BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Foggy Notions - ECPv6.15.15//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://foggynotions.ie X-WR-CALDESC:Events for Foggy Notions REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:UTC BEGIN:STANDARD TZOFFSETFROM:+0000 TZOFFSETTO:+0000 TZNAME:UTC DTSTART:20250101T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=UTC:20260617T193000 DTEND;TZID=UTC:20260617T230000 DTSTAMP:20261025T081608 CREATED:20260325T191713Z LAST-MODIFIED:20260615T214722Z UID:10000206-1781724600-1781737200@foggynotions.ie SUMMARY:MOUNT EERIE 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/mount-eerie-button-factory-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/03/Mount-Eerie-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260703T200000 DTEND;TZID=UTC:20260703T200000 DTSTAMP:20261025T081610 CREATED:20260423T175350Z LAST-MODIFIED:20260603T111620Z UID:10000219-1783108800-1783108800@foggynotions.ie SUMMARY:GOLDBUG 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/goldbug-bello-bar-july-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/04/Goldbug-S-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260704T200000 DTEND;TZID=UTC:20260704T223000 DTSTAMP:20261025T081610 CREATED:20260407T144804Z LAST-MODIFIED:20260410T140614Z UID:10000212-1783195200-1783204200@foggynotions.ie SUMMARY:THAIBOY DIGITAL 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/thaiboy-digital-dublin-july-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/04/THAIBOY-DIGITAL-Website-OPIUM.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260709T200000 DTEND;TZID=UTC:20260709T230000 DTSTAMP:20261025T081610 CREATED:20260218T145434Z LAST-MODIFIED:20260310T164119Z UID:10000188-1783627200-1783638000@foggynotions.ie SUMMARY:DEAD PIONEERS 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/dead-pioneers-dublin-july-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/02/Dead-Pioneers-Website-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260710T200000 DTEND;TZID=UTC:20260710T230000 DTSTAMP:20261025T081610 CREATED:20260413T084632Z LAST-MODIFIED:20260708T150926Z UID:10000216-1783713600-1783724400@foggynotions.ie SUMMARY:PANSY DIVISION 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/pansy-division-dublin-july-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/04/Pansy-Division-Instagram-Post-copy.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260711T200000 DTEND;TZID=UTC:20260711T230000 DTSTAMP:20261025T081610 CREATED:20260512T145143Z LAST-MODIFIED:20260513T085555Z UID:10000224-1783800000-1783810800@foggynotions.ie SUMMARY:GOODTIME JOHN 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/goodtime-john-bello-bar-july-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/05/GTJ_BELLOBAR.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260714T190000 DTEND;TZID=UTC:20260714T223000 DTSTAMP:20261025T081611 CREATED:20251215T170540Z LAST-MODIFIED:20251215T171559Z UID:10000150-1784055600-1784068200@foggynotions.ie SUMMARY:PATTI SMITH 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/patti-smith-limerick-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/12/PattiSmith_insta_1080x1350-copy.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260722T193000 DTEND;TZID=UTC:20260722T230000 DTSTAMP:20261025T081611 CREATED:20260202T084252Z LAST-MODIFIED:20260303T103628Z UID:10000177-1784748600-1784761200@foggynotions.ie SUMMARY:THE BETA BAND 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/the-beta-band-vicar-street-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/02/THE-BETA-BAND-website-SO-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260725T200000 DTEND;TZID=UTC:20260725T230000 DTSTAMP:20261025T081611 CREATED:20260127T085106Z LAST-MODIFIED:20260623T121143Z UID:10000174-1785009600-1785020400@foggynotions.ie SUMMARY:AGNES OBEL 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/agnes-obel-dublin-july-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/01/AGNES-OBEL-Instagram-Post-S-SO-copy.