Ganavya
2024-11-22 19:30 - 22:30 UTC
Irish Debut

Kelly Moran
2024-11-26 18:30 - 19:45
National Concert Hall Studio
Tuesday 26th November

6:30 pm

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Following a show-stopping performance at Haunted Dancehall in 2023 and at Pavilion Theatre Dun Laoghaire in April Kelly Moran returns to Dublin following the release of her outstanding new album Moves in the Field on Warp Records.

Over the past decade, New York-based composer and producer Kelly Moran has challenged the piano's traditional, classically-imposed school of thought with a more contemporary, experimental approach. An accomplished and highly sought-after composer, Moran has collaborated with artists the likes of Oneohtrix Point Never as part of his touring ensemble for 2018 album Age Of, as well as singer and composer FKA Twigs' live ensemble. Moran has also composed for classical musician Margaret Leng Tan and worked with other visionary contemporaries like Kelsey Lu and Yves Tumor. As a solo artist, Moran's critically acclaimed albums, Bloodroot and Ultraviolet, have explored a variety of extended piano techniques like John Cage-inspired prepared piano and exercises in improvisation. Her unique strand of experimental piano compositions, which conjure hypnotizing textures and dramatic compositional arcs, have been included on year-end lists across classical, avant-garde, and metal genres.

Moran's upcoming album Moves in the Field moves away from the prepared piano techniques which defined earlier works like 2017’s Bloodroot and instead exists in a sphere somewhat similar to her 2018 Warp debut Ultraviolet (in which the piano was used in a more experimental capacity), this time placing her instrument in a dimension more isolated and inward. Referring to a series of skating rudiments, the title Moves in the Field reflects the intense practice Moran put into becoming an even more masterful pianist when paired with an impossibly perfect technical partner: the Disklavier.

Moves in the Field is a series of duets for Moran and her Yamaha Disklavier–a technologically advanced version of a player piano. Able to perfectly replicate humanlike playing through intense fine-tuning and programmable dynamics, the Disklaviers used on Moves in the Field act as a foil to Moran's own striving for a balance of technical perfection and emotional expression in her performances and compositions. Moran augments her pianistic abilities by utilizing the Disklavier to write intricate piano parts that go beyond human capabilities. Alongside Moran’s real time playing on each track, listeners are treated to accompaniments by the Disklavier that feature inhumanly fast arpeggios, chords requiring more than ten fingers to play, and other motifs surpassing physical limits on the piano. Used in an experimental capacity, the Disklavier here explores the realm of the inhuman and impossible. A signed Yamaha artist, Moran's utilization of the stalwart brand's pianos is not new, having used a trans-acoustic piano on previous releases, but, armed with multiple Disklavier pianos, Moran is able to expand her piano experimentation to an even further degree.

Moran began working with the Disklavier in early 2020 when she was commissioned to compose a piano duet for herself and acclaimed composer Missy Mazzoli. Yamaha Music loaned Moran a Disklavier piano as a means to help aid in the compositional process so she could hear in real time what her duet would sound like without another pianist there to perform with her. Shortly after when the pandemic hit, Moran composed in isolation. During a time when she was unable to play music with other collaborators, the Disklavier became her beloved duet partner, removing the limits of physicality thanks to the instrument’s motorized existence. When paired with Moran's own, graceful performance, Moves in the Field's duality of the human and the inhuman presents the idea of perfection as something which is attainable through exertion and compositional obsession, but also within the Disklavier's automation and fine-tuning. Dancing around Moran's own performance, the Disklavier's extended range and beyond-human capabilities result in multi-layered and heavily orchestrated compositions. The depth of emotion and a human touch can be found within Moran’s performance which, even through specific and obsessive composition, is not captured by the Disklavier.

Moves in the Field is a product of execution, idealism, and careful production. Influenced by contemporary classical artists like Philip Glass, John Luther Adams, Olga Bell, Julia Wolfe, and David Lang, as well as alternative and electronic artists like Aleksi Perala, Telefon Tel Aviv, and Tori Amos, Moran and Moves in the Field exist at a precipice above two unlikely worlds. Utilizing classical minimalism's repetition and texture, but also the idea of modernized and synthesized "texture" found within electronic music, Moves in the Field's duality exists beyond the idea of humanity versus superhumanity and superimposes Classical Modernity upon an even more contemporary school of thought.

Mixed and recorded by Dan Bora, otherwise known as composer Philip Glass' sound engineer, Moves in the Field was given the same treatment as modern music's most notable names. Much like the perfection Moran strove to achieve on this record in both thematic and execution aspects, Bora's mix and recording prowess gives the world as close to a carbon copy of Moran's performance as humanly possible. Mastered by Telefon Tel Aviv's Joshua Eustis, one of Moran's favorite artists (who was discovered to be a fan of her music, as well), Moves in the Field proves itself to be Moran's boldest work, featuring an all-star staff and an equally impressive recording.

A departure from Moran's previous works, Moves in the Field portrays Kelly Moran in a compositional school all her own. Composed in an era of isolation and meditation on human and technical limitations, Moves in the Field presents itself as a personal, exuberant work of humanity versus the machine and technicality versus musicality, gliding between two worlds with elegance and a balanced mastery. Her second album for Warp Records, Moves in the Field will undoubtedly cement Kelly Moran as one of young modern music's greats.

“Composer Kelly Moran builds dazzling prismic collages of digital piano and homemade electroacoustic instrumentation.” - The Wire

“The avant-garde touches [Moran] employs may be inspired by John Cage, but her melodies are memorable, and original” - The New York Times

“Gorgeous swirls of percussive, prepared piano” - Rolling Stone - Artist You Need to Know

[embed]https://www.youtube.com/watch?v=Juj9d5_YK0o[/embed]

Ruthven
2024-11-30 20:00 - 23:00

ML Buch
2024-12-01 20:00 - 23:00

Soda Blonde
2024-12-07 19:30 - 23:00

Julia Holter
2024-12-10 19:30 - 23:00
Button Factory
Tuesday 10th December

7:30 pm

Special Guest Jasmine Wood

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Foggy Notions Presents Julia Holter live at The Button Factory on Tuesday 10th December. Tickets on sale now.

“My heart is loud,” Julia Holter sings on her sixth album Something in the Room She Moves, following an inner pulse. The Los Angeles songwriter’s past work has often explored memory and dreamlike future, but her latest album resides more in presence: “There’s a corporeal focus, inspired by the complexity and transformability of our bodies,” Holter says. Her production choices and arrangements form a continuum of fretless electric bass pitches in counterpoint with gliding vocal melodies, while glissing Yamaha CS-60 lines entwine warm winds and reeds. “I was trying to create a world that’s fluid-sounding, waterlike, evoking the body’s internal sound world,” Holter says of her flowing harmonic universe.

“What is delicious and what is omniscient?” she sings on “Spinning”, the album’s incantatory centerpiece. “What is the circular magic I’m visiting?” Or as Holter put it: “It’s about being in the passionate state of making something: being in that moment, and what is that moment?” She found it anew on Something in the Room She Moves, singing in somatic frequencies.

Julia Holter is a composer, performer, and recording artist based in Los Angeles. Her interest in sonic mysteries has led her to record in various settings--in her home, outside with a field recorder, and in recording studios—as well as to perform live, often with a focus on the voice and the space between language and babble. Holter’s music is multi-layered and texturally rich, often featuring an array of instruments played by an ensemble of creative musicians. She has amassed a body of work that explores melody within free song structures, atmosphere, and the impulses of the voice.

Julia released her latest album Aviary on Domino Records in 2018. Since the release of her previous albums Tragedy (2011) and Ekstasis (2012), Loud City Song (2013), and Have You In My Wilderness (2015), she has performed at venues and festivals throughout the world, including Europe, North & South America, Mexico, Asia and Australia. Julia was recently commissioned by the Chorus of Opera North to compose a score for the 1928 film The Passion of Joan of Arc, which she and the chorus performed to picture at the Barbican in 2022. She has also written music for the Los Angeles Philharmonic and scores for the TV show Pure (2019), the films Bleed for This (2016) and Never Rarely Sometimes Always (2020), and for the documentary on the singer Karen Dalton, In My Own Time (2020).

[embed]https://www.youtube.com/watch?v=lNuEV9PzQMA[/embed]

Beak >
2024-12-10 19:30 - 23:00
Button Factory
Thursday 12th December

7:30 pm

Sold Out

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Beak> surprise release their first album in six years, aptly titled >>>> out on all formats via Invada and Temporary Residence Ltd today.

"At its core we always wanted it to be head music (music for the ‘heads’, not headphone music), listened to as an album, not as individual songs. This is why we are releasing this album with no singles or promo tracks."

The band continues, "the recording and writing initially began in a house called Pen Y Bryn in Talsarnau, Wales in the fall out from the weirdness of the Covid days. Remote and with only ourselves and the view of Portmeirion in the distance we got to work."

"With the opening track, "Strawberry Line" (our tribute to our dear furry friend Alfie Barrow, who appears on the albums cover) as the metronomic guide for the album, we then resumed recording, as before, at Invada studios in Bristol, whilst still touring around Europe and North/South America."

"After playing hundreds of gigs and festivals over the years we felt that touring had started to influence our writing to the point we weren’t sure who we were anymore. So we decided to go back to the origins of where we were at on our first album. With zero expectations and just playing together in a room." - Beak>

Beak> is Geoff Barrow - Billy Fuller - Will Young

Beak> formed in 2009 and since then have released three full length records, with each album title following their distinct format, >> (2012) >>> (2018). A new Beak> album might not come around often, but when it does, it always seems to capture a specific moment in time, a new set of elegies for the present moment.

With the surprise announcement and release of >>>> today, Beak> deliver another taste of a different moment, suspended in stasis and simultaneously rushing towards the vanishing point on the horizon.

[embed]https://www.youtube.com/watch?v=02ffGcN3j1E[/embed]

The Mary Wallopers
2024-12-14 19:30 - 2024-12-15 23:00
Vicar Street
Saturday 14th December
Sunday 15th December

7:30 pm

Sold Out

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Hot on the heels of their iconic main stage performance at Electric Picnic, The Mary Wallopers announce their biggest Irish tour to date. Titled '7 Drunken Nights' the Christmas tour includes 4 nights at Dublin's Vicar Street, plus shows at Killarney Gleneagle INEC Arena, Cork City Hall, culminating in a huge show at Belfast The SSE Arena on Sunday 29th December.

[embed]https://www.youtube.com/watch?v=zV9gvowrVvU[/embed]

One Leg One Eye
2024-12-19 19:30 - 2024-12-20 23:00
Project Arts Center
Thursday 19th December
Friday 20th December

7:30 pm

BOTH NIGHTS SOLD OUT.

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The debut Irish performances of One Leg One Eye, the project of Ian Lynch (founding member of Irish group Lankum) who released the acclaimed debut album …And Take The Black Worm With Me released on Nyahh Records in 2022.

One Leg One Eye explores submerged leylines of music and song, drawing on the raw aesthetics of black metal, noise and drone, while also being deeply embued with a sense of Irish history and myth.

Debut album …And Take The Black Worm With Me is a slow burning suite of five expansive songscapes that has found its audience largely by word of mouth. Partly recorded in an abandoned Dublin factory where his father worked when he was a child, Lynch’s harrowing vocals are underpinned by vast pillars of uileann pipe drones, overlaid with effects and field recordings to conjure up a sound that is at once dark, mysterious and ultimately transcendental.

Imbibe Coffee Roasters started in May 2018 with an aim to bring coffees of an unrivaled standard to Ireland but to do this using a business model that was different to any other. Although profit is important for every business it is not the main driver of Imbibe.

1% of all Imbibe's coffee sales go to Women's Aid, 1% to projects at coffee origins and a further 1% is shared among their staff. They don't engage in CSR programs that are simply window dressing. When you buy Imbibe coffee you are making a difference.

[embed]https://www.youtube.com/watch?v=37MCjs7qDzw[/embed]

Search Results
2024-12-19 20:00 - 2024-12-20 23:00
Whelan's
Friday 20th December

8:00 pm

Special Guests Ronan Group

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Foggy Notions presents Search Results & Ronan Group live at Whelan’s on Friday 20th December. Tickets on sale now.

