BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//wp-events-plugin.com//7.2.3.1//EN
BEGIN:VEVENT
UID:4@foggynotions.ie
DTSTART:20241122T193000Z
DTEND:20241122T223000Z
DTSTAMP:20241122T041917Z
URL:http://foggynotions.ie/concerts/concert/ganavya-unitarian-church-dubli
 n-2024/
SUMMARY:Ganavya
DESCRIPTION:Irish Debut
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 11/ganavya_fall24_2_c_Fabrice-Bourgelle-1-copy.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:8@foggynotions.ie
DTSTART:20241126T183000Z
DTEND:20241126T194500Z
DTSTAMP:20241124T143646Z
URL:http://foggynotions.ie/concerts/concert/kelly-moran-nch-studio-dublin-
 november-2024/
SUMMARY:Kelly Moran
DESCRIPTION:National Concert Hall Studio\nTuesday 26th November\n\n6:30 pm\
 n\nTickets\n\nAll Events\nShow Details:\nFollowing a show-stopping perform
 ance at Haunted Dancehall in 2023 and at Pavilion Theatre Dun Laoghaire in
  April Kelly Moran returns to Dublin following the release of her outstand
 ing new album Moves in the Field on Warp Records.\n\nOver the past decade\
 , New York-based composer and producer Kelly Moran has challenged the pian
 o's traditional\, classically-imposed school of thought with a more contem
 porary\, experimental approach. An accomplished and highly sought-after co
 mposer\, Moran has collaborated with artists the likes of Oneohtrix Point 
 Never as part of his touring ensemble for 2018 album Age Of\, as well as s
 inger and composer FKA Twigs' live ensemble. Moran has also composed for c
 lassical musician Margaret Leng Tan and worked with other visionary contem
 poraries like Kelsey Lu and Yves Tumor. As a solo artist\, Moran's critica
 lly acclaimed albums\, Bloodroot and Ultraviolet\, have explored a variety
  of extended piano techniques like John Cage-inspired prepared piano and e
 xercises in improvisation. Her unique strand of experimental piano composi
 tions\, which conjure hypnotizing textures and dramatic compositional arcs
 \, have been included on year-end lists across classical\, avant-garde\, a
 nd metal genres.\n\nMoran's upcoming album Moves in the Field moves away f
 rom the prepared piano techniques which defined earlier works like 2017’
 s Bloodroot and instead exists in a sphere somewhat similar to her 2018 Wa
 rp debut Ultraviolet (in which the piano was used in a more experimental c
 apacity)\, this time placing her instrument in a dimension more isolated a
 nd inward. Referring to a series of skating rudiments\, the title Moves in
  the Field reflects the intense practice Moran put into becoming an even m
 ore masterful pianist when paired with an impossibly perfect technical par
 tner: the Disklavier.\n\nMoves in the Field is a series of duets for Moran
  and her Yamaha Disklavier–a technologically advanced version of a playe
 r piano. Able to perfectly replicate humanlike playing through intense fin
 e-tuning and programmable dynamics\, the Disklaviers used on Moves in the 
 Field act as a foil to Moran's own striving for a balance of technical per
 fection and emotional expression in her performances and compositions. Mor
 an augments her pianistic abilities by utilizing the Disklavier to write i
 ntricate piano parts that go beyond human capabilities. Alongside Moran’
 s real time playing on each track\, listeners are treated to accompaniment
 s by the Disklavier that feature inhumanly fast arpeggios\, chords requiri
 ng more than ten fingers to play\, and other motifs surpassing physical li
 mits on the piano. Used in an experimental capacity\, the Disklavier here 
 explores the realm of the inhuman and impossible. A signed Yamaha artist\,
  Moran's utilization of the stalwart brand's pianos is not new\, having us
 ed a trans-acoustic piano on previous releases\, but\, armed with multiple
  Disklavier pianos\, Moran is able to expand her piano experimentation to 
 an even further degree.\n\nMoran began working with the Disklavier in earl
 y 2020 when she was commissioned to compose a piano duet for herself and a
 cclaimed composer Missy Mazzoli. Yamaha Music loaned Moran a Disklavier pi
 ano as a means to help aid in the compositional process so she could hear 
 in real time what her duet would sound like without another pianist there 
 to perform with her. Shortly after when the pandemic hit\, Moran composed 
 in isolation. During a time when she was unable to play music with other c
 ollaborators\, the Disklavier became her beloved duet partner\, removing t
 he limits of physicality thanks to the instrument’s motorized existence.
  When paired with Moran's own\, graceful performance\, Moves in the Field'
 s duality of the human and the inhuman presents the idea of perfection as 
 something which is attainable through exertion and compositional obsession
 \, but also within the Disklavier's automation and fine-tuning. Dancing ar
 ound Moran's own performance\, the Disklavier's extended range and beyond-
 human capabilities result in multi-layered and heavily orchestrated compos
 itions. The depth of emotion and a human touch can be found within Moran
 ’s performance which\, even through specific and obsessive composition\,
  is not captured by the Disklavier.\n\nMoves in the Field is a product of 
 execution\, idealism\, and careful production. Influenced by contemporary 
 classical artists like Philip Glass\, John Luther Adams\, Olga Bell\, Juli
 a Wolfe\, and David Lang\, as well as alternative and electronic artists l
 ike Aleksi Perala\, Telefon Tel Aviv\, and Tori Amos\, Moran and Moves in 
 the Field exist at a precipice above two unlikely worlds. Utilizing classi
 cal minimalism's repetition and texture\, but also the idea of modernized 
 and synthesized "texture" found within electronic music\, Moves in the Fie
 ld's duality exists beyond the idea of humanity versus superhumanity and s
 uperimposes Classical Modernity upon an even more contemporary school of t
 hought.\n\nMixed and recorded by Dan Bora\, otherwise known as composer Ph
 ilip Glass' sound engineer\, Moves in the Field was given the same treatme
 nt as modern music's most notable names. Much like the perfection Moran st
 rove to achieve on this record in both thematic and execution aspects\, Bo
 ra's mix and recording prowess gives the world as close to a carbon copy o
 f Moran's performance as humanly possible. Mastered by Telefon Tel Aviv's 
 Joshua Eustis\, one of Moran's favorite artists (who was discovered to be 
 a fan of her music\, as well)\, Moves in the Field proves itself to be Mor
 an's boldest work\, featuring an all-star staff and an equally impressive 
 recording.\n\nA departure from Moran's previous works\, Moves in the Field
  portrays Kelly Moran in a compositional school all her own. Composed in a
 n era of isolation and meditation on human and technical limitations\, Mov
 es in the Field presents itself as a personal\, exuberant work of humanity
  versus the machine and technicality versus musicality\, gliding between t
 wo worlds with elegance and a balanced mastery. Her second album for Warp 
 Records\, Moves in the Field will undoubtedly cement Kelly Moran as one of
  young modern music's greats.\n\n“Composer Kelly Moran builds dazzling p
 rismic collages of digital piano and homemade electroacoustic instrumentat
 ion.” - The Wire\n\n“The avant-garde touches [Moran] employs may be in
 spired by John Cage\, but her melodies are memorable\, and original” - T
 he New York Times\n\n“Gorgeous swirls of percussive\, prepared piano” 
 - Rolling Stone - Artist You Need to Know\n\n\n\n[embed]https://www.youtub
 e.com/watch?v=Juj9d5_YK0o[/embed]\n
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 11/001_KellyMoran_1313_Tall_ALT-1-copy.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:7@foggynotions.ie
DTSTART:20241130T200000Z
DTEND:20241130T230000Z
DTSTAMP:20241122T062647Z
URL:http://foggynotions.ie/concerts/concert/ruthven-bello-bar-dublin-2024/
SUMMARY:Ruthven
DESCRIPTION:Irish Debut
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 11/Ruthven-by-Buster-Grey-Jung-copy.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:9@foggynotions.ie
DTSTART:20241201T200000Z
DTEND:20241201T230000Z
DTSTAMP:20241122T063735Z
URL:http://foggynotions.ie/concerts/concert/ml-buch-workmans-club-dublin-d
 ecember-2024/
SUMMARY:ML Buch
DESCRIPTION:Irish Debut
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 11/ML-Buch-press-photo-by-Ani-Liv-Kampe-Agnete-Hannibal-Petri-ML-Buch_-cop
 y.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:10@foggynotions.ie
DTSTART:20241207T193000Z
DTEND:20241207T230000Z
DTSTAMP:20241122T064326Z
URL:http://foggynotions.ie/concerts/concert/soda-blonde-vicar-street-decem
 ber-2024/
SUMMARY:Soda Blonde
DESCRIPTION:Irish Debut
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 11/SODA-BLONDE-18cae530_SB-2025-Square-copy.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:11@foggynotions.ie
DTSTART:20241210T193000Z
DTEND:20241210T230000Z
DTSTAMP:20241122T064758Z
URL:http://foggynotions.ie/concerts/concert/julia-holter-button-factory-du
 blin-2024/
SUMMARY:Julia Holter
DESCRIPTION:Button Factory\nTuesday 10th December\n\n7:30 pm\n\n\nSpecial G
 uest Jasmine Wood\n\nTickets\n\nAll Events\nShow Details:\nFoggy Notions P
 resents Julia Holter live at The Button Factory on Tuesday 10th December. 
