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BEGIN:VEVENT
DTSTART;TZID=UTC:20260130T200000
DTEND;TZID=UTC:20260130T230000
DTSTAMP:20261026T143533
CREATED:20251016T074240Z
LAST-MODIFIED:20260130T125755Z
UID:10000091-1769803200-1769814000@foggynotions.ie
SUMMARY:FAETOOTH
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n						\n	Decrease ticket quantity for CLARA MANN\n	-\n				\n\n	\n		Quantity	\n	\n\n					\n	Increase ticket quantity for CLARA MANN\n	+\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/faetooth-workmans-club-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/Faetooth-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260204T200000
DTEND;TZID=UTC:20260204T230000
DTSTAMP:20261026T143535
CREATED:20251211T085239Z
LAST-MODIFIED:20251211T085714Z
UID:10000145-1770235200-1770246000@foggynotions.ie
SUMMARY:CORTISA STAR
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/cortisa-star-soundhouse-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/12/CORTISA-STAR-Web.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260207T200000
DTEND;TZID=UTC:20260207T230000
DTSTAMP:20261026T143535
CREATED:20251015T193534Z
LAST-MODIFIED:20251220T205305Z
UID:10000076-1770494400-1770505200@foggynotions.ie
SUMMARY:THEY ARE GUTTING A BODY OF WATER
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/they-are-gutting-a-body-of-water-whelans-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/TAGABOW-Website-SO.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260211T200000
DTEND;TZID=UTC:20260211T230000
DTSTAMP:20261026T143535
CREATED:20251112T145316Z
LAST-MODIFIED:20260127T190351Z
UID:10000120-1770840000-1770850800@foggynotions.ie
SUMMARY:MARIA SOMERVILLE
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/maria-somerville-kasbah-limerick-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/11/Maria-All-New-Instagram-Post.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260212T200000
DTEND;TZID=UTC:20260212T230000
DTSTAMP:20261026T143535
CREATED:20251112T150008Z
LAST-MODIFIED:20260212T154342Z
UID:10000121-1770926400-1770937200@foggynotions.ie
SUMMARY:MARIA SOMERVILLE
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/maria-somerville-roisin-dubh-galway-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/11/Maria-All-New-Instagram-Post.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260213T200000
DTEND;TZID=UTC:20260213T230000
DTSTAMP:20261026T143536
CREATED:20251016T191433Z
LAST-MODIFIED:20251220T204541Z
UID:10000098-1771012800-1771023600@foggynotions.ie
SUMMARY:JOHN BRAMWELL (I AM KLOOT)
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/john-bramwell-i-am-kloot-dublin-2026-friday/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/John-B-Web.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260213T200000
DTEND;TZID=UTC:20260213T230000
DTSTAMP:20261026T143536
CREATED:20251112T150636Z
LAST-MODIFIED:20260129T185724Z
UID:10000122-1771012800-1771023600@foggynotions.ie
SUMMARY:MARIA SOMERVILLE
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/maria-somerville-whelans-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/11/Maria-SO-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260214T200000
DTEND;TZID=UTC:20260214T230000
DTSTAMP:20261026T143536
CREATED:20251015T204705Z
LAST-MODIFIED:20260204T175500Z
UID:10000084-1771099200-1771110000@foggynotions.ie
SUMMARY:WAVVES
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/wavves-grand-social-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/WAVVES-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260214T200000
DTEND;TZID=UTC:20260214T230000
DTSTAMP:20261026T143536
CREATED:20251016T192128Z
LAST-MODIFIED:20251220T204739Z
UID:10000099-1771099200-1771110000@foggynotions.ie
SUMMARY:JOHN BRAMWELL (I AM KLOOT)
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/john-bramwell-i-am-kloot-dublin-2026-saturday/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/John-B-Web.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260217T193000
DTEND;TZID=UTC:20260217T230000
DTSTAMP:20261026T143536
CREATED:20251015T201634Z
LAST-MODIFIED:20251127T131227Z
UID:10000081-1771356600-1771369200@foggynotions.ie
SUMMARY:MILITARIE GUN
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/militarie-gun-button-factory-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/Militarie-Gun-New-Instagram-Post-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260218T193000
DTEND;TZID=UTC:20260218T230000
DTSTAMP:20261026T143536
CREATED:20251014T193436Z
LAST-MODIFIED:20251014T194557Z
UID:10000065-1771443000-1771455600@foggynotions.ie
SUMMARY:GAVIN FRIDAY
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/gavin-friday-ireland-spring-2026-limerick/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/Gavin-Friday-Website-Both.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260219T193000