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260819T193000 DTEND;TZID=UTC:20260819T230000 DTSTAMP:20261025T081611 CREATED:20260210T091922Z LAST-MODIFIED:20260806T141551Z UID:10000181-1787167800-1787180400@foggynotions.ie SUMMARY:CHAT PILE 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/chat-pile-button-factory-dublin-19-aug-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/02/CHAT-PILE-2ND-Night-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260820T193000 DTEND;TZID=UTC:20260820T230000 DTSTAMP:20261025T081611 CREATED:20260213T091957Z LAST-MODIFIED:20260806T233111Z UID:10000186-1787254200-1787266800@foggynotions.ie SUMMARY:CHAT PILE 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/chat-pile-button-factory-dublin-20-aug-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/02/CHAT-PILE-2ND-Night-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260824T200000 DTEND;TZID=UTC:20260824T230000 DTSTAMP:20261025T081611 CREATED:20260212T165007Z LAST-MODIFIED:20260731T151506Z UID:10000185-1787601600-1787612400@foggynotions.ie SUMMARY:PROSTITUTE 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/prostitute-dublin-august-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/02/Prostitute-WC-Website-SO.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260826T200000 DTEND;TZID=UTC:20260826T223000 DTSTAMP:20261025T081611 CREATED:20260408T085239Z LAST-MODIFIED:20260811T143834Z UID:10000214-1787774400-1787783400@foggynotions.ie SUMMARY:THE TALLEST MAN ON EARTH 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/the-tallest-man-on-earth-national-concert-hall-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/04/TMOE-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260826T200000 DTEND;TZID=UTC:20260826T230000 DTSTAMP:20261025T081611 CREATED:20260310T165717Z LAST-MODIFIED:20260310T174835Z UID:10000198-1787774400-1787785200@foggynotions.ie SUMMARY:EARL SWEATSHIRT & MIKE 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/earl-sweatshirt-mike-vicar-street-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/03/EARL-MIKE-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260830T200000 DTEND;TZID=UTC:20260830T230000 DTSTAMP:20261025T081611 CREATED:20260525T180320Z LAST-MODIFIED:20260811T121707Z UID:10000233-1788120000-1788130800@foggynotions.ie SUMMARY:WAY DYNAMIC 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/way-dynamic-dublin-august-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/05/Way-Dynamic-Website-SO.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260831T193000 DTEND;TZID=UTC:20260831T223000 DTSTAMP:20261025T081611 CREATED:20251028T100000Z LAST-MODIFIED:20251113T090733Z UID:10000109-1788204600-1788215400@foggynotions.ie SUMMARY:MAC DEMARCO 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/mac-demarco-ulster-hall-belfast-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/MAC-DEMARCO-Website-Belfast.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260902T193000 DTEND;TZID=UTC:20260902T223000 DTSTAMP:20261025T081611 CREATED:20260720T135007Z LAST-MODIFIED:20260720T180920Z UID:10000278-1788377400-1788388200@foggynotions.ie SUMMARY:ONE LEG ONE EYE 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/one-leg-one-eye-gate-theatre-dublin/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/07/OLOE-web-size.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260903T193000 DTEND;TZID=UTC:20260903T223000 DTSTAMP:20261025T081611 CREATED:20260720T135951Z LAST-MODIFIED:20260801T190256Z UID:10000279-1788463800-1788474600@foggynotions.ie SUMMARY:OPERATING THEATRE 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/operating-theatre-gate-theatre-dublin/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/07/operating-theatre-web-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260904T193000 DTEND;TZID=UTC:20260904T223000 DTSTAMP:20261025T081611 CREATED:20260720T140916Z LAST-MODIFIED:20260825T104229Z UID:10000280-1788550200-1788561000@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-gate-theatre-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/07/Lisa-Web-size.