 Tickets on sale now.\n\n“My heart is loud\,” Julia Holter sings on her
  sixth album Something in the Room She Moves\, following an inner pulse. T
 he Los Angeles songwriter’s past work has often explored memory and drea
 mlike future\, but her latest album resides more in presence: “There’s
  a corporeal focus\, inspired by the complexity and transformability of ou
 r bodies\,” Holter says. Her production choices and arrangements form a 
 continuum of fretless electric bass pitches in counterpoint with gliding v
 ocal melodies\, while glissing Yamaha CS-60 lines entwine warm winds and r
 eeds. “I was trying to create a world that’s fluid-sounding\, waterlik
 e\, evoking the body’s internal sound world\,” Holter says of her flow
 ing harmonic universe.\n\n“What is delicious and what is omniscient?” 
 she sings on “Spinning”\, the album’s incantatory centerpiece. “Wh
 at is the circular magic I’m visiting?” Or as Holter put it: “It’s
  about being in the passionate state of making something: being in that mo
 ment\, and what is that moment?” She found it anew on Something in the R
 oom She Moves\, singing in somatic frequencies.\n\nJulia Holter is a compo
 ser\, performer\, and recording artist based in Los Angeles. Her interest 
 in sonic mysteries has led her to record in various settings--in her home\
 , outside with a field recorder\, and in recording studios—as well as to
  perform live\, often with a focus on the voice and the space between lang
 uage and babble. Holter’s music is multi-layered and texturally rich\, o
 ften featuring an array of instruments played by an ensemble of creative m
 usicians. She has amassed a body of work that explores melody within free 
 song structures\, atmosphere\, and the impulses of the voice.\n\nJulia rel
 eased her latest album Aviary on Domino Records in 2018. Since the release
  of her previous albums Tragedy (2011) and Ekstasis (2012)\, Loud City Son
 g (2013)\, and Have You In My Wilderness (2015)\, she has performed at ven
 ues and festivals throughout the world\, including Europe\, North & South 
 America\, Mexico\, Asia and Australia. Julia was recently commissioned by 
 the Chorus of Opera North to compose a score for the 1928 film The Passion
  of Joan of Arc\, which she and the chorus performed to picture at the Bar
 bican in 2022. She has also written music for the Los Angeles Philharmonic
  and scores for the TV show Pure (2019)\, the films Bleed for This (2016) 
 and Never Rarely Sometimes Always (2020)\, and for the documentary on the 
 singer Karen Dalton\, In My Own Time (2020).\n\n\n\n\n[embed]https://www.y
 outube.com/watch?v=lNuEV9PzQMA[/embed]\n
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 11/cb4b30d7_Julia-Holter-Camille-Blake-3-3.jpeg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:12@foggynotions.ie
DTSTART:20241210T193000Z
DTEND:20241210T230000Z
DTSTAMP:20241122T065223Z
URL:http://foggynotions.ie/concerts/concert/beak-button-factory-dublin-202
 4/
SUMMARY:Beak >
DESCRIPTION:Button Factory\nThursday 12th December\n\n7:30 pm\n\nSold Out\n
 \n\nTickets\n\nAll Events\nShow Details:\nBeak> surprise release their fir
 st album in six years\, aptly titled >>>> out on all formats via Invada an
 d Temporary Residence Ltd today.\n\n"At its core we always wanted it to be
  head music (music for the ‘heads’\, not headphone music)\, listened t
 o as an album\, not as individual songs. This is why we are releasing this
  album with no singles or promo tracks."\n\nThe band continues\, "the reco
 rding and writing initially began in a house called Pen Y Bryn in Talsarna
 u\, Wales in the fall out from the weirdness of the Covid days. Remote and
  with only ourselves and the view of Portmeirion in the distance we got to
  work."\n\n"With the opening track\, "Strawberry Line" (our tribute to our
  dear furry friend Alfie Barrow\, who appears on the albums cover) as the 
 metronomic guide for the album\, we then resumed recording\, as before\, a
 t Invada studios in Bristol\, whilst still touring around Europe and North
 /South America."\n\n"After playing hundreds of gigs and festivals over the
  years we felt that touring had started to influence our writing to the po
 int we weren’t sure who we were anymore. So we decided to go back to the
  origins of where we were at on our first album. With zero expectations an
 d just playing together in a room." - Beak>\n\nBeak> is Geoff Barrow - Bil
 ly Fuller - Will Young\n\nBeak> formed in 2009 and since then have release
 d three full length records\, with each album title following their distin
 ct format\, >> (2012) >>> (2018). A new Beak> album might not come around 
 often\, but when it does\, it always seems to capture a specific moment in
  time\, a new set of elegies for the present moment.\n\nWith the surprise 
 announcement and release of >>>> today\, Beak> deliver another taste of a 
 different moment\, suspended in stasis and simultaneously rushing towards 
 the vanishing point on the horizon.\n\n\n\n\n\n[embed]https://www.youtube.
 com/watch?v=02ffGcN3j1E[/embed]\n
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 11/BEAK-Band-shot-RGB-Credit-Hollin-Jones-copy.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:13@foggynotions.ie
DTSTART:20241214T193000Z
DTEND:20241215T230000Z
DTSTAMP:20241122T065736Z
URL:http://foggynotions.ie/concerts/concert/the-mary-wallopers-vicar-stree
 t-2024/
SUMMARY:The Mary Wallopers
DESCRIPTION:Vicar Street\nSaturday 14th December\nSunday 15th December\n\n7
 :30 pm\n\nSold Out\n\n\nTickets\n\nAll Events\nShow Details:\nHot on the h
 eels of their iconic main stage performance at Electric Picnic\, The Mary 
 Wallopers announce their biggest Irish tour to date. Titled '7 Drunken Nig
 hts' the Christmas tour includes 4 nights at Dublin's Vicar Street\, plus 
 shows at Killarney Gleneagle INEC Arena\, Cork City Hall\, culminating in 
 a huge show at Belfast The SSE Arena on Sunday 29th December.\n\n\n\n\n\n[
 embed]https://www.youtube.com/watch?v=zV9gvowrVvU[/embed]\n
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 11/MARYWALLOPERS_JAN2409-copy.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:14@foggynotions.ie
DTSTART:20241219T193000Z
DTEND:20241220T230000Z
DTSTAMP:20241211T165236Z
URL:http://foggynotions.ie/concerts/concert/one-leg-one-eye-project-dublin
 -2024/
SUMMARY:One Leg One Eye
DESCRIPTION:Project Arts Center\nThursday 19th December\nFriday 20th Decemb
 er\n\n7:30 pm\n\nBOTH NIGHTS SOLD OUT.\n\n\nTickets\n\nAll Events\nShow De
 tails:\nThe debut Irish performances of One Leg One Eye\, the project of I
 an Lynch (founding member of Irish group Lankum) who released the acclaime
 d debut album …And Take The Black Worm With Me released on Nyahh Records
  in 2022.\n\nOne Leg One Eye explores submerged leylines of music and song
 \, drawing on the raw aesthetics of black metal\, noise and drone\, while 
 also being deeply embued with a sense of Irish history and myth.\n\nDebut 
 album …And Take The Black Worm With Me is a slow burning suite of five e
 xpansive songscapes that has found its audience largely by word of mouth. 