DTEND;TZID=UTC:20260219T230000
DTSTAMP:20261026T143536
CREATED:20251014T195241Z
LAST-MODIFIED:20251102T203327Z
UID:10000066-1771529400-1771542000@foggynotions.ie
SUMMARY:STEREOLAB
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/stereolab-ireland-february-2026-cork/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/Stereolab-ALL-Website-Updated.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260220T193000
DTEND;TZID=UTC:20260220T230000
DTSTAMP:20261026T143536
CREATED:20251014T201649Z
LAST-MODIFIED:20251102T203204Z
UID:10000067-1771615800-1771628400@foggynotions.ie
SUMMARY:STEREOLAB
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/stereolab-ireland-february-2026-limerick/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/Stereolab-ALL-Website-Updated.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260220T193000
DTEND;TZID=UTC:20260220T230000
DTSTAMP:20261026T143536
CREATED:20251015T200858Z
LAST-MODIFIED:20251016T205706Z
UID:10000080-1771615800-1771628400@foggynotions.ie
SUMMARY:DANNY L HARLE
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/danny-l-harle-button-factory-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/Danny-L-Harle-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260220T200000
DTEND;TZID=UTC:20260220T223000
DTSTAMP:20261026T143536
CREATED:20251016T201158Z
LAST-MODIFIED:20251102T153723Z
UID:10000105-1771617600-1771626600@foggynotions.ie
SUMMARY:FABIANO DO NASCIMENTO
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/fabiano-do-nascimento-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/FABIANO-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260220T200000
DTEND;TZID=UTC:20260220T230000
DTSTAMP:20261026T143536
CREATED:20251015T211038Z
LAST-MODIFIED:20251015T211646Z
UID:10000086-1771617600-1771628400@foggynotions.ie
SUMMARY:TEI SHI
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/tei-shi-bello-bar-february-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/Tei-Shi-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260221T200000
DTEND;TZID=UTC:20260221T230000
DTSTAMP:20261026T143536
CREATED:20251014T202700Z
LAST-MODIFIED:20251102T203437Z
UID:10000068-1771704000-1771714800@foggynotions.ie
SUMMARY:STEREOLAB
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/stereolab-ireland-february-2026-dublin/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/Stereolab-ALL-Website-Updated.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260221T203000
DTEND;TZID=UTC:20260221T230000
DTSTAMP:20261026T143536
CREATED:20251015T205634Z
LAST-MODIFIED:20251015T210750Z
UID:10000085-1771705800-1771714800@foggynotions.ie
SUMMARY:COURTNEY MARIE ANDREWS
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/courtney-marie-andrews-whelans-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/Courtney-Instagram-Post-updated-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260222T193000
DTEND;TZID=UTC:20260222T230000
DTSTAMP:20261026T143536
CREATED:20251014T203210Z
LAST-MODIFIED:20251014T203726Z
UID:10000069-1771788600-1771801200@foggynotions.ie
SUMMARY:STEREOLAB
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/stereolab-ireland-february-2026-belfast/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/Stereolab-ALL-Website-Updated.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260223T200000
DTEND;TZID=UTC:20260223T230000
DTSTAMP:20261026T143536
CREATED:20260108T145131Z
LAST-MODIFIED:20260109T095658Z
UID:10000162-1771876800-1771887600@foggynotions.ie
SUMMARY:STEREOLAB
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/stereolab-whelans-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/01/Stereolab-Whelans-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260224T200000
DTEND;TZID=UTC:20260224T230000
DTSTAMP:20261026T143536
CREATED:20251113T115355Z
LAST-MODIFIED:20251113T115850Z
UID:10000125-1771963200-1771974000@foggynotions.ie
SUMMARY:MARK WILLIAM LEWIS
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/mark-william-lewis-workmans-club-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/11/MWL-Web-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260227T200000
DTEND;TZID=UTC:20260227T230000
DTSTAMP:20261026T143536
CREATED:20251218T111649Z
LAST-MODIFIED:20251218T112150Z
UID:10000154-1772222400-1772233200@foggynotions.ie
SUMMARY:JANA HORN
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/jana-horn-bello-bar-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/12/Jana-Horn-Website-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260305T200000
DTEND;TZID=UTC:20260305T230000
DTSTAMP:20261026T143536
CREATED:20251105T100234Z
LAST-MODIFIED:20260225T150120Z
UID:10000111-1772740800-1772751600@foggynotions.ie
SUMMARY:REMEMBER SPORTS
