128-1792351800-1792364400@foggynotions.ie
SUMMARY:THE MOUNTAIN GOATS
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/the-mountain-goats-vicar-street-october-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/11/TMG-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261020T193000
DTEND;TZID=UTC:20261020T230000
DTSTAMP:20260624T091848
CREATED:20251202T100021Z
LAST-MODIFIED:20251204T110718Z
UID:10000138-1792524600-1792537200@foggynotions.ie
SUMMARY:AUTECHRE
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/autechre-vicar-street-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/12/autechre-Instagram-Post-1-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261030T200000
DTEND;TZID=UTC:20261030T230000
DTSTAMP:20260624T091848
CREATED:20260609T193227Z
LAST-MODIFIED:20260610T152058Z
UID:10000249-1793390400-1793401200@foggynotions.ie
SUMMARY:NICK HAKIM
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\n@\nWORKMAN'S CLUB\n16TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n		\n		\n	\n		Tickets will be available on June 26\, 2026	\n\n\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 26th June at 10:00. As part of the inaugural MODERN LOVERS\, a new music programme curated by Foggy Notions across multiple venues in Dublin City from Nov 8th to 16th @ (4AD Records) will play their biggest Irish show to date at The Workman’s Club on Monday 16th November.@ – Autosmile16 October 2026 | 4AD 0910Songwriters Victoria Rose and Stone Filipczak have a pact\, a devotion to each other and to the music of @. In their solo existence\, Victoria works as a beekeeper and Stone as a self-taught computer programmer\, but when they get together\, they become a singular\, avant-garde song force. The East Coast house-show circuit first brought them into each other’s orbit. Both Victoria and Stone are long time participants in the D.I.Y. music world\, with their own separate histories in basement noise shows\, warehouses and all ages spaces (Victoria has several records under the name Brittle Brian\, and Stone has most recently gone by the pseudonym E.R. Visit). Over time\, the two began collaborating long distance\, and soon developed the @ formula – half Victoria songs\, half Stone songs\, with each filling in the cracks of the other’s compositions. On their new album Autosmile\, the band’s first with the legendary indie label 4AD\, @ have harnessed their unique process to reimagine the psychedelic folk tradition as an undeniably contemporary art form. @ are a coalition\, a team\, a two-headed cat\, and their collaboration has led them\, once again\, to fascinating and timeless results.The mysterious channels of the internet brought the songs of @’s first album\, Mind Palace Music\, into the lives of a much larger audience than Victoria and Stone had ever encountered. The album’s organic success story is miraculous considering the aggressively un-searchable nature of their deliberately obtuse moniker. Before their debut album\, @ had never played live or even sung a harmony together in person. The collaborations were entirely distanced. In the years that followed\, @ figured out how to have a band practice\, how to perform this music for audiences of all sizes\, how to sing together in shared air\, and how to make each other laugh on stage with absurdist guitar-god solos. The process of becoming a formidable live band was highly influential on the way they decided to approach arranging Autosmile\, opting for more reproducible experiments and relying far less on digital production flourishes than in the past.During the making of Autosmile\, Stone relocated to Philadelphia and the duo had the benefit of finally living in the same city. However\, the band still chose to work on their songs individually; as the adage goes: If it ain’t broke… Instead of booking out studio time\, they hired close friends to guest on the album\, adding cello\, violin\, and live drums to their already expansive arsenal of instruments. Victoria recorded her parts\, as always\, on a cheap 80’s microphone inherited from their step-mom’s old polka competition days. In lieu of a mic stand\, she regularly props it up in a coffee mug\, recording from her couch. Stone’s preferred setup is also remarkably low tech\, yet the resulting sounds of their home-wizardry somehow remain lush\, complex\, and occasionally quite hi-fi.Both Victoria and Stone are incisive\, classic songwriters\, and their occasionally-baroque arrangements and production touches give the songs a rough-hewn yet virtuosic quality. This inventiveness\, applied to songs that hold up against classic psych folk records\, sets @ apart\, somehow looking backwards and forwards all at once. Album opener “Bird” begins with an eerie\, chromatic trance of acoustic guitar & cinematic flutes that spins out into an uplifting pop chorus before crashing back into its introspective verse. There is a consistent darkness to the moods of Autosmile\, but @ is also an inherently playful enterprise\, unexpected prog flourishes lurking behind incisive indie rock song craft. Victoria explains\, “Neither of us is afraid of being over the top musically…. being unafraid of getting dramatic or comedic lends itself to really emotional moments.”On the epic\, near 7-minute title track “Autosmile”\, Victoria poeticizes a mysterious breakup into questions of demonology\, no stone left unturned as the duo quests towards respective and mutual resolution. Whatever private matters are examined\, mystery is key—Victoria and Stone don’t tell each other what their songs are about. @ believes “if we are writing a song that can apply to many aspects of our own lives\, then it makes it more relatable to the listener’s life.” In keeping\, the lyrics throughout the album bounce between adversity and possibility\, exploring the inner and outer worlds with curiosity and prismatic awe. The nostalgic earworm “I Know You Are (But What Am I Thinking)” seems to laugh at the beauty of change and decay. This ability to twist a negative impulse into something beautiful also gleams on the standout “Punish My Mind”\, an expertly arranged song complete with dense harmonies and intricate chord progressions over which @ sing about the twin instincts to punish and comfort oneself\, eventually envisioning a pristine state of pure acceptance.Across Autosmile\, Victoria and Stone carefully balance beauty and pain while remaining one of the most musically adventurous duos operating today. These eleven songs nimbly shift between black hole heaviness and patient understanding\, never abandoning a sense of wonder. In the face of darkness\, miraculously\, perhaps impishly\, an Autosmile forms. 								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:http://foggynotions.ie/concerts/nick-hakim-dublin-october-2026/
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