Search Results have announced the upcoming release of their new EP, “Hot Night”.

It will be the first new music from the band since the release last year of their debut album “Information Blip”.

Hot Night will be out on December 13th.

Pre-orders for limited edition tapes and CDs are available now.

The EPs first single HOBAN HAPPY, is out today, accompanied by a music video shot by the band during a recent tour stop in Amsterdam.

On the EP, Fionn from the band says,

“I think Hot Night achieved something that we couldn’t with the last couple EPs. We kind of leaned into any little imperfections in the process and didn’t overthink it much this time. There’s a few quiet songs on there that we’ve been kicking around for a couple years now and I like how they sit next to the new ones. We are really excited for people to hear it.”

Search Results have also announced that Ronan Group will join them as very special guests at their Christmas headline show in Whelans on December 20th.

[embed]https://www.youtube.com/watch?v=BLiJjmnvDYM[/embed]

Soda Blonde
2024-12-22 20:00 - 23:00
Whelan's
Sunday 22nd December

8:00 pm

Sold Out.

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Following their sold show at Vicar Street on Dec 7th Soda Blonde will host an intimate Xmas party for friends and fan club at Whelan's on December 22nd. Tickets on sale now.

Since their formation in 2019, Soda Blonde—comprised of Faye O’Rourke (vocals), Adam O’Regan (guitar), Dylan Lynch (drums), and Donagh Seaver-O’Leary (bass)—has carved out a distinct space in the music world with their self-produced sound, introspective lyrics, and arresting visuals. Their sophomore album Dream Big has not only solidified their reputation but also propelled them into new creative territories. The album, a bold statement of intent, has resonated deeply with fans and critics alike, earning nominations for Album of the Year and Song of the Year (“Bad Machine”) at the Choice Music Prize.

The band’s journey in 2024 has been nothing short of extraordinary. January saw them embark on their first sold out EU tour, a milestone that showcased their growing international appeal. In March, Soda Blonde made headlines by withdrawing from their scheduled performance at SXSW, taking a principled stand against the festival’s association with the U.S. military. This decision was a catalyst for the creation of the visually striking and thought-provoking music video for “Why Die For Danzig,” which offers a biting commentary on society’s complicity in the war machine.

However, the true highlight of the year came in July, when Soda Blonde performed a monumental sold-out show at Dublin’s National Concert Hall. Teaming up with the Irish National Symphony Orchestra, the band presented orchestral arrangements of Dream Big, blending the cinematic grandeur of a full orchestra with their signature sound. The evening was recorded and will soon be released as both a concert film and a live album, allowing fans to relive this unforgettable experience.

As Soda Blonde prepares for their UK dates and return to Vicar St, the band is eager to connect with their audiences once again. These concerts promise to be a powerful, emotional, and celebratory finale to a year filled with artistic growth and creative triumphs. Fans can expect evenings that capture the essence of Soda Blonde: raw, honest, and unapologetically ambitious.

[embed]https://www.youtube.com/watch?v=EYbXNzdVmoA[/embed]

The Mary Wallopers
2024-12-27 19:30 - 2024-12-28 23:00
Vicar Street
Friday 27th December
Saturday 28th December

7:30 pm

Sold Out

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Hot on the heels of their iconic main stage performance at Electric Picnic, The Mary Wallopers announce their biggest Irish tour to date. Titled '7 Drunken Nights' the Christmas tour includes 4 nights at Dublin's Vicar Street, plus shows at Killarney Gleneagle INEC Arena, Cork City Hall, culminating in a huge show at Belfast The SSE Arena on Sunday 29th December.

[embed]https://www.youtube.com/watch?v=zV9gvowrVvU[/embed]

Buffalo Nichols
2025-01-11 20:00 - 23:00
Upstairs at Whelan's
Saturday 11th January

8:00 pm

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We are proud to present the Irish debut of Buffalo Nichols on Saturday 11th January. Tickets on sale now.

On his second album, The Fatalist, Carl “Buffalo” Nichols does things with the blues that might catch you off guard. There’s 808 programming, chopped up Charley Patton samples, washes of synth. There’s a consideration of the fullness of the sonic stage and the atmospherics of the music that can only come with a long engagement with electronic music. But this is no gimmicky hybrid or attempt to turn the blues into 21st century music by simply dressing it with skittering hi-hats. Nichols’ vision for the blues is of a form of music that’s intimately tied to everyday life in 2023, something that’s reflected not only in the choice of instrumentation, but in the complexities of the songwriting and the gray areas his lyrics explore. This is music that comes straight from the present, and as such, it’s a reminder that the same shit that drove the first blues singers to pick up a guitar is still present behind the throbs of deep bass hits today. The Fatalist sounds unlike any blues record you’re likely to hear.

Of course, Nichols’ songwriting has always been firmly rooted in the present. He proved he could succeed on the music industry’s own blues terms on his self-titled 2021 debut, whose songs, Bandcamp Daily said, “seem to flow from some great repository of emotion and insight.” The Fatalist finds him digging deeper in search of answers to ever-more-complicated questions around responsibility and self-definition, his plainspoken lyrics both cutting and refreshing in their sincerity and refusal to accept pat solutions. Over a guitar line that blisters and pops with bright sunshine, he holds forth on the simple everyday power of love in “Love is All,” and when he shades his optimism with a clear-eyed view of “bad behavior in the canon of good men,” as he sings, his guitar line goes cloudy with the thought. He slowly walks around a broken relationship in “The Difference,” trying to find the faults. It’s a decidedly modern breakup song, one steeped in moral ambiguity. “I just don’t know the difference between love and sympathy,” he sings, before hoping his once-beloved “won’t forget the one who kept your ego fed.”

Still, Nichols rarely sounds like a blues singer. Like Leonard Cohen, he dominates these songs with his voice. His low, guttural baritone is high in the mix, and he sounds coiled, clenched tight. The slow drip of his songwriting lends The Fatalist an incredible amount of drama, which the production—at times dark and dewy and claustrophobic, at times zippy with light—further emphasizes.

[embed]https://www.youtube.com/watch?v=IUJj6nu1guY[/embed]

The Jesus Lizard
2025-01-15 19:30 - 2025-01-16 23:00
Button Factory
Wednesday 15th January - Sold Out
Thursday 16th January

7:30 pm

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Due to phenomenal demand, The Jesus Lizard will perform a second show at The Button Factory on 16th January 2025. Tickets on sale now.

RACK • SEPTEMBER 13, 2024 • IPECAC RECORDINGS

In the jade-cultivating climes of online rock journalism, the angle of “band has new album,” is about as interesting as watching Instagram reels of your brother-in-law’s recent bathroom remodel. But when a band decides to follow up their last album from over 26 years ago? That’s high on testicular fortitude and as dumb as fidget spinners. Then you learn that said band is the Jesus Lizard – and everything in your pathetic cultural dystopia suddenly falls away and the air smells like Heaven…

Rack, the seventh studio album from this legendary underground-rock fulcrum, comes out into the world on September 13 via Ipecac Recordings. Produced by Paul Allen at Audio Eagle, Rack holds 11 tracks of brisk guitar rock you haven’t heard since… the last time the Jesus Lizard took over a stage in your town. Now, over two decades since their last record together, the Jesus Lizard—vocalist David Yow, guitarist Duane Denison, bassist David Wm. Sims and drummer Mac McNeilly—have returned with a record teeming with the kind of madness needed to beat down today’s AOR mediocrity and piss-perfect pop drivel alike.

“None of us really stopped playing,” guitarist Duane Denison shares, “but we stopped making the Jesus Lizard albums. And I think [the time apart] gave us a chance to have a lot of ideas and energy, that’s just sort of backed up—and now it's coming out.”

Since their inception in Chicago ca. 1987, the Jesus Lizard has thrilled audiences all over the planet with their idiosyncratic “noise rock.” That term is rendered in quotes because, let’s face it, it’s not necessarily applicable. The impeccable rocket-thrust rhythm section of Sims and McNeilly was the perfect launchpad for Denison’s jagged yet clean-toned riffing and Yow’s mercurial vocalizations manifesting as everything from panicked citizen, reality escapee or wounded sea mammal. This exciting synergy took on all comers: The bands the Lizard opened for often looked like they phoned their sets in, when the reality was that they were struggling to do a single pull-up on the bar the delegation would set nightly. The Jesus Lizard’s fury carried on through six studio albums, two live recordings and a brace of singles and EPs. Yet none of the cultural emissaries of the last few generations came close to matching the quartet’s sweat equity (literal, psychic).

When America was in its ‘90s “Alternative Nation” thrall, it looked like greater things were going to happen for them: The band shared a split-single with Nirvana (a 1993 release pairing “Puss” from the 1992 Liar LP with a new track from the Seattle contingent, “Oh, The Guilt”) and surfed on the checkbook of Capitol Records for two releases. But by 1996, the realities of real-life capitalism and music-biz treachery kicked in hard: McNeilly resigned from behind the kit; Capitol paid them not to record a third album just prior to dropping them from the roster; and Yow announced his resignation from the band immediately afterward. The Jesus Lizard were effectively over before the turn of the century.

“The four of us had been through so much as a band,” says McNeilly, whose departure in 1998 is acknowledged by the other three as the beginning of the band’s dissolution. “We are bonded by the music we make, and also by the respect we have for each other. I think that we just function extremely well not only as a band, but as humans who care deeply for one another. If any one of us gets taken out of the equation, it's just not going to be the same.”

The individual members scattered all over the continent chasing various pursuits. When he wasn’t drawing cats, acting in indie films or doing design work, Yow joined Los Angeles duo Qui for a tour and an album, took center stage fronting maverick noise-punk icons Flipper and recording a solo record, 2013’s Tonight You Look Like A Spider. When he wasn’t issuing library cards in Nashville, Denison kept busy writing, recording and touring with folks as diverse as alt-rock A-Teams (Tomahawk), British soul talents (Beverley Knight), bona fide stars (Jack White), and country hooligans (Hank III, the Legendary Shack Shakers). Sims pulled out his bass long enough to make solo recordings under the name unFact, but primarily focused on protecting businesses and gentlefolk from taxation without representation via his own certified public accountancy firm. In addition to giving free advice to Gypsies, McNeilly developed a number of predetermined free-form experimental recordings, got involved in recreation-based recovery programs and worked on a high-density verification code index. In his spare time, he can usually be found packing lugs with 100% British wool tweed.

But unlike a lot of bands, the Jesus Lizard’s interpersonal friendships were just as important as the art they made. Loath to call them “reunion gigs,” the original line-up reconvened in 2009 for some “reenactment shows,” celebrating the remastered versions of their catalog released by Touch and Go. Throughout the following years, there were the occasional tri-state weekend rock excursions or a lucrative festival bill. Unbeknownst to Yow, the band were always writing riffs, songs and arrangements in the hopes that their frontman would commit to making new music. Yow finally acquiesced after hearing (and enjoying) Denison picking out some of his typically sleek motifs.

“Duane asked me, ’What do you think of that?’ And I said, ‘Oh, that's pretty good. What are you going to do with that?’ Yow recalls. “And he says, ‘I don't know. Why don't we use it for the new Jesus Lizard record, for fuck's sake?’ I genuinely love the other three guys. They're good at what they do. And so I went, ‘Alright, well, let's go ahead and write a record.’”