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/remember-sports-workmans-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/11/Remember-Sports-Web-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260308T200000
DTEND;TZID=UTC:20260308T223000
DTSTAMP:20261026T143536
CREATED:20260205T085054Z
LAST-MODIFIED:20260205T091823Z
UID:10000179-1773000000-1773009000@foggynotions.ie
SUMMARY:LISA O'NEILL
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/lisa-oneill-pavilion-dun-laoghaire-march-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/02/LISA-ONEILL-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260312T193000
DTEND;TZID=UTC:20260312T230000
DTSTAMP:20261026T143536
CREATED:20251014T192322Z
LAST-MODIFIED:20251014T192835Z
UID:10000064-1773343800-1773356400@foggynotions.ie
SUMMARY:GAVIN FRIDAY
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/gavin-friday-ireland-spring-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/Gavin-Friday-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260318T200000
DTEND;TZID=UTC:20260318T230000
DTSTAMP:20261026T143536
CREATED:20251016T081138Z
LAST-MODIFIED:20251102T203938Z
UID:10000094-1773864000-1773874800@foggynotions.ie
SUMMARY:BAR ITALIA
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/bar-italia-ireland-march-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/bar-italia-Website-Dublin.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260319T200000
DTEND;TZID=UTC:20260319T230000
DTSTAMP:20261026T143536
CREATED:20251016T081930Z
LAST-MODIFIED:20251016T083038Z
UID:10000095-1773950400-1773961200@foggynotions.ie
SUMMARY:BAR ITALIA
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/bar-italia-ireland-march-2026-belfast/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/bar-italia-Website-Belfast.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260321T200000
DTEND;TZID=UTC:20260321T230000
DTSTAMP:20261026T143536
CREATED:20251205T133635Z
LAST-MODIFIED:20260321T165335Z
UID:10000143-1774123200-1774134000@foggynotions.ie
SUMMARY:CYPRESS\, MINE!
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/cypress-mine-bello-bar-march-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/12/CM-website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260328T193000
DTEND;TZID=UTC:20260328T220000
DTSTAMP:20261026T143536
CREATED:20260224T202526Z
LAST-MODIFIED:20260313T165353Z
UID:10000190-1774726200-1774735200@foggynotions.ie
SUMMARY:E THE ARTIST
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/e-the-artist-tengu-march-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/02/E-The-Artist-Instagram-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260402T200000
DTEND;TZID=UTC:20260402T230000
DTSTAMP:20261026T143536
CREATED:20251217T205226Z
LAST-MODIFIED:20260323T161201Z
UID:10000152-1775160000-1775170800@foggynotions.ie
SUMMARY:STEVE GUNN
DESCRIPTION:MODERN LOVERS CURATED BY FOGGY NOTIONS PRESENTS\nCLARA MANN\nSPECIAL GUEST\nJASMINE WOOD\nSUGAR CLUB\n15TH NOVEMBER				\n				\n					\n				\n		\n					\n				\n				\n					\n	\n\n		\n		\n		\n\n		\n\n		\n\n\n\n	Tickets\n\n		\n	\n	\n		The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities.	\n\n\n		\n\n	\n		\n				CLARA MANN	\n\n\n\n\n	SUGAR CLUB\n15TH NOVEMBER\nOVER 18'S I.D REQUIRED\n\n\n	\n		\n		€25.50			\n\n\n	\n\n\n	\n	 96  available\n\n\n	\n\n\n	\n					\n\n	\n		Quantity	\n	\n\n			\n\n	\n		\n	\n\n\n		Tickets are limited to 9 per order \n\n	\n	\n	\n		Quantity:	\n	0\n\n\n	\n	\n		Total:	\n	\n		€0.00	\n\n\n	Get Tickets\n\n		\n			\n\n\n		\n		\n	\n	\n\n	\n	\n\n	\n	\n\n\n\n			\n\n	\n\n\n				\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									TICKETMASTER\n					\n					\n				\n								\n				\n					\n				\n		\n					\n				\n				\n					\n	\n		\n\n	\n	Add to calendar	\n		\n	\n\n		\n			\n									\n	Google Calendar\n\n									\n	iCalendar\n\n									\n	Outlook 365\n\n									\n	Outlook Live\n\n							\n		\n\n		\n	\n\n				\n				\n				\n				\n																														\n				\n					\n				\n		\n					\n				\n				\n									Tickets on general sale Friday 31st July at 10:00. Wishbone\, the second album by Clara Mann is out on October 23rd 2026. Her single – News From Home is out today. Towards the end of Leos Carax’s 1991 film ‘Les Amants du Pont-Neuf’ (‘The Lovers on the Bridge’)\, its drifting protagonists\, a struggling artist and a half-blind painter\, careen down the Seine as the city explodes with fireworks\, the destitute lovers briefly possessing all of Paris. Carax’s vision of love was a construction where worlds could be rebuilt and seen from the position of two – physical exaltations pitched against despair\, light against dark\, beauty and ruin struck from the same flint – a vision the South London songwriter couldn’t shake.Where Mann’s 2025 debut album Rift sat in a single