 Partly recorded in an abandoned Dublin factory where his father worked whe
 n he was a child\, Lynch’s harrowing vocals are underpinned by vast pill
 ars of uileann pipe drones\, overlaid with effects and field recordings to
  conjure up a sound that is at once dark\, mysterious and ultimately trans
 cendental.\n\nImbibe Coffee Roasters started in May 2018 with an aim to br
 ing coffees of an unrivaled standard to Ireland but to do this using a bus
 iness model that was different to any other. Although profit is important 
 for every business it is not the main driver of Imbibe.\n\n1% of all Imbib
 e's coffee sales go to Women's Aid\, 1% to projects at coffee origins and 
 a further 1% is shared among their staff. They don't engage in CSR program
 s that are simply window dressing. When you buy Imbibe coffee you are maki
 ng a difference.\n\n\n\n\n\n[embed]https://www.youtube.com/watch?v=37MCjs7
 qDzw[/embed]\n
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 11/ONELEGONEEYE-1441x811-copy.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:15@foggynotions.ie
DTSTART:20241219T200000Z
DTEND:20241220T230000Z
DTSTAMP:20241122T172341Z
URL:http://foggynotions.ie/concerts/concert/search-results-whelans-decembe
 r-2024/
SUMMARY:Search Results
DESCRIPTION:Whelan's\nFriday 20th December\n\n8:00 pm\n\nSpecial Guests Ron
 an Group\n\nTickets\n\nTickets\n\nAll Events\nShow Details:\nFoggy Notions
  presents Search Results & Ronan Group live at Whelan’s on Friday 20th D
 ecember. Tickets on sale now.\n\nSearch Results have announced the upcomin
 g release of their new EP\, “Hot Night”.\n\nIt will be the first new m
 usic from the band since the release last year of their debut album “Inf
 ormation Blip”.\n\nHot Night will be out on December 13th.\n\nPre-orders
  for limited edition tapes and CDs are available now.\n\nThe EPs first sin
 gle HOBAN HAPPY\, is out today\, accompanied by a music video shot by the 
 band during a recent tour stop in Amsterdam.\n\nOn the EP\, Fionn from the
  band says\,\n\n“I think Hot Night achieved something that we couldn’t
  with the last couple EPs. We kind of leaned into any little imperfections
  in the process and didn’t overthink it much this time. There’s a few 
 quiet songs on there that we’ve been kicking around for a couple years n
 ow and I like how they sit next to the new ones. We are really excited for
  people to hear it.”\n\nSearch Results have also announced that Ronan Gr
 oup will join them as very special guests at their Christmas headline show
  in Whelans on December 20th.\n\n\n\n\n\n[embed]https://www.youtube.com/wa
 tch?v=BLiJjmnvDYM[/embed]\n
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 11/SearchResults-2-nice-forward-faded-copy.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:46@foggynotions.ie
DTSTART:20241222T200000Z
DTEND:20241222T230000Z
DTSTAMP:20241201T160416Z
URL:http://foggynotions.ie/concerts/concert/soda-blonde-whelans-december-2
 024/
SUMMARY:Soda Blonde
DESCRIPTION:Whelan's\nSunday 22nd December\n\n8:00 pm\n\nSold Out.\n\n\n\nT
 ickets\n\nTickets\n\nAll Events\nShow Details:\nFollowing their sold show 
 at Vicar Street on Dec 7th Soda Blonde will host an intimate Xmas party fo
 r friends and fan club at Whelan's on December 22nd. Tickets on sale now.\
 n \nSince their formation in 2019\, Soda Blonde—comprised of Faye O’R
 ourke (vocals)\, Adam O’Regan (guitar)\, Dylan Lynch (drums)\, and Donag
 h Seaver-O’Leary (bass)—has carved out a distinct space in the music w
 orld with their self-produced sound\, introspective lyrics\, and arresting
  visuals. Their sophomore album Dream Big has not only solidified their re
 putation but also propelled them into new creative territories. The album\
 , a bold statement of intent\, has resonated deeply with fans and critics 
 alike\, earning nominations for Album of the Year and Song of the Year (
 “Bad Machine”) at the Choice Music Prize.\n \nThe band’s journey in
  2024 has been nothing short of extraordinary. January saw them embark on 
 their first sold out EU tour\, a milestone that showcased their growing in
 ternational appeal. In March\, Soda Blonde made headlines by withdrawing f
 rom their scheduled performance at SXSW\, taking a principled stand agains
 t the festival’s association with the U.S. military. This decision was a
  catalyst for the creation of the visually striking and thought-provoking 
 music video for “Why Die For Danzig\,” which offers a biting commentar
 y on society’s complicity in the war machine.\n \nHowever\, the true hi
 ghlight of the year came in July\, when Soda Blonde performed a monumental
  sold-out show at Dublin’s National Concert Hall. Teaming up with the Ir
 ish National Symphony Orchestra\, the band presented orchestral arrangemen
 ts of Dream Big\, blending the cinematic grandeur of a full orchestra with
  their signature sound. The evening was recorded and will soon be released
  as both a concert film and a live album\, allowing fans to relive this un
 forgettable experience.\n \nAs Soda Blonde prepares for their UK dates an
 d return to Vicar St\, the band is eager to connect with their audiences o
 nce again. These concerts promise to be a powerful\, emotional\, and celeb
 ratory finale to a year filled with artistic growth and creative triumphs.
  Fans can expect evenings that capture the essence of Soda Blonde: raw\, h
 onest\, and unapologetically ambitious.\n\n\n\n\n\n[embed]https://www.yout
 ube.com/watch?v=EYbXNzdVmoA[/embed]\n
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 11/SODA-BLONDE-18cae530_SB-2025-Square-copy.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:16@foggynotions.ie
DTSTART:20241227T193000Z
DTEND:20241228T230000Z
DTSTAMP:20241122T070743Z
URL:http://foggynotions.ie/concerts/concert/the-mary-wallopers-vicar-stree
 t-december-2024/
SUMMARY:The Mary Wallopers
DESCRIPTION:Vicar Street\nFriday 27th December\nSaturday 28th December\n\n7
 :30 pm\n\nSold Out\n\n\nTickets\n\nAll Events\nShow Details:\nHot on the h
 eels of their iconic main stage performance at Electric Picnic\, The Mary 
 Wallopers announce their biggest Irish tour to date. Titled '7 Drunken Nig
 hts' the Christmas tour includes 4 nights at Dublin's Vicar Street\, plus 
 shows at Killarney Gleneagle INEC Arena\, Cork City Hall\, culminating in 
 a huge show at Belfast The SSE Arena on Sunday 29th December.\n\n\n\n\n\n[
 embed]https://www.youtube.com/watch?v=zV9gvowrVvU[/embed]\n
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 11/MARYWALLOPERS_JAN2409-copy.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:17@foggynotions.ie
DTSTART:20250111T200000Z
DTEND:20250111T230000Z
DTSTAMP:20241122T073409Z
URL:http://foggynotions.ie/concerts/concert/buffalo-nichols-upstairs-whela
 ns-dublin-2025/
SUMMARY:Buffalo Nichols
DESCRIPTION:Upstairs at Whelan's\nSaturday 11th January\n\n8:00 pm\n\n\nTic
 kets\n\nTickets\n\nAll Events\nShow Details:\nWe are proud to present the 
 Irish debut of Buffalo Nichols on Saturday 11th January. Tickets on sale n
 ow.\n\nOn his second album\, The Fatalist\, Carl “Buffalo” Nichols doe
 s things with the blues that might catch you off guard. There’s 808 prog
 ramming\, chopped up Charley Patton samples\, washes of synth. There’s a
  consideration of the fullness of the sonic stage and the atmospherics of 
 the music that can only come with a long engagement with electronic music.
  But this is no gimmicky hybrid or attempt to turn the blues into 21st cen
 tury music by simply dressing it with skittering hi-hats. Nichols’ visio
 n for the blues is of a form of music that’s intimately tied to everyday
  life in 2023\, something that’s reflected not only in the choice of ins
 trumentation\, but in the complexities of the songwriting and the gray are
 as his lyrics explore. This is music that comes straight from the present\
 , and as such\, it’s a reminder that the same shit that drove the first 
 blues singers to pick up a guitar is still present behind the throbs of de
 ep bass hits today. The Fatalist sounds unlike any blues record you’re l
 ikely to hear.\n\nOf course\, Nichols’ songwriting has always been firml
 y rooted in the present. He proved he could succeed on the music industry
 ’s own blues terms on his self-titled 2021 debut\, whose songs\, Bandcam
 p Daily said\, “seem to flow from some great repository of emotion and i
 nsight.” The Fatalist finds him digging deeper in search of answers to e
 ver-more-complicated questions around responsibility and self-definition\,
  his plainspoken lyrics both cutting and refreshing in their sincerity and
  refusal to accept pat solutions. Over a guitar line that blisters and pop
 s with bright sunshine\, he holds forth on the simple everyday power of lo