On Rack, the Jesus Lizard have returned reconstituted, refreshed and positively revving. No tepid, bland tracks to show how they’ve “matured” as songwriters (the great lie bands use to hide behind crap albums, the ones you still have because you rationalize that, “Well, I have all the other ones…”). No inane detours into unnecessary genre exercises. And definitely no weird moves into experimental realms that come off just as contrived and calculated as the top of the Billboard Charts. The opening salvo “Hide & Seek” finds Yow singing/sprechstimming his way with remarkable clarity as his bandmates shore him up with their patented acceleration. The noir vibes coming off of “What If?” is a startling direction for the band, with Yow narrating the action, like he was looking at a random person in an airport lounge and concocting an elaborate backstory about them. (“It's an idea that Duane had had for a long time. He sent me the lyrics. I was having a hard time with that song, and he said I could just say them, so that's what I did.”) The sinister “Alexis Feels Sick” is inspired by Girls Against Boys/Soulside drummer Alexis Fleisig’s guarded opinion of modern life that turns into a treatise of man’s inhumanity to man. “Moto(R)” is playing out of the coolest car tailgating in the parking lot at one of those horrific radio-rock fests (the driver never actually goes into the stadium because if the Lizard aren’t playing, there’s something better streaming somewhere).. And while we’re on the subject of forcing cool into uncool, “Falling Down” reminds all of us in slightly under three-and-a-half minutes how marvelously badassed the Jesus Lizard have always been, making our fists ball-up so tightly they look like the ends of chicken bones.

“What I like about the album is there are deliberately things on here that, sonically and stylistically, are not terribly different from what some of the things we did from the ‘90s,” says Denison. “There's definitely some references to the past, but it's more as a point of departure: We don't stay there and there's other things that are new that we've never done. I felt like it would be a mistake not to reference our past stuff. We had to do something different along with that. But not crazy different, not self-consciously different. Just naturally different because we're at a different point in our lives.”

Rack should go far toward satiating the Lizard faithful and explaining to the successive uninformed generations why so many hosannas come along with the band’s reputation. But the Jesus Lizard’s next chapter wouldn’t mean anything if it didn’t have a greater purpose. When content farms talk about the ‘90s, most of the time the discussion leans toward “grunge” or chooses to reflect the visibility of high-charting acts with no similar acknowledgment to the rich underground that spawned them. Consider all the records on labels like Touch and Go, Sub Pop, and Dischord that you haven’t heard. The Jesus Lizard are not motivated by promotional certainties or the fallacy of convenient cash-grabs. They only exist because they want to be in the same room with each other. Call it self-actualization, a supreme management of the expectations or a genuine interest in avoiding all execrable ways of sucking.

“I feel like we had a reputation among musicians that was very, very strong,” says Sims about the Jesus Lizard’s reputation as your favorite band’s favorite band. “We wanted to play shows because we wanted to, which is also exactly how the album worked out. We literally only made the record because we thought it would be fun to make the record. And I think that's what saved us. We’re putting absolutely no pressure on ourselves to achieve any kind of sales goal or meet any kind of demographic halfway or update anything. It's just like, ‘Let's just make the record we would want to hear.’ It freed us to do whatever we wanted, and I think that yielded the best possible result.”

“We were never the face because people didn't quite know where we were coming from,” Denison says about the band’s heyday. “We weren't like the punk rock that was really popular, like, say, Rancid or NOFX or The Offspring or Bad Religion. We weren't part of that. We got lumped in as ‘noise rock,’ but I never got that. When we play songs, they have arrangements and lyrics. If anything, I think there's a kind of a resurgence going on right now in aggressive, noisy, rock music. I can go see Idles play in Nashville in a park in the daytime and it's rammed. I saw Swans the other night and it was fucking crowded with mostly younger people. So I don't know what's going on. I think it's just the internet and there's a certain type of person that this is appealing to, and there's more of them out there now because there's just more people. Oh,” he adds glibly, “and we showed up on a shirt in a movie.” He’s referring to the vintage JL pupil-hearted wolf shirt rocked by Keke Palmer in director Jordan Peele’s “Nope.”

When asked to describe what the 2024 model the Jesus Lizard has in store for a new strata of audiences, Yow deadpans: “Each one of us is just going to do what we do, you know? David will look like he's really pissed off about something. Duane will look like he’s not sure if he's gay or just not feeling well. Mac will be chewing a very large piece of air, and I'll be acting like an idiot.”

The Jesus Lizard. They might not be young, but they will never, ever get fucking old.

[embed]https://www.youtube.com/watch?v=7Z49uumNlX4[/embed]

Glasshouse perform Ryuichi Sakamoto
2025-01-18 20:00 - 22:00
National Concert Hall
Saturday 18th January

8:00 pm

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Acclaimed Dublin ensemble Glasshouse are proud to perform their new arrangement of the work of renowned Japanese composer and music pioneer Ryuichi Sakamoto. The concert will honour the incredible and widely lauded work of Sakamoto, who sadly passed away in 2023.

Following multiple sold-out dates at Pavilion Theatre, acclaimed Dublin ensemble Glasshouse are proud to perform their new arrangement of the work of renowned composer and music pioneer Ryuichi Sakamoto at the National Concert Hall. The concert will honour the incredible and widely lauded work of Sakamoto, who sadly passed away in 2023. We are pleased to have the blessing of Sakamoto’s team for this tribute.

Renowned Japanese composer and producer Ryuichi Sakamoto was admired for his electronic music experimentation. He formed Yellow Magic Orchestra in 1978 and released eight studio albums with the group. He starred in the film Merry Christmas, Mr Lawrence with David Bowie in 1983. His film score for The Last Emperor, in 1987, won him an Oscar, a Grammy and a Golden Globe. He continued to work throughout his life, releasing an album in January 2023, just two months before his passing.

Glasshouse is a music ensemble and arts organisation based in Dublin. Their mission is to elevate Irish music through commissioning and collaboration, combining sound, space and visual design to create unforgettable music experiences. Recent projects include arrangements of Sigur Rós, a new opera with tasteinyourmouth, new works for the theremin, new commissions by Jenn Dreamcycles and R. Kitt and collaborative projects with Irish artists Æ MAK, Caoi de Barra, Rachael Lavelle, and Gareth Quinn Redmond.

One of Japan's most prominent composers" The New York Times [on Sakamoto]
"A refined and learned composer, Sakamoto's subtle style of composition is minimalist yet emotionally powerful" The Guardian

"Sakamoto was able to combine his skills as an academically trained musician with an aptitude for electronic music and an ear for countless musical styles" The Irish Times

“Glasshouse are among the highest calibre of musicians the nation has to offer” Nialler9

“Their multifaceted approach to music transcends sound ... [Their] subtle attention to detail allows us to enjoy the thing that really matters the multitude of feelings that music can evoke in us all” Totally Dublin [on Glasshouse]

[embed]https://www.youtube.com/watch?v=VhIL4ZReXMQ[/embed]

Lisa O'Neill
2025-01-22 19:30 - 2025-01-24 22:30
Gate Theatre
Wednesday 22nd, Thursday 23rd & Friday 24th January

7:30 pm

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For the first time, Foggy Notions will partner with the Gate to present LISA O’NEILL live at Gate Theatre, on Wednesday 22nd, Thursday 23rd & Friday 24th January 2025.

Songwriter Lisa O’Neill is one of the most singular and exciting talents in Irish music today. Lisa has released five albums to date, the last being 2023’s hugely acclaimed All of This Is Chance on Rough Trade. In 2019 she won the RTÉ Radio Folk Award for Best Original Track, she has been nominated for several BBC Radio 2 Folk Awards and she has been nominated twice for the Choice Music Prize. In November this year she performed a full concert with the National Symphony Orchestra at the National Concert Hall.

[embed]https://www.youtube.com/watch?v=wQGUYgNhQa4[/embed]

Sam Amidon
2025-01-25 19:30 - 22:30
Gate Theatre
Saturday 25th January

7:30 pm

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For the first time, Foggy Notions will partner with the Gate to present SAM AMIDON live at the Gate Theatre, on Saturday 25th January 2025, to coincide with the release of his new album, Salt River.

Sam Amidon will release his new album Salt River on 24th January 2025, his first on River Lea Records. The Vermont native, who is now based in London, has collaborated with saxophonist and producer Sam Gendel to reinterpret and regenerate ten songs that he has gathered together as part of a decades-long quest to recontextualise what it means to sing folk songs or make folk music.

Sam is held in great regard by Irish audiences having toured Ireland many times over the course of his career which has seen the release of seven previous albums. Sam also recently starred in Michael Keegan-Dolan’s dance and theatre production Nobodaddy, which played as part of this year’s Dublin Theatre Festival.

[embed]https://www.youtube.com/watch?v=Z3iLnxklx5c[/embed]

femtanyl
2025-02-01 19:30 - 22:30
OPIUM
Saturday 1st February

7:30 pm

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Venue moved to OPIUM due to phenomenal demand. All tickets remain valid and final tickets on sale now.

Foggy Notions present the Irish Debut of femtanyl.

femtanyl is a quickly growing dance project spearheaded by Toronto vocalist and producer Noelle.

Noelle's vibrant sound, inspired by hardcore punk, jungle and pop music, has quickly created a large, cult-like fanbase, flooding the internet with remixes and alternative takes on her cover art works.

Starting from a local Toronto show that sold out within 2 hours in January 2024, by July she was commanding 650+ ticket shows as headliner. In the meantime, her debut EP CHASER has acquired over 40 million streams in its first year.

Intent on seizing the opportunity, Noelle added Skyla as her DJ and Juno as her live drummer to make for a truly electrifying set. With this blistering momentum, fueled by praise from industry veterans such as Virtual Riot and SVDDEN DEATH, a recent collaboration with Danny Brown and an invitation from Machine Girl to join them as support for their 2024 MG Ultra tour, femtanyl are taking over the digital hardcore space and are intend to cement themselves into stardom.

[embed]https://www.youtube.com/watch?v=qUcvfZ0ft-k[/embed]

ELUCID
2025-02-05 20:00 - 22:00
The Workman's Cellar
Wednesday 5th February

8:00 pm

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ELUCID - one half of pioneering hip-hop duo Armand Hammer - has shared blistering new single, "THE WORLD IS DOG", and announced the REVELATOR tour.

ELUCID reveals; "This song was written and recorded during the first session I set up with Jon. It quickly established REVELATOR's sonic identity and a practice in striving for intensity."

Alongside the single, ELUCID has announced a 20-date international REVELATOR tour for 2025 which includes shows across America, the UK and Europe.

The rousing "THE WORLD IS DOG" - released worldwide today - closely follows "INSTANT TRANSFER" featuring Billy Woods, and both tracks are lifted from ELUCID's forthcoming new album, REVELATOR, out 11th October.

[embed]https://www.youtube.com/watch?v=-dYZ_w4NKu0[/embed]

The Messthetics & James Brandon Lewis
2025-02-07 20:00 - 23:00
The Grand Social
Friday 7th February

8:00 pm

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Foggy Notions & U:MACK present

The Messthetics & James Brandon Lewis

(featuring Joe Lally & Brendan Canty of Fugazi)

The Grand Social, Dublin

February 7th, 2025

Joe Lally was onstage, playing at full throttle, when he realized that his band had found a true kindred spirit. It was the fall of 2021 and the Messthetics — the instrumental trio of Lally on bass, his former Fugazi bandmate Brendan Canty on drums and guitarist Anthony Pirog — were at Brooklyn venue the Bell House, digging into their uptempo riff workout "Serpent Tongue." Joining them for the piece was a special guest, acclaimed jazz saxophonist James Brandon Lewis, making only his second cameo with the group after a drop-in at another New York show back in 2019. That first meeting had been a success, but this time, Lewis' presence sparked something new.

[embed]https://www.youtube.com/watch?v=86LSRQUrCjw[/embed]

Niall McNamee
2025-02-08 20:00 - 23:00
Upstairs at Whelan's
Saturday 8th February

8:00 pm

SOLD OUT.

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Niall McNamee is an Irish singer-songwriter and actor known for his thoughtful and full-blooded songs and his charismatic live performances.

Describing himself as 'a romantic football fan who writes songs', Niall moved to London at 17 years old working on building sites whilst growing a devoted fan base playing gigs in pubs and music venues across London. He began his acting career in London's West End as Romeo in 'Romeo and Juliet' before moving into film and TV and even having a major fight scene with Jackie Chan in 'The Foreigner'.

After a sold-out headline tour of the UK and Ireland Niall was cast as the leading role in award-winning feature film 'Love Without Walls' in which he plays a struggling songwriter trying to navigate London's harsh streets. The soundtrack to the film is entirely Niall's original songs. A new feature film in which Niall is romantic lead is due out late 2024/25.