strange\, isolated shade of blue\, Wishbone is built instead on contrast: a record with a kind of luminosity running through it\, the brightest passages made legible by shadow.From the very beginning of Wishbone\, Mann found herself attempting something that had never come naturally to her. After the nostalgic introspection of Rift\, she was determined to imagine good things for herself\, and believe they might actually be within reach. It was\, she says\, a frightening decision – to picture a life that’s beautiful and allow herself to want it. Mann likens the wishbone image that gives the record its name to Marina Abramović’s ‘Rest Energy’\, the performance in which artist and partner hold a drawn bow and arrow between their bodies – a single gesture living in total trust and the possibility of ruin. It’s an emblem of love\, but also of the larger wager the album keeps making; wanting good things\, and letting other people want them for you\, is worth the risk of the break. It’s a concept that’s never only romantic in Mann’s world – it stands for the whole precarious business of being held by anyone at all.Ultimately\, that sense of presence is also what most clearly separates this record from the last. In Rift\, we heard Mann still full of open questions; Wishbone has little of that backward pull. Now in her mid-20s\, she writes from conviction more than question\, feeling more than place. She leans deliberately into the songwriting tradition\, reaching for the rough-edged\, performance-driven spirit of artists like Fiona Apple and Tom Waits while keeping faith with an older lineage of plainspoken English balladry. She has the folk singer’s instinct for letting air move through a song\, for trusting a melody to carry meaning without ornament\, but the songs across Wishbone resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth at a slight angle.Produced by 4AD resident Fabian Prynn\, the two of them built the album’s world together from Mann’s demos and voice notes across a handful of intense\, sometimes 14-hour long days at Norfolk’s Bam Bam Studios. “I was so not used to hearing my music expanded like this\,” laughs Mann\, recalling the first time she heard Prynn’s drums across the tracks. “The purest expression of a lot of this music\, as I had experienced it\, had always been me alone in a big hall.” But allowing in players she barely knew for the first time – Prynn joined by guitarist Kit Mosely\, double bass player Marianne Schofield\, alongside trusted friends Owen Spafford on viola\, Martin Egidi on cello and Tennessee Woodiel on banjo – the songs became even more recognisable and alive to her. The abstract she was chasing was to make the album shimmer without dilution; to make it beautiful and bright but with a grounding intention\, achieved best\, it transpired\, when she didn’t have to carry the weight of the songs alone.Wishbone is a remarkable collection\, fuelled by the totality of a hope rather than a catalogue of experience. The last couple of years have put Mann on bigger and bigger stages\, opening for Ben Howard\, sharing rooms with the cathedral-sized melancholy of Youth Lagoon\, and the shoe fits. Wishbone is the sound of an artist who has decided to want a good life out loud\, and to keep deciding it\, as she puts it\, all the time. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held. The Carax lovers get their fireworks over the Seine and then the morning after; Mann wants both\, the exaltation and the cost\, the bow drawn and the bone held.Jasmine Wood is an American composer\, producer and multi-disciplinary artist based in Dublin\, Ireland. Wood combines the use of analog instruments with electronic manipulation\, incorporating her love of noise and distortion. As a multi-instrumentalist and vocalist\, Wood’s distinct style envelops a range of sound spanning from shoegaze to electronic\, ambient-techno and modern-classical.‘Piano Reverb’ (2024) marked her debut album under her own name with London based record label AD 93\, receiving critical acclaim. Her collaborative work with artists such as Pavel Milyakov (Buttechno)\, Coby Sey and Raisa K. (Good Sad Happy Bad)\, reflects a practice grounded in dialogue\, shared process and a commitment to exploration that transcends genre.								\n				\n					\n				\n		\n					\n				\n				\n									LISTEN NOW 								\n				\n					\n				\n		\n					\n				\n				\n									\n				\n					\n				\n		\n					\n				\n				\n							\n					\n						\n				\n					\n				\n		\n					\n				\n				\n									\n					\n						\n									ALL SHOWS
URL:https://foggynotions.ie/concerts/steve-gunn-bello-bar-april-2026/
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/12/Steve-Gunn-Website.jpg
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