 ve in “Love is All\,” and when he shades his optimism with a clear-eye
 d view of “bad behavior in the canon of good men\,” as he sings\, his 
 guitar line goes cloudy with the thought. He slowly walks around a broken 
 relationship in “The Difference\,” trying to find the faults. It’s a
  decidedly modern breakup song\, one steeped in moral ambiguity. “I just
  don’t know the difference between love and sympathy\,” he sings\, bef
 ore hoping his once-beloved “won’t forget the one who kept your ego fe
 d.”\n\nStill\, Nichols rarely sounds like a blues singer. Like Leonard C
 ohen\, he dominates these songs with his voice. His low\, guttural bariton
 e is high in the mix\, and he sounds coiled\, clenched tight. The slow dri
 p of his songwriting lends The Fatalist an incredible amount of drama\, wh
 ich the production—at times dark and dewy and claustrophobic\, at times 
 zippy with light—further emphasizes.\n\n\n\n\n\n\n[embed]https://www.you
 tube.com/watch?v=IUJj6nu1guY[/embed]\n
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2024/
 11/Buffalo-Nichols-The-Fatalist-6000x6000-album-cover-copy.jpeg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:18@foggynotions.ie
DTSTART:20250115T193000Z
DTEND:20250116T230000Z
DTSTAMP:20241122T073811Z
URL:http://foggynotions.ie/concerts/concert/the-jesus-lizard-dublin-2025/
SUMMARY:The Jesus Lizard
DESCRIPTION:Button Factory\nWednesday 15th January - Sold Out\nThursday 16t
 h January\n\n7:30 pm\n\n\n\n\nTickets\n\nAll Events\nShow Details:\nDue to
  phenomenal demand\, The Jesus Lizard will perform a second show at The Bu
 tton Factory on 16th January 2025. Tickets on sale now.\n\nRACK • SEPTEM
 BER 13\, 2024 • IPECAC RECORDINGS\n\nIn the jade-cultivating climes of o
 nline rock journalism\, the angle of “band has new album\,” is about a
 s interesting as watching Instagram reels of your brother-in-law’s recen
 t bathroom remodel. But when a band decides to follow up their last album 
 from over 26 years ago? That’s high on testicular fortitude and as dumb 
 as fidget spinners. Then you learn that said band is the Jesus Lizard – 
 and everything in your pathetic cultural dystopia suddenly falls away and 
 the air smells like Heaven…\n\nRack\, the seventh studio album from this
  legendary underground-rock fulcrum\, comes out into the world on Septembe
 r 13 via Ipecac Recordings. Produced by Paul Allen at Audio Eagle\, Rack h
 olds 11 tracks of brisk guitar rock you haven’t heard since… the last 
 time the Jesus Lizard took over a stage in your town. Now\, over two decad
 es since their last record together\, the Jesus Lizard—vocalist David Yo
 w\, guitarist Duane Denison\, bassist David Wm. Sims and drummer Mac McNei
 lly—have returned with a record teeming with the kind of madness needed 
 to beat down today’s AOR mediocrity and piss-perfect pop drivel alike.\n
 \n“None of us really stopped playing\,” guitarist Duane Denison shares
 \, “but we stopped making the Jesus Lizard albums. And I think [the time
  apart] gave us a chance to have a lot of ideas and energy\, that’s just
  sort of backed up—and now it's coming out.”\n\nSince their inception 
 in Chicago ca. 1987\, the Jesus Lizard has thrilled audiences all over the
  planet with their idiosyncratic “noise rock.” That term is rendered i
 n quotes because\, let’s face it\, it’s not necessarily applicable. Th
 e impeccable rocket-thrust rhythm section of Sims and McNeilly was the per
 fect launchpad for Denison’s jagged yet clean-toned riffing and Yow’s 
 mercurial vocalizations manifesting as everything from panicked citizen\, 
 reality escapee or wounded sea mammal. This exciting synergy took on all c
 omers: The bands the Lizard opened for often looked like they phoned their
  sets in\, when the reality was that they were struggling to do a single p
 ull-up on the bar the delegation would set nightly. The Jesus Lizard’s f
 ury carried on through six studio albums\, two live recordings and a brace
  of singles and EPs. Yet none of the cultural emissaries of the last few g
 enerations came close to matching the quartet’s sweat equity (literal\, 
 psychic).\n\nWhen America was in its ‘90s “Alternative Nation” thral
 l\, it looked like greater things were going to happen for them: The band 
 shared a split-single with Nirvana (a 1993 release pairing “Puss” from
  the 1992 Liar LP with a new track from the Seattle contingent\, “Oh\, T
 he Guilt”) and surfed on the checkbook of Capitol Records for two releas
 es. But by 1996\, the realities of real-life capitalism and music-biz trea
 chery kicked in hard: McNeilly resigned from behind the kit\; Capitol paid
  them not to record a third album just prior to dropping them from the ros
 ter\; and Yow announced his resignation from the band immediately afterwar
 d. The Jesus Lizard were effectively over before the turn of the century.\
 n\n“The four of us had been through so much as a band\,” says McNeilly
 \, whose departure in 1998 is acknowledged by the other three as the begin
 ning of the band’s dissolution. “We are bonded by the music we make\, 
 and also by the respect we have for each other. I think that we just funct
 ion extremely well not only as a band\, but as humans who care deeply for 
 one another. If any one of us gets taken out of the equation\, it's just n
 ot going to be the same.”\n\nThe individual members scattered all over t
 he continent chasing various pursuits. When he wasn’t drawing cats\, act
 ing in indie films or doing design work\, Yow joined Los Angeles duo Qui f
 or a tour and an album\, took center stage fronting maverick noise-punk ic
 ons Flipper and recording a solo record\, 2013’s Tonight You Look Like A
  Spider. When he wasn’t issuing library cards in Nashville\, Denison kep
 t busy writing\, recording and touring with folks as diverse as alt-rock A
 -Teams (Tomahawk)\, British soul talents (Beverley Knight)\, bona fide sta
 rs (Jack White)\, and country hooligans (Hank III\, the Legendary Shack Sh
 akers). Sims pulled out his bass long enough to make solo recordings under
  the name unFact\, but primarily focused on protecting businesses and gent
 lefolk from taxation without representation via his own certified public a
 ccountancy firm. In addition to giving free advice to Gypsies\, McNeilly d
 eveloped a number of predetermined free-form experimental recordings\, got
  involved in recreation-based recovery programs and worked on a high-densi
 ty verification code index. In his spare time\, he can usually be found pa
 cking lugs with 100% British wool tweed.\n\nBut unlike a lot of bands\, th
 e Jesus Lizard’s interpersonal friendships were just as important as the
  art they made. Loath to call them “reunion gigs\,” the original line-
 up reconvened in 2009 for some “reenactment shows\,” celebrating the r
 emastered versions of their catalog released by Touch and Go. Throughout t
 he following years\, there were the occasional tri-state weekend rock excu
 rsions or a lucrative festival bill. Unbeknownst to Yow\, the band were al
 ways writing riffs\, songs and arrangements in the hopes that their frontm
 an would commit to making new music. Yow finally acquiesced after hearing 
 (and enjoying) Denison picking out some of his typically sleek motifs.\n\n
 “Duane asked me\, ’What do you think of that?’ And I said\, ‘Oh\, 
 that's pretty good. What are you going to do with that?’ Yow recalls. 
 “And he says\, ‘I don't know. Why don't we use it for the new Jesus Li
 zard record\, for fuck's sake?’ I genuinely love the other three guys. T
 hey're good at what they do. And so I went\, ‘Alright\, well\, let's go 
 ahead and write a record.’”\n\nOn Rack\, the Jesus Lizard have returne
 d reconstituted\, refreshed and positively revving. No tepid\, bland track
 s to show how they’ve “matured” as songwriters (the great lie bands 
 use to hide behind crap albums\, the ones you still have because you ratio
 nalize that\, “Well\, I have all the other ones…”). No inane detours
  into unnecessary genre exercises. And definitely no weird moves into expe
 rimental realms that come off just as contrived and calculated as the top 
 of the Billboard Charts. The opening salvo “Hide & Seek” finds Yow sin
 ging/sprechstimming his way with remarkable clarity as his bandmates shore
  him up with their patented acceleration. The noir vibes coming off of “
 What If?” is a startling direction for the band\, with Yow narrating the
  action\, like he was looking at a random person in an airport lounge and 
 concocting an elaborate backstory about them. (“It's an idea that Duane 
 had had for a long time. He sent me the lyrics. I was having a hard time w
 ith that song\, and he said I could just say them\, so that's what I did.