Niall has supported the likes of Declan O'Rourke, David Keenan, Junior Brother, The Dubliners, The Wolfe Tones (summer 2024), Louis Dunford (summer 2024) and played Isle of Wight and Cambridge Folk festival. His music has been added to 3000 Spotify playlists, with over 100,000 listeners.

Niall's debut album will be released on St Patrick's Day, 17th March 2025.

[embed]https://www.youtube.com/watch?v=8MYgTpH2I7Q[/embed]

Ryley Walker
2025-02-12 20:00 - 2025-02-15 23:30
The Court House Bangor
Wednesday 12th February

BelloBar Dublin
Thursday 13th February

Coughlan's Cork
Friday 14th February

Dolans Upstairs Limerick
Saturday 15th February

8:00 pm

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Ryley Walker began his career in the early 2010s, after moving from Illinois’ provincial town of Rockford, and settling into Chicago’s independent scene. After a slew of cassette and vinyl releases, Tompkins Square put out his debut album in 2014, which was then followed up by the Dead Oceans released Primrose Green a year later. His most recent album, Course in Fable, was released on his own Husky Pants Recordings label in 2021.

Having toured with the likes of Richard Thompson, and with a supporting slot for Dinosaur Jr. forthcoming—as well as a tremendous Bert Jansch tribute show behind him, wherein his hero Anne Briggs called him the ‘c word’—Walker has rubbed shoulders with the very best.

While, in the past, his desire to be as great as his influences may have dogged and hindered him from bringing his own personality to his music, now, Walker’s music is undeniably his. A mix of Twitter and sobriety may be partially responsible. “Music is an exciting thing I get to do because I’m alive and well. I take every opportunity I’m given very seriously; I’ve gotta pay tribute to that by staying alive and being as good to the people who love me as I can,” he said.

[embed]https://www.youtube.com/watch?v=h7MkxbE5bWQ[/embed]

The High Llamas
2025-02-15 20:00 - 23:00
Whelan's
Saturday 15th February

8:00 pm

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Foggy Notions present the return of Sean O'Hagen's acclaimed The High Llamas project following the news of an extensive reissue project. Tickets on sale now.

The High Llamas' classic 90s output comes back to life on vinyl for the first time in over twenty years: 1992's Santa Barbara, 1994's Gideon Gaye, 1996's Hawaii, 1998's _Cold And Bouncy_ and the pairing remix album Lollo Rosso and 1999's Snowbug. The vibrant and colourful sweep of this remarkable six-album arc shines in new pressings of the original masters, releasing November 22 - including the first-ever vinyl pressing for their debut album, Santa Barbara.

Delve into the ocean of sounds that The High Llamas sailed on their first voyages, finally back in print on November 22!

HEY PANDA

Opened up by the delirious alchemy of contemporary pop music, Sean O'Hagan leaps back into life with High Llamas, with a set of killer tunes reflecting on dimensional levels how definitions change over time. Arranged by Sean and produced with mix collaborator Fryars to engage the eardrums in non-stop new possibilities, Hey Panda radiates optimism inspired by the joys and sorrows felt in former lifetimes and the diverse conundrums of today alike.

[embed]https://www.youtube.com/watch?v=SYNlk8PIyfM[/embed]

Rats On Rafts
2025-02-16 20:00 - 23:00

CONTOUR
2025-02-16 20:00 - 22:00
The Workman's Cellar
Sunday 16th February

8:00 pm

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Foggy Notions presents the Irish debut of CONTOUR.

The Charleston, South Carolina artist Contour's body of work is evidence of a restless curiosity that culminates on his latest album and debut for Mexican Summer, Take Off from Mercy. Starting off as a beatmaker, Khari's vision has broadened over releases like Onwards (2022, Touching Bass), Love Suite (2021, Good Question) and Weight (self-released/Purple Tape Pedigree, 2021), spanning from noirish, sample-driven R&B to covers of Strawberry Switchblade. Take Off from Mercy eschews samples in favor of guitar-driven songwriting, positing a singular take on the blues, Tropicalia, hip hop, post-punk and indie rock, establishing Lucas as an exemplary lyricist and broad collaborator, working with the likes of Saul Williams, Mndsgn and his co-producer, Omari Jazz.

Following the pandemic, Lucas toured relentlessly, recently opening a US run for Erika de Casier and appearing at Pitchfork Festival (Chicago) and Le Guess Who? Beyond his prolific solo output, recent collaborations include Black Decelerant, an ambient duo with the aforementioned Omari Jazz who just released their self-titled debut on RVNG Intl. Lucas also collaborates with the operatic baritone singer Davóne Tines as part of a band called THE TRUTH on ROBESOИ, a performance released by the venerable Nonesuch Records.

Contour is a key member of a distinct cohort of young artists weaving the traditions of Black music into thoroughly modern, avant-garde songcraft. Within his work, genres and disciplines collide. Lucas's radio show for Dublab, Footprints in the Dark, took stock of the deep discographies of foundational figures like Gilberto Gil and Georgia Anne Muldrow. Meanwhile, Lucas has organized readings with the likes of Harmony Holiday and screened films from Black Audio Film Collective director John Akomfrah, and completed artist residencies with NTS Radio and Brooklyn's Pioneer Works.

Within all this activity, Lucas's sound and voice are immediately recognizable, his flow and declarative honesty heavily influenced by rap. Lucas's recent live shows with the likes of Billy Woods and Bilal featured him roving the stage singing and rapping over samples before sitting at the piano for downcast, Bill Withers-style ballads. Take Off from Mercy is a document of hard-earned lessons learned while on the move. Omari and Khari worked on the record in Charleston, Portland, NYC, London, Paris, Georgia, LA and Houston, feeding into the album's themes of transformation through migration. Lucas will follow the fall release of Take Off from Mercy with expanded live tours through the US, UK and Europe in fall 2024. As this flurry of activity suggests, there will inevitably be more records, shows, tours, readings and screenings in the near future. The urgency of Contour's vision is palpable in this myriad of pursuits.

[embed]https://www.youtube.com/watch?v=kxINZB19eH4[/embed]

Jazz Sabbath
2025-02-20 20:00 - 22:00
Pavilion Theatre Dún Laoghaire
Thursday 20th February

8:00 pm

SOLD OUT.

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Foggy Notions presents the Irish Debut of Jazz Sabbath on Thursday 20th February 2025.

JAZZ SABBATH

Jazz, Plagiarism & Lies

THE TRUTH

Jazz Sabbath were at the forefront of the underground UK jazz movement in the late Sixties. They were recording two albums in 1969, but both seemed destined never to be released. Until now.

Due to legal disputes with a session player the recording of the second album had to be abandoned and never to be mentioned again. Their first album was finished, but when news broke that pianist and band leader Milton Keanes had suffered a massive heart attack, the record label cancelled the release. They didn't want to risk releasing an album from a band that might lose its musical leader.

When Milton was finally released from hospital in September 1970, he found out that a band from Birmingham, had since released two albums containing metal versions of his songs. Milton tried to contact his record label, only to find out it didn’t exist anymore and the label owner was in jail. All recalled Jazz Sabbath albums had been destroyed when the warehouse burned down in June 1970; which turned out to be a case of insurance fraud by the label owner.

Without any physical proof that he wrote the songs, Milton was powerless to do anything. Even more frustrating: that Birmingham band had named itself after one of his songs; only adding insult to injury. With the other band continuously releasing more albums of Milton’s songs, the three members of Jazz Sabbath decided to part ways.

The discovery of the debut album’s master tapes in 2019 and the following re-release of the album in 2020 has changed everything. With the theft by the band from Birmingham exposed, Jazz Sabbath have reunited and finally finished recording their second album.

They can now present their songs in their original form, proving that the heavy metal band worshipped by millions around the world are in fact nothing more than musical charlatans, thieving the music from a bedridden, hospitalised genius.

THE OTHER TRUTH

Milton Keanes is actually Adam Wakeman, longtime keyboard & guitar player for Black Sabbath & Ozzy Osbourne.

In 2013, on a night off in Germany during one of the Black Sabbath tours, Adam and Sabbath's security guard sat at the hotel bar early in the morning. The security guard asked if Adam could play the Sabbath set on the piano in the bar. Adam thought it would be fun to play the songs as jazz improvised versions and then played until the bar staff wanted to go home.

The idea grew, as Adam invented the character and backstory of Milton Keanes (which he always thought to be a great name for a jazz pianist). In 2020 the first Jazz Sabbath album was released, accompanied by a mockumentary about Jazz Sabbath and their unfortunate history.

The mockumentary gained extensive media coverage and sparked some controversy among Black Sabbath fans. The album itself got rave reviews from both rock and jazz critics. A second album, Vol. 2, was released in 2022. Both albums entered the Billboard jazz charts and got special mono Record Store Day releases.

On the albums Adam is joined by Ash Soan (Adele) on drums and Jerry Meehan (Robbie Williams) on bass, plus a number of guest musicians, such as Gus G (Ozzy Osbourne, Firewind), Fraser T. Smith (Sam Smith, CeeLo Green) and Simon McBride (Deep Purple). However, all go by their 1960s pseudonyms.

[embed]https://www.youtube.com/watch?v=qOK73jZO3Pg[/embed]

MIKE
2025-02-27 19:30 - 23:00
Button Factory
Thursday 27th February

7:30 pm

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Foggy Notions Presents MIKE live at The Button Factory on 27th February 2025. Tickets on sale now.

MIKE is a quintessential old soul. The 24-year-old artist’s wisdom is evident in both his calm delivery and measured questioning. Known for introspective, subtly profound rhymes that explore grief, family, and identity, and melt over muffled, soul-seasoned samples, MIKE’s newest record, Burning Desire, is his biggest to date: both in length, but more so artistically. For the first time in his career, MIKE truly reaches outside of his immediate circle for collaborators, pulling in everyone from Larry June to Liv.e to Lila Ramani (of Crumb) to Earl Sweatshirt and more. The beloved rapper has come a long way from making waves in underground hip-hop circles with the [sLUms] collective formed in New York in 2015. Since, he’s released numerous critically celebrated albums, earned Pitchfork’s Best New Music accolade twice, and toured with artists like Blood Orange, Earl Sweatshirt, The Alchemist, and Freddie Gibbs. Burning Desire sees MIKE confidently step out as the leader of a new movement within hip hop, as he breaks through the ceiling of the underground and introduces the style of rap he originated to a wider audience. If anything is certain about this next chapter for MIKE, it is that it will be on his own terms.

[embed]https://www.youtube.com/watch?v=uC7UbQ3M3jk[/embed]

High Vis
2025-03-07 19:00 - 22:00
The Grand Social
Friday 7th March

7:00 pm

SOLD OUT.

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Foggy Notions & U:MACK present

High Vis

Special guests Special Branch & Goon

The Grand Social, Dublin

Friday March 7th, 2025

Foggy Notions & U:MACK are proud to present the debut Irish performance of High Vis

Birthed in 2016 from a cross-section of beloved UK punk groups, London's High Vis have steadily become legends by virtue of their passionate performances and evolving discography of poetic, progressive hardcore. Comprised of singer Graham Sayle, drummer Edward "Ski" Harper, bassist Jack Muncaster, and guitarists Martin Macnamara and Rob Hammaren, the band fuse the fury of English street punk with touches of Brit pop melody, neo-psychedelia swirl, wiry post-punk rhythm, and even bits of Madchester groove. To Sayle, such melting pot energy points the way forward: "For years hardcore had pretty clear boundaries – other scenes were separate worlds. Now things are getting more blended, drawing from different places."

With origins from various corners across the United Kingdom, the group of musicians that make up High Vis represent the heart of DIY, boot-strapping UK punk and hardcore. Formed by members from the bands Dirty Money, Tremors, City Dweller, Reflect, Shame, and more, High Vis fuses together the ethos of the broader hardcore community while bringing various musical influences and inspirations into the fold, allowing them to touch new folks who may not have listened to past projects while simultaneously tipping their hat to longtime fans.