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260905T193000 DTEND;TZID=UTC:20260905T230000 DTSTAMP:20261025T081611 CREATED:20260825T103546Z LAST-MODIFIED:20260825T104042Z UID:10000287-1788636600-1788649200@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-gate-theatre-dublin-2026-extra-date/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/08/LISA-Extra-Date-2-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260905T200000 DTEND;TZID=UTC:20260905T223000 DTSTAMP:20261025T081611 CREATED:20260618T083242Z LAST-MODIFIED:20260618T083824Z UID:10000251-1788638400-1788647400@foggynotions.ie SUMMARY:HANA STRETTON 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/hana-stretton-unitarian-church-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/06/Hana-Stretton-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260909T200000 DTEND;TZID=UTC:20260909T223000 DTSTAMP:20261025T081611 CREATED:20260422T085236Z LAST-MODIFIED:20260509T142252Z UID:10000218-1788984000-1788993000@foggynotions.ie SUMMARY:DÚN LAOGHAIRE FOLK FESTIVAL 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/dun-laoghaire-folk-festival-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/05/format-1080x1080-2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260914T190000 DTEND;TZID=UTC:20260914T230000 DTSTAMP:20261025T081611 CREATED:20260407T134956Z LAST-MODIFIED:20260407T144058Z UID:10000211-1789412400-1789426800@foggynotions.ie SUMMARY:KURT VILE & THE VIOLATORS 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/kurt-vile-the-violators-vicar-street-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/04/Kurt-Vile-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260915T200000 DTEND;TZID=UTC:20260915T230000 DTSTAMP:20261025T081611 CREATED:20260526T200225Z LAST-MODIFIED:20260913T153916Z UID:10000237-1789502400-1789513200@foggynotions.ie SUMMARY:RYAN DAVIS & THE ROADHOUSE BAND 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/ryan-davis-the-roadhouse-band-dublin-september-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/05/Ryan-Davis-website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260916T200000 DTEND;TZID=UTC:20260916T230000 DTSTAMP:20261025T081611 CREATED:20260714T162139Z LAST-MODIFIED:20260831T172241Z UID:10000276-1789588800-1789599600@foggynotions.ie SUMMARY:FROG 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/frog-grand-social-dublin-september-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/07/Frog-Website-SO.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260919T193000 DTEND;TZID=UTC:20260919T223000 DTSTAMP:20261025T081611 CREATED:20260115T085509Z LAST-MODIFIED:20260807T192355Z UID:10000169-1789846200-1789857000@foggynotions.ie SUMMARY:HOLY FUCK 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/holy-fuck-button-factory-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/01/Holy-Fuck-Website-1-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260919T200000 DTEND;TZID=UTC:20260919T230000 DTSTAMP:20261025T081611 CREATED:20260501T095454Z LAST-MODIFIED:20260829T145502Z UID:10000222-1789848000-1789858800@foggynotions.ie SUMMARY:DEAD BOB 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/dead-bob-workmans-club-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/05/DEAD-BOB-Instagram-Post-copy.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260930T200000 DTEND;TZID=UTC:20260930T230000 DTSTAMP:20261025T081611 CREATED:20251015T212428Z LAST-MODIFIED:20260630T162044Z UID:10000087-1790798400-1790809200@foggynotions.ie SUMMARY:LUTE 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/lute-grand-social-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2025/10/Lute-Instagram-Post-copy.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20261003T200000 DTEND;TZID=UTC:20261003T223000 DTSTAMP:20261025T081611 CREATED:20260112T125243Z LAST-MODIFIED:20260918T093529Z UID:10000166-1791057600-1791066600@foggynotions.ie SUMMARY:ÓLAFUR ARNALDS - FALLING APART TOGETHER 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/olafur-arnalds-falling-apart-together/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/01/OLAFUR-Website-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20261004T150000 DTEND;TZID=UTC:20261004T173000 DTSTAMP:20261025T081611 CREATED:20260212T094535Z LAST-MODIFIED:20260918T094027Z UID:10000183-1791126000-1791135000@foggynotions.ie SUMMARY:ÓLAFUR ARNALDS 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/olafur-arnalds-falling-apart-together-sunday-matinee/ ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2026/01/OLAFUR-Website-1.jpg END:VEVENT END:VCALENDAR