 ”) The sinister “Alexis Feels Sick” is inspired by Girls Against Boy
 s/Soulside drummer Alexis Fleisig’s guarded opinion of modern life that 
 turns into a treatise of man’s inhumanity to man. “Moto(R)” is playi
 ng out of the coolest car tailgating in the parking lot at one of those ho
 rrific radio-rock fests (the driver never actually goes into the stadium b
 ecause if the Lizard aren’t playing\, there’s something better streami
 ng somewhere).. And while we’re on the subject of forcing cool into unco
 ol\, “Falling Down” reminds all of us in slightly under three-and-a-ha
 lf minutes how marvelously badassed the Jesus Lizard have always been\, ma
 king our fists ball-up so tightly they look like the ends of chicken bones
 .\n\n“What I like about the album is there are deliberately things on he
 re that\, sonically and stylistically\, are not terribly different from wh
 at some of the things we did from the ‘90s\,” says Denison. “There's
  definitely some references to the past\, but it's more as a point of depa
 rture: We don't stay there and there's other things that are new that we'v
 e never done. I felt like it would be a mistake not to reference our past 
 stuff. We had to do something different along with that. But not crazy dif
 ferent\, not self-consciously different. Just naturally different because 
 we're at a different point in our lives.”\n\nRack should go far toward s
 atiating the Lizard faithful and explaining to the successive uninformed g
 enerations why so many hosannas come along with the band’s reputation. B
 ut the Jesus Lizard’s next chapter wouldn’t mean anything if it didn
 ’t have a greater purpose. When content farms talk about the ‘90s\, mo
 st of the time the discussion leans toward “grunge” or chooses to refl
 ect the visibility of high-charting acts with no similar acknowledgment to
  the rich underground that spawned them. Consider all the records on label
 s like Touch and Go\, Sub Pop\, and Dischord that you haven’t heard. The
  Jesus Lizard are not motivated by promotional certainties or the fallacy 
 of convenient cash-grabs. They only exist because they want to be in the s
 ame room with each other. Call it self-actualization\, a supreme managemen
 t of the expectations or a genuine interest in avoiding all execrable ways
  of sucking.\n\n“I feel like we had a reputation among musicians that wa
 s very\, very strong\,” says Sims about the Jesus Lizard’s reputation 
 as your favorite band’s favorite band. “We wanted to play shows becaus
 e we wanted to\, which is also exactly how the album worked out. We litera
 lly only made the record because we thought it would be fun to make the re
 cord. And I think that's what saved us. We’re putting absolutely no pres
 sure on ourselves to achieve any kind of sales goal or meet any kind of de
 mographic halfway or update anything. It's just like\, ‘Let's just make 
 the record we would want to hear.’ It freed us to do whatever we wanted\
 , and I think that yielded the best possible result.”\n\n“We were neve
 r the face because people didn't quite know where we were coming from\,”
  Denison says about the band’s heyday. “We weren't like the punk rock 
 that was really popular\, like\, say\, Rancid or NOFX or The Offspring or 
 Bad Religion. We weren't part of that. We got lumped in as ‘noise rock\,
 ’ but I never got that. When we play songs\, they have arrangements and 
 lyrics. If anything\, I think there's a kind of a resurgence going on righ
 t now in aggressive\, noisy\, rock music. I can go see Idles play in Nashv
 ille in a park in the daytime and it's rammed. I saw Swans the other night
  and it was fucking crowded with mostly younger people. So I don't know wh
 at's going on. I think it's just the internet and there's a certain type o
 f person that this is appealing to\, and there's more of them out there no
 w because there's just more people. Oh\,” he adds glibly\, “and we sho
 wed up on a shirt in a movie.” He’s referring to the vintage JL pupil-
 hearted wolf shirt rocked by Keke Palmer in director Jordan Peele’s “N
 ope.”\n\nWhen asked to describe what the 2024 model the Jesus Lizard has
  in store for a new strata of audiences\, Yow deadpans: “Each one of us 
 is just going to do what we do\, you know? David will look like he's reall
 y pissed off about something. Duane will look like he’s not sure if he's
  gay or just not feeling well. Mac will be chewing a very large piece of a
 ir\, and I'll be acting like an idiot.”\n\nThe Jesus Lizard. They might 
 not be young\, but they will never\, ever get fucking old.\n\n\n\n\n\n\n[e
 mbed]https://www.youtube.com/watch?v=7Z49uumNlX4[/embed]\n
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 ower-res.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:19@foggynotions.ie
DTSTART:20250118T200000Z
DTEND:20250118T220000Z
DTSTAMP:20241122T074402Z
URL:http://foggynotions.ie/concerts/concert/glasshouse-ryuichi-sakamoto-nc
 h-2025/
SUMMARY:Glasshouse perform Ryuichi Sakamoto
DESCRIPTION:National Concert Hall\nSaturday 18th January\n\n8:00 pm\n\n\n\n
 \nTickets\n\nAll Events\nShow Details:\nAcclaimed Dublin ensemble Glasshou
 se are proud to perform their new arrangement of the work of renowned Japa
 nese composer and music pioneer Ryuichi Sakamoto. The concert will honour 
 the incredible and widely lauded work of Sakamoto\, who sadly passed away 
 in 2023.\n\nFollowing multiple sold-out dates at Pavilion Theatre\, acclai
 med Dublin ensemble Glasshouse are proud to perform their new arrangement 
 of the work of renowned composer and music pioneer Ryuichi Sakamoto at the
  National Concert Hall. The concert will honour the incredible and widely 
 lauded work of Sakamoto\, who sadly passed away in 2023. We are pleased to
  have the blessing of Sakamoto’s team for this tribute.\n\nRenowned Japa
 nese composer and producer Ryuichi Sakamoto was admired for his electronic
  music experimentation. He formed Yellow Magic Orchestra in 1978 and relea
 sed eight studio albums with the group. He starred in the film Merry Chris
 tmas\, Mr Lawrence with David Bowie in 1983. His film score for The Last E
 mperor\, in 1987\, won him an Oscar\, a Grammy and a Golden Globe. He cont
 inued to work throughout his life\, releasing an album in January 2023\, j
 ust two months before his passing.\n\nGlasshouse is a music ensemble and a
 rts organisation based in Dublin. Their mission is to elevate Irish music 
 through commissioning and collaboration\, combining sound\, space and visu
 al design to create unforgettable music experiences. Recent projects inclu
 de arrangements of Sigur Rós\, a new opera with tasteinyourmouth\, new wo
 rks for the theremin\, new commissions by Jenn Dreamcycles and R. Kitt and
  collaborative projects with Irish artists Æ MAK\, Caoi de Barra\, Rachae
 l Lavelle\, and Gareth Quinn Redmond.\n\nOne of Japan's most prominent com
 posers" The New York Times [on Sakamoto]\n"A refined and learned composer\
 , Sakamoto's subtle style of composition is minimalist yet emotionally pow
 erful" The Guardian\n\n"Sakamoto was able to combine his skills as an acad
 emically trained musician with an aptitude for electronic music and an ear
  for countless musical styles" The Irish Times\n\n“Glasshouse are among 
 the highest calibre of musicians the nation has to offer” Nialler9\n\n
 “Their multifaceted approach to music transcends sound ... [Their] subtl
 e attention to detail allows us to enjoy the thing that really matters the
  multitude of feelings that music can evoke in us all” Totally Dublin [o
 n Glasshouse]\n\n\n\n\n\n\n[embed]https://www.youtube.com/watch?v=VhIL4ZRe
 XMQ[/embed]\n
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CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:62@foggynotions.ie
DTSTART:20250122T193000Z
DTEND:20250124T223000Z
DTSTAMP:20241220T103004Z
URL:http://foggynotions.ie/concerts/concert/lisa-o-neill-gate-theatre-janu
 ary-2025/
SUMMARY:Lisa O'Neill
DESCRIPTION:Gate Theatre\nWednesday 22nd\, Thursday 23rd & Friday 24th Janu
 ary\n\n7:30 pm\n\n\n\nTickets\n\n\n\nAll Events\nShow Details:\nFor the fi
 rst time\, Foggy Notions will partner with the Gate to present LISA O’NE
 ILL live at Gate Theatre\, on Wednesday 22nd\, Thursday 23rd & Friday 24th
  January 2025.\n\nSongwriter Lisa O’Neill is one of the most singular an
 d exciting talents in Irish music today. Lisa has released five albums to 
 date\, the last being 2023’s hugely acclaimed All of This Is Chance on R
 ough Trade. In 2019 she won the RTÉ Radio Folk Award for Best Original Tr
 ack\, she has been nominated for several BBC Radio 2 Folk Awards and she h
 as been nominated twice for the Choice Music Prize. In November this year 
 she performed a full concert with the National Symphony Orchestra at the N
 ational Concert Hall.\n\n\n\n\n[embed]https://www.youtube.com/watch?v=wQGU
 YgNhQa4[/embed]\n
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 12/LISA-O-NEILLL-GATE-PHOTO-2024-12-05-19-21-34.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:63@foggynotions.ie
DTSTART:20250125T193000Z
DTEND:20250125T223000Z
DTSTAMP:20241213T143521Z
URL:http://foggynotions.ie/concerts/concert/sam-amidon-gate-theatre-januar
 y-2025/
SUMMARY:Sam Amidon
DESCRIPTION:Gate Theatre\nSaturday 25th January\n\n7:30 pm\n\n\n\nTickets\n
 \n\n\nAll Events\nShow Details:\nFor the first time\, Foggy Notions will p
 artner with the Gate to present SAM AMIDON live at the Gate Theatre\, on S
 aturday 25th January 2025\, to coincide with the release of his new album\
 , Salt River.\n\nSam Amidon will release his new album Salt River on 24th 
 January 2025\, his first on River Lea Records. The Vermont native\, who is
  now based in London\, has collaborated with saxophonist and producer Sam 
 Gendel to reinterpret and regenerate ten songs that he has gathered togeth
 er as part of a decades-long quest to recontextualise what it means to sin
 g folk songs or make folk music.\n\nSam is held in great regard by Irish a
 udiences having toured Ireland many times over the course of his career wh
 ich has seen the release of seven previous albums. Sam also recently starr
 ed in Michael Keegan-Dolan’s dance and theatre production Nobodaddy\, wh
 ich played as part of this year’s Dublin Theatre Festival.\n\n\n\n[embed
 ]https://www.youtube.com/watch?v=Z3iLnxklx5c[/embed]\n
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 12/Sam-Amidon-credit-Allyn-Quigley.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:54@foggynotions.ie
DTSTART:20250201T193000Z
DTEND:20250201T223000Z
DTSTAMP:20241218T191037Z
URL:http://foggynotions.ie/concerts/concert/femtanyl-dublin-february-2025/
SUMMARY:femtanyl
DESCRIPTION:OPIUM\nSaturday 1st February\n\n7:30 pm\n\n\n\n\nTickets\n\nTic
 kets\n\nAll Events\nShow Details:\nVenue moved to OPIUM due to phenomenal 
 demand. All tickets remain valid and final tickets on sale now.\n\nFoggy N
 otions present the Irish Debut of femtanyl.\n\nfemtanyl is a quickly growi
 ng dance project spearheaded by Toronto vocalist and producer Noelle.\n\nN
 oelle's vibrant sound\, inspired by hardcore punk\, jungle and pop music\,
  has quickly created a large\, cult-like fanbase\, flooding the internet w
 ith remixes and alternative takes on her cover art works.\n\nStarting from
  a local Toronto show that sold out within 2 hours in January 2024\, by Ju
 ly she was commanding 650+ ticket shows as headliner. In the meantime\, he
 r debut EP CHASER has acquired over 40 million streams in its first year.\
 n\nIntent on seizing the opportunity\, Noelle added Skyla as her DJ and Ju
 no as her live drummer to make for a truly electrifying set. With this bli
 stering momentum\, fueled by praise from industry veterans such as Virtual
  Riot and SVDDEN DEATH\, a recent collaboration with Danny Brown and an in
 vitation from Machine Girl to join them as support for their 2024 MG Ultra
  tour\, femtanyl are taking over the digital hardcore space and are intend
  to cement themselves into stardom.\n\n\n\n\n\n[embed]https://www.youtube.