In 2019, High Vis released their debut full-length No Sense No Feeling, which put them on the map and opened the viewfinder for what the band could do beyond the parameters of any genre or scene. Painted with post-punk inspired textures and moods, No Sense No Feeling laid a sonically adventurous foundation to which High Vis has expanded on throughout their career. In 2020, High Vis released the Society Exists EP laced with vocal FX and synth lines further showcasing the band was not easy to pigeonhole or restrain.

With 2022's breakout Blending, High Vis expanded upon their self-described "post-industrial Britain misery punk" with an anthemic rock sound combined with baggy grooves. Lyrically, the album was a leap forward for High Vis as frontman Sayle took a more principle role in writing the lyrics and melodies. Sayle's took focus on social consciousness addressing the downtrodden and discarded communities across Britain while also looking at himself and his own emotional landscape. The process created something that feels universal and ultimately relays a message of hope.

The band's third and latest full-length, Guided Tour, refines their lyricism and chemistry to its most potent nexus yet. Full of swagger and sneers, hooks and hope, revolt and righteous anger, the album's 10 tracks hit like anthems for a new England. And while the songs' specifics often speak to their native country in particular, the themes addressed are universal. Theirs is a camaraderie born of sweat and experience, years in the trenches of ripping shows and shit jobs, still fighting back, still fighting for something better. High Vis are proving themselves protectors of the flame, and avatars of the best hardcore has to offer.

[embed]https://www.youtube.com/watch?v=147BrDp-XuA[/embed]

The Weather Station
2025-03-08 19:30 - 23:00
Button Factory
Saturday 8th March

7:30 pm

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The Weather Station — the project of Toronto-based Tamara Lindeman — announces her return with Humanhood, out January 17th via Fat Possum, and releases lead single/video, “Neon Signs.” Humanhood, the most arresting album Lindeman has ever made as The Weather Station, follows 2021’s Ignorance, “an invigorating and poignant chapter in an already impressive career” (Stereogum). It was written during one of the most difficult periods of Lindeman’s life and rendered with a rock band with improvisational chops just as she began to recover by reckoning with a complicated truth: Sometimes, life simply tries to dismantle us, no matter how good everything may seem, and we must accept that in order to survive.

From the outside, 2022 likely appeared a year of glory for Lindeman. Ignorance, in which her “shape-shifting avant-folk [reached] a kind of apex, as she sings coolly about climate grief, love, lust, healing, and the upheaval of self-discovery” (New Yorker), was one of that year’s highest praised records. It was a time of touring, travel, and activism alongside Ignorance’s more austere companion, How Is It That I Should Look at the Stars. But at an ostensible new professional peak, she was also struggling with a mental health crisis. Working through a crisis of meaning, she wrote from within the confusion of the experience to create the songs that would ultimately become Humanhood, a narrative album that, listened to front to back, transcribes the journey from dissociation back towards connection.

It takes only 10 seconds for Lindeman to pull us to the floor on “Neon Signs”, the opening song on Humanhood. “I’ve gotten used to feeling like I’m crazy—or just lazy,” she sings, her voice at once a soft whisper to a confidant and a full-throated confession to a crowd. “Why can’t I get off this floor? Think straight anymore?” she sings of our true modern malaise, that unbound sense of not knowing how or what it is we’re supposed to contribute to this fractious world, or if we even have the energy or will to try.

“I wrote “Neon Signs” at a moment of feeling confused, upside down, at that moment when even desire falls away, and dissociation cuts you loose from a story that while wrong, still held things together,” Lindeman explains. “The song came with multiple strands entwined; the way that something that is not true seems to have more energetic intensity than something that is, the confusion of being bombarded with advertising at a moment of climate emergency, the confusion of relationships where coercion is wrapped in the language of love. Ultimately though, isn’t it all the same feeling?” The “Neon Signs” video, directed by Lindeman, is a journey through different sets of eyes, perpetually shifting perspectives between people and objects.

Humanhood was recorded over two sessions in fall of 2023 at Canterbury Music Company with drummer Kieran Adams, keyboardist Ben Boye, percussionist Phillippe Melanson, reed-and-wind specialist Karen Ng, and bassist Ben Whiteley. The songs were left open; Lindeman and co-producer Marcus Paquin wanted to hear the sudden sparks made by these new encounters, to witness everyone react in real-time to the songs and sketches she supplied. They all dropped into the fugue, shaping the hazy unease that is so endemic these days into tangible sound. Other friends eventually added their own pieces, like old-time updater Sam Amidon, ace guitarist James Elkington, and textural magus Joseph Shabason. In the final stage, mixer Joseph Lorge helped make sense of these musical webs, and the album was crafted into a near continuous piece of music, with interstitial instrumentals fading into and out of songs. Textures repeatedly shift between organic and synthetic; synths merging with sax, electronic drums shifting into banjo, as songs coalesce and then disintegrate in a direct echo of the emotional experiences that inspired them.

Much of Humanhood is a riveting and real document of what it means to be lost, to be hamstrung by confusion, unease, and grief for a period so long you begin to wonder if there is an end. As with Ignorance, the first person lyrics point to a wider resonance; we’re all dealing with ourselves through climate disaster, as the world totters near a breaking point, and none of it is easy or precedented. On previous albums, Lindeman mostly wrote about her past, turning backwards to gain perspective. But for Humanhood, she wrote from the present as she tried to work through it. Humanhood, then, radiates with new urgency—and emerges as a sort of tether, offered up here for anyone else feeling disconnected from the vertiginous reality of right now.

The Weather Station will tour Europe and the UK early next year.

[embed]https://www.youtube.com/watch?v=vmt41po0CIM[/embed]

Nadia Reid
2025-03-15 20:00 - 23:00
Whelan's
Saturday 15th March

8:00 pm

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There is a photograph that Nadia Reid still keeps, taken ten years ago now on an old iPhone 4. It shows the singer at just twenty two, standing in a backyard in Auckland, her face obscured by a bright bloom of sparkler flame. “It was just a throwaway photo, but I clung to that image through the years,” she says. “You have those points in life that when you look back you see were a time of almost cellular change. And that was one of those points; all my cells were changing.”

Reid was drawn to this image once again in the making of her fourth album, details of which are to follow soon. This was the obvious choice for the artwork for her first single 'Changed Unchained'. Her first new music for four years and first for new label Chrysalis Records.

Much had changed since Out of My Province, the album she released in early March 2020, just as the Covid pandemic sent the world into lockdown. In her native New Zealand, restrictions were some of the toughest in the world, the country’s borders remaining closed for over two years. Reid toured the record as best she could, she put on hold her plans to move to the UK, attended to the steady rhythms of living. In July of 2021, she gave birth to her first daughter, Elliotte; her second, Goldie, arrived this past Spring.

On the new single, Reid moves away from her earlier folk inclinations. “I still feel uncomfortable about the word folk and being a folk singer. It makes me sort of cringe. It’s too confining.” Reid expands on her new fuller sound. "’Changed Unchained’ is a great example of me bringing lyrics and a melody into the studio, then Tom (Healy, producer) and the band letting the mojo/muse/spirit do its thing in the room. That was a really freeing feeling for me. The song begun in this delicate introspective way and formed into something quite powerful."

As well as a taste of what's to come next, ‘Changed Unchained’ closes a chapter on her first three records as something like a trilogy; music that belonged to a time before everything changed.

Nadia is currently on a SOLD OUT solo tour in the UK playing a short run of intimate venues. She’ll then return to tour Europe/UK in March ’25 with a full band in support of her new record.

[embed]https://www.youtube.com/watch?v=U3Fh21QPsco[/embed]

Spooklet
2025-03-15 20:00 - 23:00
The Workman's Club
Saturday 15th March

8:00 pm

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RESCHEDULED DATE - ORIGINAL TICKETS VALID

Saturday March 15th, 2025

Showcasing a brand new SPOOKLET live show experience with dancer Fanni Fagerudd.

SPOOKLET is a Dublin based electronic music producer. Sonically, she moves through a range of genres from ambient soundscapes to high intensity deconstructed club grooves with a distinct influence from artists like Sega Bodega, Sevdaliza & FKA Twigs.

Taking inspiration from found sounds plucked from the surroundings of her everyday, SPOOKLET finds beauty in the intricacies of the mundane.

Over the past year, she has performed live across Dublin & Ireland including One’s To Watch in Whelan’s, Éalú Le Grá festival in Galway and a performance for Dublin Independent Fashion Week for Seeking Judy in Fade Street Studios.

She continues to grow her collaborative repertoire within the Irish music scene. In November 2024, she released a remix mixtape of her debut EP, IN THE BELLY OF THE MOTHER, which included reworks by producers ALYXIS, Cruel Sister, silverglass and more.

With an A/V setup which includes a fully automated lights show and dance performance, her live shows are not to be missed.

[embed]https://youtu.be/qAb8Mm7bsro?si=LhsI-dhxEKEa6NTg[/embed]

Anna B Savage
2025-03-20 19:30 - 2025-03-22 22:30
Coughlan's Cork
Thursday 20th March

Róisín Dubh Galway
Friday 21st March

Unitarian Church Dublin
Saturday 22nd March March - SOLD OUT

7:30 pm

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A sense of rootedness is at the heart of Anna B Savage’s third record You and i are Earth, a record that is as much about healing as it is an unbowed sense of curiosity, and, more simply, “a love letter to a man and to Ireland.”

Following on from her critically acclaimed records A Common Turn and in|FLUX, You and i are Earth manages to convey a sense of intimacy, while also being open-ended. Sounds of the sea and bright-eyed strings coax us on opening song Talk to Me, a study in tenderness, which brings us to a place of the elemental. It is a charged signiﬁer that sets the tone, “I don’t think I feel nervous because of the intimacy of it,” says Savage, “the thing I feel nervous about is that it is so delicate and subtle, and the attention economy has made us desire big shiny things that will whisk us away.

Yet You and i are Earth transports diﬀerently, swept along by an abiding sense of calm, a major progression from Savage’s earlier work, “when I was writing the ﬁrst record, it felt diﬃcult. I wanted to make sense of something I didn’t really understand. Then with the second record I had done some therapy, and was getting to grips with myself, but my old self was still pulling me back a bit, but with this one it was quite diﬀerent”.

Gentleness is as radiant a touchstone on the record as earthiness, something that Savage attributes to the place she ﬁnds herself at present, both geographically and emotionally. And quite literally the record bears witness to a particular piece of earth - Ireland, and Savage’s relationship to it as her new home.

Savage’s connection to Ireland goes back over a decade to when she studied a poetry Masters in Manchester, where both her teachers were Irish, “and I totally fell in love with Seamus Heaney” she recalls.

“Then in 2020 I did a Masters in Music (in Dublin) and was reading essays about sean-nós singing, watching Cartoon Saloon stuﬀ, reading about Irish mythology - I wanted to educate myself”. Since then Anna has spent much of her time on the west coast of Ireland, dipping back to her home in County Donegal between bouts of touring (this year supporting The Staves and St Vincent - having previously toured with Father John Misty and Son Lux amongst others) and trips to London for work (this year alone she has soundtracked a new Alex Lawther-directed short ﬁlm “Rhoda” which premieres at London Film Festival - and was part of Mike Lindsay’s “Supershapes” - a collaborative album and super-group led by the Tunng & LUMP producer and multi-instrumentalist).

This delicate, yet blossoming, relationship with her new home is all laid bare in her pact with the sea on Donegal, where amid skittering percussion, she asks it to “please look after me”, and then Mo Cheol Thú which morphs into an almost-lullaby for a person, a place, and perhaps, a hope. “One of the things that I was reading while I was making this record was Manchán Magan’s book 32 words for Field, and the idea that language can have an explicit connection to the land. When I am in Ireland, that sense of grounding is vast but also intimate, and sometimes it’s a bit magical and sometimes a bit scary.”

It’s ﬁtting then, that You & i are Earth folds in some of Ireland’s brightest contemporary musicians, with Kate Ellis and Caimin Gilmore from Crash Ensemble, Cormac Dermody from Lankum and Anna Mieke contributing vocals, strings, harmonium, bouzouki, taishōgoto and clarinets to the album, all tied together by producer John ‘Spud’ Murphy (Lankum, Black Midi).

