Foggy Notions and National Concert Hall are proud to announce the return of Haunted Dancehall to Dublin on Saturday 24 October and Sunday 25 October — a convergence of world-builders, sonic visionaries, and boundary-breakers. Tickets on sale Friday 3rd July at 10:00 via nch.ie.

Circuit des Yeux feat. Alan Sparhawk presents Nosferatu (1922)
Horror cinema’s foundational text, this iconic classic of silent-era expressionism will be taken to a new, otherworldly realm with a hypnotic and haunting original live score by acclaimed musician Circuit des Yeux, accompanied by Alan Sparhawk of Duluth indie legends Low. F.W. Murnau’s infamously unauthorized adaptation of Bram Stoker’s Dracula stars an unforgettable Max Schreck as Count Orlok, a ghoulish vampire who lures his victims to his shadowy Transylvanian castle. Authorized or not, Murnau’s spooky masterpiece remains the definitive Dracula over a hundred years (and at least as many versions) later. Circuit des Yeux’s recent albums have landed on numerous best-of-year lists, including The Wire and NPR. Her latest, Halo on the Inside, was released last year on Matador Records and received effusive praise from Pitchfork and The New York Times. “An artist who feels increasingly, thrillingly peerless” (Bandcamp Daily).

keiyaA makes music that excavates, discovers, and excavates again, all in the service of exploring life’s most beautiful and daunting questions: What do we owe to ourselves and others? How do the things we desire hint at the shape of our souls? What does it take to achieve peace of mind, especially when the world is intent on denying you of it? Why won’t you love me when I’m so damn easy to love? Her debut album, Forever Ya Girl, was genre-defying work of simultaneous self-discovery and self-determination. The production, which pulled from R&B, jazz, electronic music, and soul, was as limitless as the lyrics. As keiyaA grappled with these questions, she wove together genres and crafted a sound all her own: Her gossamer vocals cascaded and floated across slippery funk bass lines, pools of synth and reverb, and samples of Black cultural touchstones like Nina Simone interviews and snippets from Beyoncé tracks.

As one half of the pioneering band Low, Alan Sparhawk and his wife and lifelong creative partner Mimi Parker explored the force of powerful, gentle places by weaving together layering sounds, production, and emotion. Following Parker’s passing in 2022, fellow Duluth, Minnesota musicians Trampled by Turtles invited Sparhawk to join them on tour, and thus gave him a space to be surrounded by friends. Occasionally, he would join them onstage. In 2024, he released his first solo album, a haunting batch of mostly electronic anthems and éloges called “White Roses, My God.” Pitchfork wondered out loud how something so “blown out, staticky, inhuman” could simultaneously elicit “freedom” and “spiritual necessity” a combination that the last Low releases had been developing already. With his follow-up album, titled “With Trampled by Turtles” Sparhawk’s guitar work is once again at the forefront, the songs still beamed from a unique inner sanctum of one, then reshaped in full collaboration with the band.

thredd bring their emotionally charged “cold pop” sound to Sunday evening, blending atmospheric electronics, sharp songwriting and textured production into something both immediate and deeply immersive. Formed by Will Lister, Max Winter, and Imogen and The Knife during a now-legendary Laylow residency in West London, the trio quickly built a reputation for instinct-driven live performances and boundary-pushing songwriting. Following the release of their debut album It’s Lovely, Come On In (Scenic Route), thredd continue to carve out a distinctive space between experimental pop, club music and moody electronic abstraction.

feeo brings an intimate and experimental live performance, blending ambient electronics, drone, minimalist dance music and poetic songwriting into deeply immersive soundscapes. Centered around themes of connection, isolation and contemporary city life, the London-based artist’s acclaimed debut album Goodness (AD93) moves fluidly between improvisation and song, illuminated by haunting vocals and emotionally rich storytelling.

Colm O Ciosoig , a founding member of my bloody valentine and also founder of the warm inventions with Hope Sandoval is showcasing his new solo project, Scrata, blending organs, synths and drums. A highlight of 2026’s Festival for many.

Madeline Johnston is a self-taught multi-instrumentalist and recording engineer, currently based in Southern Colorado by way of Denver, where she spent the last decade+ developing her sound and focusing on her artistic community. Midwife began while Madeline was a resident of the beloved DIY space Rhinoceropolis in 2014. On stage, Johnston is known for her sparse, emotionally charged experimental pop music that can silence a room. On record, she produces intricate and lush sonic environments in her own little corner of the heavy music scene. She describes her sound as “Heaven Metal,” AKA emotional music about devastation: catharsis. Johnston writes primarily about grief, and the many faces it can inhabit.

Nigerian-born, Dublin-based artist E The Artist brings his explosive fusion of club music, rap and noise experimentation to Haunted Dancehall Festival. Renowned for intense and uncompromising live performances, E has built a cult reputation through visceral sets that collide jungle, grime and AfroPunk energy with elements of power electronics and extreme metal. Emerging from a period of personal reflection that shaped his latest body of work Six, his music channels themes of identity, mortality and diaspora through raw, high-impact sound. With support from underground innovators including Machine Girl and Kode9, E stands at the forefront of Ireland’s evolving experimental music scene.

Caitlin Orla Eve is an independent 24-year-old artist & producer from West Cork, Ireland. Composing, writing, producing, and mixing her own work, Caitlin brings her creative vision to life from concept to completion, fusing rich sonic textures and contrasting elements, making Caitlin’s works feel like their own self-contained, atmospheric worlds.