 com/watch?v=qUcvfZ0ft-k[/embed]\n
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 12/femtanyl-press-image.jpeg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:20@foggynotions.ie
DTSTART:20250205T200000Z
DTEND:20250205T220000Z
DTSTAMP:20241122T075510Z
URL:http://foggynotions.ie/concerts/concert/elucid-workmans-cellar-dublin-
 2025/
SUMMARY:ELUCID
DESCRIPTION:The Workman's Cellar\nWednesday 5th February\n\n8:00 pm\n\n\n\n
 \nTickets\n\nAll Events\nShow Details:\nELUCID - one half of pioneering hi
 p-hop duo Armand Hammer - has shared blistering new single\, "THE WORLD IS
  DOG"\, and announced the REVELATOR tour.\n\nELUCID reveals\; "This song w
 as written and recorded during the first session I set up with Jon. It qui
 ckly established REVELATOR's sonic identity and a practice in striving for
  intensity."\n\nAlongside the single\, ELUCID has announced a 20-date inte
 rnational REVELATOR tour for 2025 which includes shows across America\, th
 e UK and Europe.\n\nThe rousing "THE WORLD IS DOG" - released worldwide to
 day - closely follows "INSTANT TRANSFER" featuring Billy Woods\, and both 
 tracks are lifted from ELUCID's forthcoming new album\, REVELATOR\, out 11
 th October.\n\n\n\n\n\n\n\n[embed]https://www.youtube.com/watch?v=-dYZ_w4N
 Ku0[/embed]\n
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 11/fad4dcff_01-ELUCID-by-Alexander-Richter.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:48@foggynotions.ie
DTSTART:20250207T200000Z
DTEND:20250207T230000Z
DTSTAMP:20241128T155011Z
URL:http://foggynotions.ie/concerts/concert/the-messthetics-james-brandon-
 lewis-dublin-2025/
SUMMARY:The Messthetics & James Brandon Lewis
DESCRIPTION:The Grand Social\nFriday 7th February\n\n8:00 pm\n\n\n\nTickets
 \n\nAll Events\nShow Details:\nFoggy Notions & U:MACK present\n\nThe Messt
 hetics & James Brandon Lewis\n\n(featuring Joe Lally & Brendan Canty of Fu
 gazi)\n\nThe Grand Social\, Dublin \n\nFebruary 7th\, 2025\n\nJoe Lally wa
 s onstage\, playing at full throttle\, when he realized that his band had 
 found a true kindred spirit. It was the fall of 2021 and the Messthetics 
 — the instrumental trio of Lally on bass\, his former Fugazi bandmate Br
 endan Canty on drums and guitarist Anthony Pirog — were at Brooklyn venu
 e the Bell House\, digging into their uptempo riff workout "Serpent Tongue
 ." Joining them for the piece was a special guest\, acclaimed jazz saxopho
 nist James Brandon Lewis\, making only his second cameo with the group aft
 er a drop-in at another New York show back in 2019. That first meeting had
  been a success\, but this time\, Lewis' presence sparked something new.\n
 \n\n\n\n\n\n[embed]https://www.youtube.com/watch?v=86LSRQUrCjw[/embed]\n
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 11/The-Messthetics-band.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:21@foggynotions.ie
DTSTART:20250208T200000Z
DTEND:20250208T230000Z
DTSTAMP:20241224T125420Z
URL:http://foggynotions.ie/concerts/concert/niall-mcnamee-upstairs-whelans
 -feb-2025/
SUMMARY:Niall McNamee
DESCRIPTION:Upstairs at Whelan's\nSaturday 8th February\n\n8:00 pm\n\nSOLD 
 OUT.\n\n\nTickets\n\nTickets\n\nAll Events\nShow Details:\nNiall McNamee i
 s an Irish singer-songwriter and actor known for his thoughtful and full-b
 looded songs and his charismatic live performances.\n\nDescribing himself 
 as 'a romantic football fan who writes songs'\, Niall moved to London at 1
 7 years old working on building sites whilst growing a devoted fan base pl
 aying gigs in pubs and music venues across London. He began his acting car
 eer in London's West End as Romeo in 'Romeo and Juliet' before moving into
  film and TV and even having a major fight scene with Jackie Chan in 'The 
 Foreigner'.\n\nAfter a sold-out headline tour of the UK and Ireland Niall 
 was cast as the leading role in award-winning feature film 'Love Without W
 alls' in which he plays a struggling songwriter trying to navigate London'
 s harsh streets. The soundtrack to the film is entirely Niall's original s
 ongs. A new feature film in which Niall is romantic lead is due out late 2
 024/25.\n\nNiall has supported the likes of Declan O'Rourke\, David Keenan
 \, Junior Brother\, The Dubliners\, The Wolfe Tones (summer 2024)\, Louis 
 Dunford (summer 2024) and played Isle of Wight and Cambridge Folk festival
 . His music has been added to 3000 Spotify playlists\, with over 100\,000 
 listeners.\n\nNiall's debut album will be released on St Patrick's Day\, 1
 7th March 2025.\n\n\n\n\n\n\n\n[embed]https://www.youtube.com/watch?v=8MYg
 TpH2I7Q[/embed]\n
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 11/Niall-McNamee-trio-landscape-copy.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:51@foggynotions.ie
DTSTART:20250212T200000Z
DTEND:20250215T233000Z
DTSTAMP:20241205T165138Z
URL:http://foggynotions.ie/concerts/concert/ryley-walker-ireland-feb-2025/
SUMMARY:Ryley Walker
DESCRIPTION:The Court House Bangor\nWednesday 12th February\n\nBelloBar Dub
 lin\nThursday 13th February\n\nCoughlan's Cork\nFriday 14th February\n\nDo
 lans Upstairs Limerick\nSaturday 15th February\n\n8:00 pm\n\n\n\nBangor Ti
 ckets\n\nDublin Tickets\n\nCork Tickets\n\nLimerick Tickets\n\nAll Events\
 nShow Details:\nRyley Walker began his career in the early 2010s\, after m
 oving from Illinois’ provincial town of Rockford\, and settling into Chi
 cago’s independent scene. After a slew of cassette and vinyl releases\, 
 Tompkins Square put out his debut album in 2014\, which was then followed 
 up by the Dead Oceans released Primrose Green a year later. His most recen
 t album\, Course in Fable\, was released on his own Husky Pants Recordings
  label in 2021.\n\n\nHaving toured with the likes of Richard Thompson\, an
 d with a supporting slot for Dinosaur Jr. forthcoming—as well as a treme
 ndous Bert Jansch tribute show behind him\, wherein his hero Anne Briggs c
 alled him the ‘c word’—Walker has rubbed shoulders with the very bes
 t.\n\n\n\nWhile\, in the past\, his desire to be as great as his influence
 s may have dogged and hindered him from bringing his own personality to hi
 s music\, now\, Walker’s music is undeniably his. A mix of Twitter and s
 obriety may be partially responsible. “Music is an exciting thing I get 
 to do because I’m alive and well. I take every opportunity I’m given v
 ery seriously\; I’ve gotta pay tribute to that by staying alive and bein
 g as good to the people who love me as I can\,” he said.\n\n\n\n\n[embed
 ]https://www.youtube.com/watch?v=h7MkxbE5bWQ[/embed]\n
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2024/
 12/Ryley-Walker-2024-by-mallory-hawkins.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:22@foggynotions.ie
DTSTART:20250215T200000Z
DTEND:20250215T230000Z
DTSTAMP:20241122T080242Z
URL:http://foggynotions.ie/concerts/concert/the-high-llamas-whelans-dublin
 -2025/
SUMMARY:The High Llamas
DESCRIPTION:Whelan's\nSaturday 15th February\n\n8:00 pm\n\n\n\nTickets\n\nT
 ickets\n\nAll Events\nShow Details:\nFoggy Notions present the return of S
 ean O'Hagen's acclaimed The High Llamas project following the news of an e
 xtensive reissue project. Tickets on sale now.\n\nThe High Llamas' classic
  90s output comes back to life on vinyl for the first time in over twenty 
 years: 1992's Santa Barbara\, 1994's Gideon Gaye\, 1996's Hawaii\, 1998's 
 _Cold And Bouncy_ and the pairing remix album Lollo Rosso and 1999's Snowb
 ug. The vibrant and colourful sweep of this remarkable six-album arc shine
 s in new pressings of the original masters\, releasing November 22 - inclu
 ding the first-ever vinyl pressing for their debut album\, Santa Barbara.\
 n\nDelve into the ocean of sounds that The High Llamas sailed on their fir
 st voyages\, finally back in print on November 22!\n\nHEY PANDA\n\nOpened 
 up by the delirious alchemy of contemporary pop music\, Sean O'Hagan leaps
  back into life with High Llamas\, with a set of killer tunes reflecting o
 n dimensional levels how definitions change over time. Arranged by Sean an
 d produced with mix collaborator Fryars to engage the eardrums in non-stop
  new possibilities\, Hey Panda radiates optimism inspired by the joys and 
 sorrows felt in former lifetimes and the diverse conundrums of today alike
 .\n\n\n\n\n\n\n[embed]https://www.youtube.com/watch?v=SYNlk8PIyfM[/embed]\
 n
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 11/large_HighLlamas2-1-copy.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:23@foggynotions.ie
DTSTART:20250216T200000Z
DTEND:20250216T230000Z
DTSTAMP:20241122T080537Z
URL:http://foggynotions.ie/concerts/concert/rats-on-rafts-dublin-2025/