A sense of reckoning underpins a compassionate piece of work, with a conﬂation of many strands; histories and people, and nature and human nature, with the title song You and i are Earth taking inspiration from a 17th century plate that was found in a London sewer that has inscribed that unifying sentiment. And yet the song, while epic, is also pared back and graceful, warming to something that sounds like a swirling storm of strings. The record is not trying to hide anything, but instead unfurls a vulnerability that binds, such as on the delicate I Reach for You in My Sleep with its dreamy marriage of guitar and choral ﬂecks, and the sweetly aching The Rest of Our Lives, which really serve Savage’s magnetic, elegant voice.

That process is brilliantly rendered on Agnes, a complicated piece of work featuring Anna Mieke that turns on tropes of duality and transformation. It mirrors an unsettling experience that Savage had through meditation, which ultimately ended in an immersive, beautiful feeling, “I felt like I was part of the earth, completely connected to the mycelium network, I felt like I was where I was meant to be.”

In many ways, that experience framed the album’s artwork, a photograph taken in some woodlands in Co. Sligo, with Savage looking up at the trees, their fractals reﬂected in her eyes, mirroring something she had felt in her meditation, bringing us back full circle, and to that sense that we are essentially in unison, or at least striving to be, that “you and I are earth”.

[embed]https://www.youtube.com/watch?v=Bp4MS9dhmFM[/embed]

Spiritualized Pure Phase Live
2025-03-20 20:00 - 23:00
National Stadium
Thursday 20th March

8:00 pm

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Foggy Notions presents a live performance by Spiritualized of their seminal 1995 opus Pure Phase. Tickets on sale now.

PURE PHASE (1995)

Briefly renamed Spiritualized Electric Mainline, Pure Phase expanded on the amount of personnel involved in making the record, with Sean Cook joining on bass and the Balanescu Quartest adding string arrangements. The record sounds like no other as there are two mixes running together concurrently.

Jason: “You can’t really compare this record to any other because of how we mixed it; in such an “incorrect” way. When we made it I was crashing on (frequent Spiritualized collaborator) John Coxon’s couch in London; he had his own studio and was always open to new ideas.

We mixed the tracks twice but I couldn’t decide which one I liked better so we said “let’s have them both”. Both of them were on tape so we spent hours cutting them into usable sections. If you run two things together in parallel you get this kind of Hawkwind effect (phase), which gets deeper as they drift away from being ‘locked’, so we had to keep re-locking on a bass drum every eight or ten bars and it took forever. There was no digital recorders back then or if there were they were prohibitively expensive. I’ve actually tried to do this with digital and it doesn’t work the same way because they lock too accurately. Because it was achieved with tape, it gave it this strange kind of movement.

The thing that astounded me most about Pure Phase is that it didn’t make any allowances for the audience. It stuck to its guns. It was like ‘I’m gonna sit on this part for as long as it’s necessary...and it’s probably a little too long.’

If you listen to the isolated parts, everything is incredibly simple, the horns, the slide, all these little motifs and they lock together like some strange kind of machine. Something like Kraftwerk was the nearest thing in my musical vocabulary at the time. Great rock and roll music is like systems, it has its own endless cycle. Pure Phase was Michael Nyman, Steve Reich and John Adams, rock ‘n’ roll and gospel music, and it sounds like driving as fast as you can in torrential rain.

I wish I could do it now, to mix things twice and throw it together and end up with this magic world; it was so immediate. It was a huge accident that it created this world where you’ve got this phase, where you have a sound on one side of the stereo and then the very same sound on the other side but in a different mix, with a different eq, a different tone, a different reverb and when you put them together the two sounds move into some random place near the centre of the stereo field but no place you would ever put it if you tried it in a conventional sense. It was a thing that was out of our control and it just sounded better than we could have imagined so we chased it.

Things that take forever... I love that. I think that’s the best thing. Because it’s like wringing this thing of every enjoyment that I can possibly get from it. But it wasn’t like an endless “what’s the point,” it was impossible to hear the song any other way once we’d pressed the “combine” button. It was impossible to look back.”

[embed]https://www.youtube.com/watch?v=LQxrzqu4PYU[/embed]

Junior Brother
2025-03-21 19:30 - 23:00
Button Factory
Friday 21st March

7:30 pm

Special Guests

SEARCH RESULTS & PETER MCGANN (MC)

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Carefully pushing the boundaries of what modern Irish folk can look and sound like, Junior Brother is an idiosyncratic, challenging, and richly lyrical singer/songwriter from Co. Kerry. With Junior Brother’s newest single, ‘Take Guilt’, the fearless artistry for which he is admired reaches exciting new heights, with thrilling clarity and shattering power. One of Junior Brother’s most powerful statements to date, ‘Take Guilt’ is out now (September 18th) accompanied by a Lyric Video by Dylan Gomery, and a music video to follow starring Éanna Hardwicke by Ellius Grace on October 4th.

Junior shifts in his seat slightly, before laying out his stall; “Things in the world are hard to ignore. Some things are almost impossible to forget. Privilege is reaching the end of the article and closing the paper - guts wrenched, heartbroken and everything forgotten by dinner time. Modernity unburdens itself, desperately trying to progress past history’s horrors - but horrors that used faces as currency will forever look back at us in the mirror’s reflection.

Small disgraces face minorities closer to home every day. I’m white and male and I have done nothing, but the crimes and horrors done in my face’s name requires me to take guilt. I’ll bring this guilt with me to escape hate, as the news of morning clears into the long dead day.”

Born Ronan Kealy, Junior Brother’s debut album ‘Pull the Right Rope’ earned a Choice Music Prize nomination for Irish Album of the Year, and similarly lauded sophomore LP ‘The Great Irish Famine’ claimed another Album of the Year nomination at the RTÉ Folk Music Awards, along with glowing press from The Guardian, MOJO Magazine, and The Irish Times to name just a few.

Building upon a debut album described as “Raw and stark - but very beautiful" (Hot Press Magazine), and the "Truly unforgettable" (MOJO Magazine) second, ‘The Great Irish Famine’, Junior Brother has whipped up a dedicated following, thanks to unmissable live shows, and music both excitingly forward-looking and anciently evocative. Thrilling appearances in iconic venues worldwide have left crowds spellbound, from the East Coast of the U.S. to Eastern Europe. He has played support for a variety of like-minded acts such as The Proclaimers (U.K. & IE), The Murder Capital (Europe) and Glen Hansard, the latter personally choosing Junior as the opening act for his 2019 US Tour.

Following the "wry songs of anxiety and frustration" (The Guardian) of ‘The Great Irish Famine’, Junior is currently at work on album number three, with famed producer John "Spud" Murphy (black midi, Lankum) at the helm. Junior Brother "makes mincemeat out of every other structured singer-songwriter you can think of" (The Irish Times) - and his incredible journey has only just begun.

“[An] unfiltered acoustic mix of neuroses, loss of innocence and religious oppression… Truly unforgettable.” - MOJO Magazine

“He thinks in ways that not only make him extraordinarily different but also virtually everything on ‘The Great Irish Famine’ remarkable.” - Tony Clayton-Lea, The Irish Times
"Junior Brother has all but single-handedly upended the conception of experimental folk on these shores" - Brian Coney, The Thin Air

[embed]https://www.youtube.com/watch?v=lj-L13lqXkg[/embed]

Tunng
2025-03-21 20:00 - 23:00
Whelan's
Friday 21st March

8:00 pm

Special Guest Dana Gavanski

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Tunng Announce new album ‘Love You All Over Again’ released January 24th on Full Time Hobby.

Celebrate 20 years since first album in 2025.

Time flies when you’re being Tunng. Can it really be over two decades since the band’s genre-blurring, self-styled ‘pagan folktronica’ first emerged from an east London studio. It surely can, and what’s more, January 2025 will mark the twentieth anniversary of This is Tunng... Mother’s Daughter and Other Songs, a debut longplayer whose acoustic guitars and poetic disquisitions on nature, mythology and the human condition, courtesy of Sam Genders, sieved through fellow band founder Mike Lindsay’s lattice of fractured beats and crackling electronics, still sounds like an impiously postmodern wedding of the rustic and the synthetic, the arcane and the futurist.

That 20-year-old signature sound makes a warm return on Tunng’s eighth studio album, Love You All Over Again, a winning amalgam of texture and melody, disconcerting imagery and shapeshifting production, predicated, Lindsay reveals, on a conscious reacquainting with the band’s first principles. “I went back to the first two albums just to listen to how we fused genres – things like Davy Graham, Pentangle, the Expanding Records catalogue and the Wicker Man soundtrack. Over the years, Tunng’s sound has varied and twisted, but at the root there is always a flavour of what Sam and I made on that first album. Rather than searching for a new avenue we went back to what we used to do, which, after all this time, felt like it was a new avenue... Love You All Over Again is our way of coming full circle.”

Lead single ‘Didn’t Know Why’ is a dauntless face-off between metallic synths and pellucid guitar arpeggiation with lyrics about a familiar Tunng song character, Jenny. “It's very Tunng: dark but then warm and melancholic. Sam heard this and immediately brought back the murderous Jenny, who has appeared on two previous Tunng albums”. Genders offers his take on Jenny. “She once represented a kind of romantic ideal – ‘the one’ – but now she’s a sort of every-person – a kind of archetype of all of us!”

Love You All Over Again is an album that gets to the very essence of Tunng. "For Tunng to work, it has to feel surprising, odd and unpredictable, and the new album has all that. It’s all about Tunng being back, as a family, within our original boundaries, bringing the love to all who have been a part of our journey over 20 years.” Lindsay sums up nicely.

Praise for previous album ‘Dead Club’

‘This is a really astonishing piece of work…Seven albums in, Tunng have made something that manages to be not only musically stunning but also has some hefty cultural import’ – NARC (5/5) Album of The Month

‘Rich with clarinet and strings, this is an album of murmured wise advice’ – Financial Times (4/5)

‘Tunng’s seventh album is impressively wayward…gorgeous textures of clarinets, guitars and synthesizers keep the project bracingly alive’ – MOJO (4/5)
‘remarkable collision of music and spoken word…as odd and beautiful as it is thoughtful and contemplative’ – UNCUT (7/10)

[embed]https://www.youtube.com/watch?v=d41T8UCvH1c[/embed]

Brigid Mae Power & Bill MacKay
2025-03-22 20:00 - 23:00

Six Organs of Admittance
2025-03-26 20:00 - 23:00

WHY?
2025-03-27 20:00 - 23:00
Whelan's
Thursday 27th March

8:00 pm

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Yoni Wolf has spent the last two decades traveling the remote sonic terrain where underground hip hop, avant-pop, and psych-rock meet. In that time he’s cultivated a unique sound, and a unique position as one of contemporary music’s most distinctive voices. Some of Yoni’s most compelling and critically-praised musical experiments have been issued under the moniker WHY? and his latest entry is no exception. On AOKOHIO Yoni condenses the essential elements of WHY? into a stunningly potent musical vision.

Co-produced by Yoni and his brother Josiah, AOKOHIO presents a rich palette of musical voices that emerge and disappear into a constantly shifting kaleidoscope of sound. “I wanted a wide variety of sounds. I didn’t want this album to sit in one sonic zone. I’ve always felt like too jagged of a person to be smooth in that way,” Yoni says. While the album features many notable guest contributors, from Lala Lala’s Lillie West, to Nick Sanborn and Amelia Meath of Sylvan Esso, the listener’s attention remains squarely directed on Yoni’s voice and vision.

AOKOHIO finds Yoni rethinking fundamental aspects of his approach to creating and delivering his music. The album is presented as six movements comprised of two to four songs each, with some segments appearing as brief fragments that dissolve within seconds.

“When I started this project, I decided I needed to try a new approach in creating music and how I work,” Yoni reflects. “I wasn’t feeling the idea of going back in and making another ten or twelve song album. It felt arduous. It felt like too much. So I wanted to pare the process down and make it manageable. I thought, ‘Why don’t I make small five or six minute movements and finish up each movement before I move on to the next.’ That’s how I started approaching it. The whole process took over five years, I’d start working on something and set it aside for awhile. The earliest songs on this album started in 2013.”

As Yoni reimagined his approach to creating music, he also began thinking of new ways to share the music with his audience. “I initially wanted to release the music as I progressed through the project,” Yoni says. “When I finished a movement I wanted to put it up digitally on Bandcamp or Soundcloud. I just wanted to make little pieces of music and put them out there. But I had a call with my manager and the label and they said, ‘We can release stuff through time like that, but we want to do it properly.’ So the idea of the project changed after that, but it retained the integrity of working in movements. It’s definitely a very different way of working for me. I think it has yielded some interesting results.”

The concept of sharing AOKOHIO in segments over time has been preserved with the release of an accompanying visual album. “I think it’s a very artful way of putting the music out there,” Yoni explains. “It’s like a television series, it’s revealing itself slowly over time. I think it’s cool that the audience gets to hear it one piece at a time, and has to wait and digest each piece before they get the next one.”

“I knew early on that I wanted that visual element for this album,” Yoni recalls. “My brother and I have worked on video stuff our whole lives. Our dad had video equipment since we were little kids, he had an editing suite in our basement. We weren’t rich, we were actually fairly poor, but somehow he’d gotten ahold of these video editing decks and cameras. Even though my brother and I had dabbled in video as kids, it’s not what we do for a living. So we wanted to find someone, and fucking randomly a guy messaged me on Instagram and was like, ‘Hey, I like your music and I’d love to work with you.’ I looked at his work and I was like, ‘This guy is for real!’ ”

The author of that fateful Instagram message was Sundance award-winning director Miles Joris-Peyrafitte. “Miles directed the first three segments of the visual album and is the mastermind of the overarching video project,” Yoni explains. Joris-Peyrafitte’s visuals cut contemporary footage of Yoni and actress Tatiana Maslany with vintage home videos documenting Yoni’s childhood life in Cincinnati. It’s a fitting juxtaposition, as Yoni’s lyrics on AOKOHIO seem to question how memory, history, and place shape our anxieties and sense of self. “I moved back to Cincinnati after living in the Bay Area for over a decade,” Yoni says. “This album is very much me thinking about my mom and dad, and my siblings.”

Yoni’s return to his Ohio hometown brought on a period of critical self-reflection. “Is there a word for bad nostalgia?” Yoni asks. “When I think of the word nostalgia, it seems like pleasant feelings and all that, but this is not really like that. It’s more about reflecting on the anxieties I’ve had since I was born. Why are they there? Is this epigenetics? Is that shit just inside of me because of the Holocaust and my relatives back then? What am I really? Why do I operate in these ways?”

Ultimately AOKOHIO sees Yoni pushing to find meaning and peace of mind in the moment, even if it’s not exactly where he wants to be. “The title is sarcastic I guess,” Yoni offers. “But it’s also wishful. A lot of my album titles have been names of maladies, like Alopecia and Mumps, Etc. I don’t want to project that into the world. You know, ‘A-OK Ohio, I’m here and it’s fine.’ It’s like a mantra, ‘A-OK Ohio, I’m here and it’s OK.’ Even though in reality, everyday I’m like, ‘I’ve got to get the hell out of Ohio.’ ”

AOKOHIO feels like a consequential addition to the WHY? catalog, possibly even an artistic turning point. But its creator remains circumspect when asked to comment on the album’s significance within his discography, instead preferring to characterize the work as the latest iteration of his deep commitment to his artistic practice. “I have no idea if this record is good or not,” Yoni says. “But I never really know. I know that I’ve never written a song that’s indispensable to the American songbook. But in terms of what it is, it’s a piece of art. I put blood, sweat, and tears into this album, and struggled through the creative process as I always do. As far as where this sits with the rest of my albums? I can’t answer that. I just know that my career is a lifelong career, and I’m working it. Every time it feels right, it makes me feel good.”

[embed]https://www.youtube.com/watch?v=Qn8aZZF3GOI[/embed]

New Jackson, Rory Sweeney & The Outside
2025-03-28 19:30 - 23:00
Button Factory
Friday 28th March

7:30 pm

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Foggy Notions presents a celebration of live electronic music featuring New Jackson, Rory Sweeney & The Outside. PLease note this show is rescheduled to Friday 28th March. All tickets remain valid.

New Jackson is the lauded sonic poet of nocturnal romance, an artist who’s evocative machine soul has enjoyed a celebrated career both on and off the dancefloor. The impending release of his second album OOPS… POP! for Permanent Vacation now rewrites his own inimitable playbook from his current abode on Ireland’s south west coast to further affirm his status as one of electronic music’s modern visionaries.

Since his production debut under the alias back in 2011, Irish musical polymath David Kitt has released some of his most beautiful music as New Jackson. It’s an anything-goes electronic sound driven by an “MPC-mindset”; a hardware-obsessed vision of rhythm further clarified by Kitt’s unrivalled songwriter’s nous, impassioned love of ecstatic dance music and adventurous experimentation in the studio. The project’s origins date back to his time as part of Dublin's 'Thomas The Skank Engine' crew (behind the now-legendary Dub Trax parties), a key focal point of inspiration that anchors Kitt with an underground mentality no matter where his music’s popped up since.

This all, of course, in tandem with his beloved live show; a spectacle in performance and sound that featured around the globe at places like Berlin’s Panorama Bar, Frankfurt’s Robert Johnson, NYC’s Output, Amsterdam’s Sugar Factory and Ibiza’s Pacha Destino as part of Solomun's ‘Plus Live’ series. Then there’s the small matter of his near three decade-long DJ career; a passion of sprawling selections that expose his vast digger’s knowledge and defiance of genre frigidity that speaks to his versatility within the craft; as comfortable rocking festival main stages as he is spinning rockabilly 7’s in a dimly lit pub.

‘OOPs… POP!’ then is the highly anticipated sequel album, a refreshing new twist in the New Jackson oeuvre. Released with long-time collaborators Permanent Vacation, it is a concise triumph in techno-pop recorded across the span of five years and three different countries. Within the album’s 9 tracks, Kitt manages to transform his process into a leaner beast; tightening the screws around arrangements and songwriting to inspire an album sonically effortless in demeanour and spontaneously playful in structure and form.

Rory Sweeney is hard to define, having made a name for himself as one of the key artists in the Irish Underground. His solo music is both dramatic and playful, with glitchy electronics and cinematic balladry.

Mostly known for acclaimed production work for artists such as Sello, Curtisy, Kojaque, Aoife Wolf, Sloucho, EMBY and Pippa Molony, Rory seamlessly traverses mainstream and experimental sounds. He is the current AVA Festival Producer of the Year recipient.

Rory's live set brings you to the otherworld, a place totally unlike our own. Expect textured atmospheres, glonked out club beats, heavy bass and moments of disorienting beauty.

The Outside is new collaborative project between musician/producer David Kitt and dj/sound artist Aoife O'Neill. Using field recordings recorded locally in Kerry as a starting point the pair stretch out in all manner of exciting electronic directions running the gamut from blissed-out ambient to futuristic club-ready bangers.

[embed]https://youtu.be/ZtnVcROPXU4?feature=shared[/embed]

Coco & Clair Clair
2025-03-29 19:30 - 23:00
Button Factory
Saturday 29th March

7:30 pm

Special Guest Raven Artson

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We are proud to announce the Irish Debut of Coco & Clair Clair. Tickets on sale now.

Coco & Clair Clair joke that if their debut album, 2021’s Sexy, was a baby boy, then their forthcoming album Girl is, well, a baby girl. The Atlanta-based duo, who mix hip hop with lo fi dream pop and glimmering electronic production, have gained acclaim over the last few years for their effortless charm and winking braggadocio. On tracks like their viral hit “Pretty,” Clairo and Deaton Chris Anthony collaboration “RACECAR,” and “Wishy Washy,” which was featured on Atlanta, the duo coolly dismiss the boring men who want to date them, talk shit about people who copy them, and luxuriate in being the life of the party. That kind of unfiltered confidence is often associated with male musicians, but Coco & Clair Clair’s music is also lush, vulnerable, and intimate. On Girl, they push that tension between stereotypically male and stereotypically female attributes further than ever before, with newly confessional lyrics, polished production, and the same verve that has always defined their work. Girl is a thrilling, poignant album that shows just how multifaceted girlhood and femininity can be.

[embed]https://www.youtube.com/watch?v=7NCQb-mWkHs[/embed]

DEHD
2025-03-29 20:00 - 23:00
Whelan's
Saturday 29th March

8:00 pm

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Cigarettes burn in the moonlight. Necklaces bang against bare chests. And on their triumphant fifth album Poetry, Dehd transports us to a world steeped in imagery. It’s a world painted in the sunset tones of summer romance and flickering old flames. It’s motorcycle chrome (“Mood Ring”), it’s fake Gucci Sunglasses (“Dog Days”), and it’s shaking hands before a swaying lover (“Hard to Love”). Across fourteen songs, the trio–Jason Balla, Emily Kempf, and Eric McGrady–throw themselves against the question of what it means to hope, knowing all too well that things end and hearts can break. “You can’t beat death, but you can beat death in life,” wrote Charles Bukowski and upon listening to this album it’s obvious the band has chosen to attempt the latter.

After hitting a stride with their 2020 breakout record Flower of Devotion, followed by their radiant Fat Possum debut Blue Skies in 2022, Dehd did something different. They turned a writing session into a road trip. With a van full of recording equipment they headed to Kempf’s off-grid Earthship in New Mexico where they chopped wood to keep warm and worked for as long as the solar panels held a charge. They then traveled north to a borrowed cabin surrounded by the chilly waters of the Puget Sound, where the hours were marked only by the movement of the tide. On the way back to Chicago for their final writing session at the warehouse they’ve called home for over a decade, Balla and McGrady became stranded for days in rural Montana after hitting a deer and abandoning their van. This tireless sense of adventure, both internal and external, has become a trademark of Dehd over the years. “Eating, sleeping, breathing—our only purpose was to write,” Kempf recalled. And it seems in this place of quiet focus Dehd have achieved their most honest and vulnerable writing yet.

In the studio they tapped Ziyad Asrar (of Whitney) to co-produce alongside Balla, marking their first time collaborating with someone outside of the band for the recording process. With the addition of Asrar the emotional landscape of the record is vividly rendered, at times confessional and others anthemic, vocals bared, up front with the confidence of a band that knows the power of their words.

No one writes about love quite like Dehd, and on Poetry, they somehow make even heartbreak sound inviting. In the swirl of budding new relationships and lingering breakups, their lyrics find themselves at once exalting love and then turning to doubt it. Examining their own self-defeating habits. “I let myself get in the way, turning every thought to jealousy,” admits Balla on “Light On,” “But was it worth losing a home?” On “Pure Gold,” Kempf excavates her feelings for another woman–and while writing the song found Kempf confronting years of internalized heteronormativity, she writes about a sapphic love that feels almost too perfect for Dehd: “Easy breezy. Ooh yeah we laugh so freely,” she sings, embodying the liberated joy of a new crush.

“Everyone I know is breaking hearts tonight,” Balla howls on “Dog Days”, “Everyone I know is bleeding, but I know we’ll be alright.” This restless optimism is uniquely Dehd and speaks to their career of confronting the messy duality of life and love. On Poetry the band conjures a world as if through the eyes of Leonard Cohen or the camera lens of Wong Kar-wai. There's a darkness, but not a bleakness as they explore self-love, feminism and friendship with rare candor. “Dist B,” based on a trying emotional experience Kempf had in Copenhagen, frames a breakdown as a cry for help: “What will it take for you to see me?” she asks. On “Knife,” she takes aim at the patriarchy— “the closest thing to a political song that I'll probably ever write”— and shoots to kill: “It’s a matter of time and I’ll be free,” she sings, while the old guard counts their days: “You’re outdated. You mean nothing.”

The album Poetry represents a journey as vast and nuanced as the American landscape Dehd traveled to write it. It culminates on the scorching closer “Forget,” a breakup song transformed into mantra. “How could I forget?” Balla laments as distorted guitars burn like the last embers of the day. It’s fitting that the final words of the album come in the form of a question, because as Dehd would have us see it, we have a choice: to play it safe or to risk it all and live life like Poetry.