SUMMARY:Rats On Rafts
DESCRIPTION:Irish Debut
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2024/
 11/RatsOnRafts_20220415_Cjasmijnslegh_1-1-copy.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:24@foggynotions.ie
DTSTART:20250216T200000Z
DTEND:20250216T220000Z
DTSTAMP:20241122T081243Z
URL:http://foggynotions.ie/concerts/concert/contour-the-workmans-cellar-du
 blin-feb-2025/
SUMMARY:CONTOUR
DESCRIPTION:The Workman's Cellar\nSunday 16th February\n\n8:00 pm\n\n\n\n\n
 Tickets\n\nAll Events\nShow Details:\nFoggy Notions presents the Irish deb
 ut of CONTOUR. \n\nThe Charleston\, South Carolina artist Contour's body o
 f work is evidence of a restless curiosity that culminates on his latest a
 lbum and debut for Mexican Summer\, Take Off from Mercy. Starting off as a
  beatmaker\, Khari's vision has broadened over releases like Onwards (2022
 \, Touching Bass)\, Love Suite (2021\, Good Question) and Weight (self-rel
 eased/Purple Tape Pedigree\, 2021)\, spanning from noirish\, sample-driven
  R&B to covers of Strawberry Switchblade. Take Off from Mercy eschews samp
 les in favor of guitar-driven songwriting\, positing a singular take on th
 e blues\, Tropicalia\, hip hop\, post-punk and indie rock\, establishing L
 ucas as an exemplary lyricist and broad collaborator\, working with the li
 kes of Saul Williams\, Mndsgn and his co-producer\, Omari Jazz.\n\nFollowi
 ng the pandemic\, Lucas toured relentlessly\, recently opening a US run fo
 r Erika de Casier and appearing at Pitchfork Festival (Chicago) and Le Gue
 ss Who? Beyond his prolific solo output\, recent collaborations include Bl
 ack Decelerant\, an ambient duo with the aforementioned Omari Jazz who jus
 t released their self-titled debut on RVNG Intl. Lucas also collaborates w
 ith the operatic baritone singer Davóne Tines as part of a band called TH
 E TRUTH on ROBESOИ\, a performance released by the venerable Nonesuch Rec
 ords.\n\nContour is a key member of a distinct cohort of young artists wea
 ving the traditions of Black music into thoroughly modern\, avant-garde so
 ngcraft. Within his work\, genres and disciplines collide. Lucas's radio s
 how for Dublab\, Footprints in the Dark\, took stock of the deep discograp
 hies of foundational figures like Gilberto Gil and Georgia Anne Muldrow. M
 eanwhile\, Lucas has organized readings with the likes of Harmony Holiday 
 and screened films from Black Audio Film Collective director John Akomfrah
 \, and completed artist residencies with NTS Radio and Brooklyn's Pioneer 
 Works.\n\nWithin all this activity\, Lucas's sound and voice are immediate
 ly recognizable\, his flow and declarative honesty heavily influenced by r
 ap. Lucas's recent live shows with the likes of Billy Woods and Bilal feat
 ured him roving the stage singing and rapping over samples before sitting 
 at the piano for downcast\, Bill Withers-style ballads. Take Off from Merc
 y is a document of hard-earned lessons learned while on the move. Omari an
 d Khari worked on the record in Charleston\, Portland\, NYC\, London\, Par
 is\, Georgia\, LA and Houston\, feeding into the album's themes of transfo
 rmation through migration. Lucas will follow the fall release of Take Off 
 from Mercy with expanded live tours through the US\, UK and Europe in fall
  2024. As this flurry of activity suggests\, there will inevitably be more
  records\, shows\, tours\, readings and screenings in the near future. The
  urgency of Contour's vision is palpable in this myriad of pursuits.\n\n\n
 \n\n\n\n\n\n[embed]https://www.youtube.com/watch?v=kxINZB19eH4[/embed]\n
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2024/
 11/Contour-Credit-CameronPatriciaDowney.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:25@foggynotions.ie
DTSTART:20250220T200000Z
DTEND:20250220T220000Z
DTSTAMP:20241224T125450Z
URL:http://foggynotions.ie/concerts/concert/jazz-sabbath-pavilion-dun-laog
 haire-2025/
SUMMARY:Jazz Sabbath
DESCRIPTION:Pavilion Theatre Dún Laoghaire\nThursday 20th February\n\n8:00
  pm\n\nSOLD OUT.\n\n\nTickets\n\nAll Events\nShow Details:\nFoggy Notions 
 presents the Irish Debut of Jazz Sabbath on Thursday 20th February 2025. \
 n\nJAZZ SABBATH\n\nJazz\, Plagiarism & Lies\n\nTHE TRUTH\n\nJazz Sabbath w
 ere at the forefront of the underground UK jazz movement in the late Sixti
 es. They were recording two albums in 1969\, but both seemed destined neve
 r to be released. Until now.\n\nDue to legal disputes with a session playe
 r the recording of the second album had to be abandoned and never to be me
 ntioned again. Their first album was finished\, but when news broke that p
 ianist and band leader Milton Keanes had suffered a massive heart attack\,
  the record label cancelled the release. They didn't want to risk releasin
 g an album from a band that might lose its musical leader.\n\nWhen Milton 
 was finally released from hospital in September 1970\, he found out that a
  band from Birmingham\, had since released two albums containing metal ver
 sions of his songs. Milton tried to contact his record label\, only to fin
 d out it didn’t exist anymore and the label owner was in jail. All recal
 led Jazz Sabbath albums had been destroyed when the warehouse burned down 
 in June 1970\; which turned out to be a case of insurance fraud by the lab
 el owner.\n\nWithout any physical proof that he wrote the songs\, Milton w
 as powerless to do anything. Even more frustrating: that Birmingham band h
 ad named itself after one of his songs\; only adding insult to injury. Wit
 h the other band continuously releasing more albums of Milton’s songs\, 
 the three members of Jazz Sabbath decided to part ways.\n\nThe discovery o
 f the debut album’s master tapes in 2019 and the following re-release of
  the album in 2020 has changed everything. With the theft by the band from
  Birmingham exposed\, Jazz Sabbath have reunited and finally finished reco
 rding their second album.\n\nThey can now present their songs in their ori
 ginal form\, proving that the heavy metal band worshipped by millions arou
 nd the world are in fact nothing more than musical charlatans\, thieving t
 he music from a bedridden\, hospitalised genius.\n\nTHE OTHER TRUTH\n\nMil
 ton Keanes is actually Adam Wakeman\, longtime keyboard & guitar player fo
 r Black Sabbath & Ozzy Osbourne.\n\nIn 2013\, on a night off in Germany du
 ring one of the Black Sabbath tours\, Adam and Sabbath's security guard sa
 t at the hotel bar early in the morning. The security guard asked if Adam 
 could play the Sabbath set on the piano in the bar. Adam thought it would 
 be fun to play the songs as jazz improvised versions and then played until
  the bar staff wanted to go home.\n\nThe idea grew\, as Adam invented the 
 character and backstory of Milton Keanes (which he always thought to be a 
 great name for a jazz pianist). In 2020 the first Jazz Sabbath album was r
 eleased\, accompanied by a mockumentary about Jazz Sabbath and their unfor
 tunate history.\n\nThe mockumentary gained extensive media coverage and sp
 arked some controversy among Black Sabbath fans. The album itself got rave
  reviews from both rock and jazz critics. A second album\, Vol. 2\, was re
 leased in 2022. Both albums entered the Billboard jazz charts and got spec
 ial mono Record Store Day releases.\n\nOn the albums Adam is joined by Ash
  Soan (Adele) on drums and Jerry Meehan (Robbie Williams) on bass\, plus a
  number of guest musicians\, such as Gus G (Ozzy Osbourne\, Firewind)\, Fr
 aser T. Smith (Sam Smith\, CeeLo Green) and Simon McBride (Deep Purple). H
 owever\, all go by their 1960s pseudonyms.\n\n\n\n\n\n\n\n\n\n[embed]https
 ://www.youtube.com/watch?v=qOK73jZO3Pg[/embed]\n
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 11/Jazz-Sabbath-1969-BW-1.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:26@foggynotions.ie
DTSTART:20250227T193000Z
DTEND:20250227T230000Z
DTSTAMP:20241122T082540Z
URL:http://foggynotions.ie/concerts/concert/mike-button-factory-dublin-feb
 -2025/
SUMMARY:MIKE
DESCRIPTION:Button Factory\nThursday 27th February\n\n7:30 pm\n\n\n\n\nTick
 ets\n\nAll Events\nShow Details:\nFoggy Notions Presents MIKE live at The 
 Button Factory on 27th February 2025. Tickets on sale now.\n\nMIKE is a qu
 intessential old soul. The 24-year-old artist’s wisdom is evident in bot
 h his calm delivery and measured questioning. Known for introspective\, su
 btly profound rhymes that explore grief\, family\, and identity\, and melt
  over muffled\, soul-seasoned samples\, MIKE’s newest record\, Burning D
 esire\, is his biggest to date: both in length\, but more so artistically.