[embed]https://www.youtube.com/watch?v=LbdHMLEYwwA[/embed]

Geordie Greep
2025-04-01 19:30 - 22:30
Vicar Street
Tuesday 1st April

7:30 pm

SOLD OUT

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Foggy Notions presents Geordie Greep (of black midi) for his Irish Debut at Vicar Street.

New Dates Added To World Tour Including Two Nights At Koko

Debut Solo Album ‘The New Sound’ out now on Rough Trade Records

“The main theme of the record is desperation; you don’t hear an unreliable narrator but someone who is kidding themselves that they have everything under control, but they don’t.” Geordie Greep

“An incredible, accomplished confection” 9/10 UNCUT

“A thoroughly brilliant and modern rock album” Loud & Quiet / Albums Of The Year

Geordie Greep (guitarist and vocalist in black midi) today shares a blistering live concert film recorded in New York at TV Eye, watch the performance here. The film features Geordie’s US Band, Santiago Moyano on Percussion, Charlie Shefft on Drums, Cameron Campbell on Keys and Dave Strawn on Bass. Geordie says his intention has been “to do a Keith Jarrett thing’, have a different group of session musicians in a different place and lean into the fact that we’re not going to get it the same.” New tour dates have also been added to Geordie’s already extensive world tour which takes him across Europe, to North America and onto Japan and Korea – including two nights at Koko, his biggest London headline shows to date. See below for full details.

Following three astonishing albums with black midi, most recently 2023’s ‘Hellfire’, and almost non-stop worldwide tours for near-on five years, Geordie Greep has somehow found time to record his first solo album ‘The New Sound’, an album that has allowed him scope to explore creative ideas like never before. It boasts a brand of high quality, all-embracing alternative pop fun not heard in a very long time. Geordie Greep; “With recording ‘The New Sound’, it was the first time I have had no one to answer to. And with every impulse I had, I was able to completely follow it through to its conclusion. Being in a band (black midi), we often have this ‘we can do everything’ feeling, but you are also kind of limited in that approach, and sometimes it's good to do something else, to let go of things.”

Over thirty session musicians were involved in the making of the album, on two continents, in São Paulo and London. Geordie Greep; “Some of the tracks we had recorded already, elsewhere, but it just wasn’t right, so we re-recorded them with new people. Half of the tracks were done in Brazil, with local musicians pulled together at the last minute. They’d never heard anything I’d done before, they were just interested in the demos I’d made. The tracking was all done in one, maybe two days. Then we did the overdubs later, in London.”

Geordie Greep has had plenty of practice with black midi over the years in performing musical and lyrical Cruyff turns, full of stop-starts, blasts and bangs and whispered soliloquies. Here the method is employed to ask: what part of the narrative should we listeners believe, or take as our emotional crutch? The mercurial, insouciant tone set in ‘Terra’, or the gruesome imagery it is juxtaposed with? After all, Greep tells us, this is the story of “the museum of human suffering.” Consider, too, the strange emotional undulations created in ‘Through a War’, where the music makes a very polished stab at aping a soul revue; or a salsa class. It’s there to give colour to a set of imaginings which include cannibalism, being boiled alive, and a woman giving birth to a goat. You’re never quite sure when, or whether, you are supposed to be shocked; or laugh. Even if, as with the latter, Geordie Greep gives us the punchline; “And that’s how I spent my adolescence.”

Street life is all around: the listener is thrown into a world of cafes, bars and clubs, visit theatres, cabarets and strange museums, or rented rooms. Here we see our heroes carry out a series of naughty assignations, military cosplay or socio-economic triumphs. Greep; “I was often thinking of walking through a city, and thinking about a million dollars, showing that kind of feeling, you know?” Taking on The New Sound in its entirety can feel like you are trying to cross Piccadilly Circus after a skinful. Single ‘Holy Holy’ is possibly the best example: has urbane romantic fantasy ever sounded this way? Probably not since Noël Coward. This story of an imaginary liaison in a nightclub is soundtracked by ’noughties indie pop chords and bravura Latin big band arrangements - including a three-piano attack (Steinway, Bechstein, electric). ‘Motorbike’ sees a change in vocal duties: as bassist and album producer Seth ‘Shank’ Evans starts up a doleful soliloquy about not getting what he wants.

It’s certainly an album that fully engages the listener, throughout the eleven tracks. Greep; “I was worried about the length in terms of not overblowing it. But I’m also really bloody bored of listening to music and, for better or worse, knowing in advance what it means or what it’s trying to do. All my favourite music is about the listener coming to terms with what is going on. My favourite singers, like Peter Hammill or Nat King Cole, are literally one of a kind. I love that. Especially with lyrics, where you’re not sure what they’re going on about, but you know it’s not just abstract thoughts.”

[embed]https://www.youtube.com/watch?v=qszu-WSGoOs[/embed]

Bo Staloch
2025-04-05 20:00 - 23:00
Bello Bar
Saturday 5th April

8:00 pm

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Following his incredible Irish Debut in August 2024, Bo Staloch returns to Dublin this April with full band.

Born and raised in Austin TX, Bo Staloch is an up-and-coming singer-songwriter based in Nashville. Through the release of his debut single 'Springtime Red Tulips,' he has gained the attention of many, including some of his biggest idols and inspirations. Bo has a very unique sound that blends the worlds of Americana, Country, Folk and Pop. He takes listeners on a wild journey through his extremely vivid storytelling capabilities.

In 2024 alone, Bo played over 30 shows in his first year as a touring act. This includes supporting John Vincent lll, Hans Williams, Wyatt Flores and Richy Mitch & the Coal Miners.

Keep your ears and eyes open for a ton of new music from Bo soon!

[embed]https://www.youtube.com/watch?v=5EqnyqsBVZc[/embed]

The Tubs
2025-04-05 20:00 - 22:00
The Workman's Cellar
Saturday 5th April

8:00 pm

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“Their 2023 debut was the best British indie-pop in a generation, and the first single from their follow-up album is as good, with an almost absurdly melodic jangle-riff offset by rueful lyrics.” The Guardian

The Tubs – Cotton Crown Bio

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territory while continuing to hone their highly addictive brand of songcraft. It’s a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a ‘vast world of moods and muses’ and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process.

This is in no small part down to Owen ‘O’ Williams’ vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favorite themes of love-psychosis, unsympathetic mentally ill behavior, and the humiliations of being a musician in London. This time around, however, there’s a palpable sense of risk in his self assessments/confessions. No more so in the track’s closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: “I’d tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled.” The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.)

The essential trick Cotton Crown plays is to offset Williams’ lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you’ve got yourself a recipe for indie rock greatness.

The band’s debut ‘Dead Meat’ was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their “Round the Bend” single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a “shot in the arm for indie rock”. The band’s hard touring and raucous, beery live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan McCardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian

[embed]https://www.youtube.com/watch?v=Y3MDLKzwwZo[/embed]

Oracle Sisters
2025-04-06 19:30 - 23:00
Button Factory
Sunday 6th April

7:30 pm

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Multi-instrumentalist artist trio, Oracle Sisters is the reunion of two childhood friends, Lewis Lazar and Christopher Willatt, whose lives are deeply intertwined. They were brought together by a twist of fate in Paris, where they met Finnish musician Julia Johansen.

After two EPs, 'Paris I' and 'Paris II,' with retro-futuristic inspirations, they gained attention with their track 'Asc. Scorpio,' before releasing their first album, 'Hydranism,' in 2023.

Their music has roots in the folk tradition from their time spent time in Edinburgh and Dublin, later incorporating americana, rock n roll, psychedelic and soul picked up on their travels. Catch the band on tour across Europe in 2025."

[embed]https://www.youtube.com/watch?v=jqV8FT-FI80[/embed]

Gavin Friday
2025-04-08 19:30 - 2025-04-10 23:00

Adrian Crowley
2025-04-11 20:00 - 22:30
Project Arts Center
Friday 11th April

7:30 pm

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Adrian Crowley just released his captivating single Tangled on the brand-new label Valley Of Eyes Records. The mysterious track is produced by John Parish and features Nadine Khouri on backing vocals. On Tangled Crowley says:

"I see this song as a kind of restless wander through a predawn neighbourhood; and a dip into the shady realm of a sleepless mind, when nocturnal creatures are still prowling around, and ruminations and febrile thoughts take hold until the morning comes. This song was almost lost. The morning after it was written, the day's distractions lead me away from it for a while and it was duly forgotten. But then one night, preparing the new album, I found it again."

Adrian Crowley is an award-winning Irish songwriter, singer, and composer who has, in over two decades, created a deeply affecting body of work. The Dublin-based artist is noted as having a uniquely dark poetic sensibility and an arrestingly resonant voice. His songs have led him to being described as a master storyteller and the rich tapestry of his expansive recorded output is proof that he is an endlessly inspired and inspiring artist.

Adrian Crowley’s voice is a powerfully emotive thing. His deep timbre and richly arranged songs and haunting lyrical narratives, amid settings that alternate sweeping sonic majesty with ghostly starkness, is uniquely his own.

“Like a gothic Leonard Cohen – leaving you aching for more.” UNCUT

[embed]https://www.youtube.com/watch?v=_w7LeUymV3w[/embed]

Maria Somerville
2025-04-15 19:30 - 2025-04-18 23:00

MOIN
2025-04-24 20:00 - 23:00
Whelan's
Thursday 24th April

8:00 pm

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Moin are a London-based three-piece featuring Tom Halstead and Joe Andrews of the electronic outfit Raime, alongside visionary percussionist Valentina Magaletti.

Their music recontextualizes a range of guitar-based genres—grunge, shoegaze, and post-rock—through an enigmatic reimagining of the traditional band dynamic. Employing both conventional and unique compositional techniques, their sound is marked by a visceral immediacy that comes to life in full force during their live performances.

Moin walk the line between the reassuringly familiar and the unsettlingly inquisitive.

Imbibe Coffee Roasters started in May 2018 with an aim to bring coffees of an unrivaled standard to Ireland but to do this using a business model that was different to any other. Although profit is important for every business it is not the main driver of Imbibe.

1% of all Imbibe’s coffee sales go to Women’s Aid, 1% to projects at coffee origins and a further 1% is shared among their staff. They don’t engage in CSR programs that are simply window dressing. When you buy Imbibe coffee you are making a difference.

[embed]https://youtu.be/OZeeCdrdd3c?si=O0U8JGeXh5GE_wqM[/embed]

Jim Page
2025-04-24 20:00 - 23:00
The Cobblestone Dublin
Thursday 24th April

8:00 pm

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The return of American songwriting legend Jim Page, whose composition "Palestine" features on the latest Christy Moore album A Terrible Beauty.

Jim Page is an America singer/songwriter from Seattle, WA, who has released two dozen albums and written a mountain of songs - some covered by the likes of Christy Moore, The Moving Hearts, Dick Gaughan, Roy Bailey, Michael Hedges, and the Doobie Brothers.

On top of being a great concert performer, his workshops on fearless songwriting are deeply effective and open to all skill levels. He does not shy away from the hard topics – politics, historical residue, and the labors of love. If you can talk about it you can sing about, that’s how he sees it.

He has been named "One Of the 50 Most Influential Musicians In Seattle History." He’s been doing it since the 60s and he shows no sign of slowing down. “Jim's been writing great topical songs for as long as I can remember, bringing his acute wit and wry humor to a host of subjects that can really use both. He cuts right to the heart with music you actually enjoy listening to. I'm a longtime admirer.” BONNIE RAITT “Every now and again I encounter a singer who gives me a glimmer of hope. Jim Page carries the light.” CHRISTY MOORE

Jim’s 24th album – THE TIME IS NOW: “Songwriting master craftsman delivers career defining album.” Graeme Tait, Americana UK “Jim Page is a lyrical genius with a guitar. This man personifies the word ‘free-flow.’ Page takes to the mic and the song invents itself on the spot; his talent is a natural wonder.” GAVIN REPORT “If Jim Page ain’t the bastard son of Woody Guthrie I’m T-Bone Walker.” ROBERT HUNTER

[embed]https://www.youtube.com/watch?v=lj-L13lqXkg[/embed]