  For the first time in his career\, MIKE truly reaches outside of his imme
 diate circle for collaborators\, pulling in everyone from Larry June to Li
 v.e to Lila Ramani (of Crumb) to Earl Sweatshirt and more. The beloved rap
 per has come a long way from making waves in underground hip-hop circles w
 ith the [sLUms] collective formed in New York in 2015. Since\, he’s rele
 ased numerous critically celebrated albums\, earned Pitchfork’s Best New
  Music accolade twice\, and toured with artists like Blood Orange\, Earl S
 weatshirt\, The Alchemist\, and Freddie Gibbs. Burning Desire sees MIKE co
 nfidently step out as the leader of a new movement within hip hop\, as he 
 breaks through the ceiling of the underground and introduces the style of 
 rap he originated to a wider audience. If anything is certain about this n
 ext chapter for MIKE\, it is that it will be on his own terms.\n\n\n\n\n\n
 \n[embed]https://www.youtube.com/watch?v=uC7UbQ3M3jk[/embed]\n
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2024/
 11/MIKE-credit_Ari_-Marcopoulos-pressimage.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:68@foggynotions.ie
DTSTART:20250307T190000Z
DTEND:20250307T220000Z
DTSTAMP:20250201T162231Z
URL:http://foggynotions.ie/concerts/concert/high-vis-dublin-march-2025/
SUMMARY:High Vis
DESCRIPTION:The Grand Social\nFriday 7th March\n\n7:00 pm\n\nSOLD OUT.\n\n\
 n\nTickets\n\nAll Events\nShow Details:\nFoggy Notions & U:MACK present\n\
 nHigh Vis\n\nSpecial guests Special Branch & Goon\n\nThe Grand Social\, Du
 blin \n\nFriday March 7th\, 2025\n\n \nFoggy Notions & U:MACK are proud to
  present the debut Irish performance of High Vis\n\nBirthed in 2016 from a
  cross-section of beloved UK punk groups\, London's High Vis have steadily
  become legends by virtue of their passionate performances and evolving di
 scography of poetic\, progressive hardcore. Comprised of singer Graham Say
 le\, drummer Edward "Ski" Harper\, bassist Jack Muncaster\, and guitarists
  Martin Macnamara and Rob Hammaren\, the band fuse the fury of English str
 eet punk with touches of Brit pop melody\, neo-psychedelia swirl\, wiry po
 st-punk rhythm\, and even bits of Madchester groove. To Sayle\, such melti
 ng pot energy points the way forward: "For years hardcore had pretty clear
  boundaries – other scenes were separate worlds. Now things are getting 
 more blended\, drawing from different places."\n\nWith origins from variou
 s corners across the United Kingdom\, the group of musicians that make up 
 High Vis represent the heart of DIY\, boot-strapping UK punk and hardcore.
  Formed by members from the bands Dirty Money\, Tremors\, City Dweller\, R
 eflect\, Shame\, and more\, High Vis fuses together the ethos of the broad
 er hardcore community while bringing various musical influences and inspir
 ations into the fold\, allowing them to touch new folks who may not have l
 istened to past projects while simultaneously tipping their hat to longtim
 e fans.\n\nIn 2019\, High Vis released their debut full-length No Sense No
  Feeling\, which put them on the map and opened the viewfinder for what th
 e band could do beyond the parameters of any genre or scene. Painted with 
 post-punk inspired textures and moods\, No Sense No Feeling laid a sonical
 ly adventurous foundation to which High Vis has expanded on throughout the
 ir career. In 2020\, High Vis released the Society Exists EP laced with vo
 cal FX and synth lines further showcasing the band was not easy to pigeonh
 ole or restrain.\n\nWith 2022's breakout Blending\, High Vis expanded upon
  their self-described "post-industrial Britain misery punk" with an anthem
 ic rock sound combined with baggy grooves. Lyrically\, the album was a lea
 p forward for High Vis as frontman Sayle took a more principle role in wri
 ting the lyrics and melodies. Sayle's took focus on social consciousness a
 ddressing the downtrodden and discarded communities across Britain while a
 lso looking at himself and his own emotional landscape. The process create
 d something that feels universal and ultimately relays a message of hope.\
 n\nThe band's third and latest full-length\, Guided Tour\, refines their l
 yricism and chemistry to its most potent nexus yet. Full of swagger and sn
 eers\, hooks and hope\, revolt and righteous anger\, the album's 10 tracks
  hit like anthems for a new England. And while the songs' specifics often 
 speak to their native country in particular\, the themes addressed are uni
 versal. Theirs is a camaraderie born of sweat and experience\, years in th
 e trenches of ripping shows and shit jobs\, still fighting back\, still fi
 ghting for something better. High Vis are proving themselves protectors of
  the flame\, and avatars of the best hardcore has to offer.\n\n\n\n\n\n\n[
 embed]https://www.youtube.com/watch?v=147BrDp-XuA[/embed]\n
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 01/IMG_4721.jpeg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:27@foggynotions.ie
DTSTART:20250308T193000Z
DTEND:20250308T230000Z
DTSTAMP:20241122T082453Z
URL:http://foggynotions.ie/concerts/concert/the-weather-station-button-fac
 tory-dublin-2025/
SUMMARY:The Weather Station
DESCRIPTION:Button Factory\nSaturday 8th March\n\n7:30 pm\n\n\n\n\nTickets\
 n\nAll Events\nShow Details:\nThe Weather Station — the project of Toron
 to-based Tamara Lindeman — announces her return with Humanhood\, out Jan
 uary 17th via Fat Possum\, and releases lead single/video\, “Neon Signs.
 ” Humanhood\, the most arresting album Lindeman has ever made as The Wea
 ther Station\, follows 2021’s Ignorance\, “an invigorating and poignan
 t chapter in an already impressive career” (Stereogum). It was written d
 uring one of the most difficult periods of Lindeman’s life and rendered 
 with a rock band with improvisational chops just as she began to recover b
 y reckoning with a complicated truth: Sometimes\, life simply tries to dis
 mantle us\, no matter how good everything may seem\, and we must accept th
 at in order to survive.\n\nFrom the outside\, 2022 likely appeared a year 
 of glory for Lindeman. Ignorance\, in which her “shape-shifting avant-fo
 lk [reached] a kind of apex\, as she sings coolly about climate grief\, lo
 ve\, lust\, healing\, and the upheaval of self-discovery” (New Yorker)\,
  was one of that year’s highest praised records. It was a time of tourin
 g\, travel\, and activism alongside Ignorance’s more austere companion\,
  How Is It That I Should Look at the Stars. But at an ostensible new profe
 ssional peak\, she was also struggling with a mental health crisis. Workin
 g through a crisis of meaning\, she wrote from within the confusion of the
  experience to create the songs that would ultimately become Humanhood\, a
  narrative album that\, listened to front to back\, transcribes the journe
 y from dissociation back towards connection.\n\nIt takes only 10 seconds f
 or Lindeman to pull us to the floor on “Neon Signs”\, the opening song
  on Humanhood. “I’ve gotten used to feeling like I’m crazy—or just
  lazy\,” she sings\, her voice at once a soft whisper to a confidant and
  a full-throated confession to a crowd. “Why can’t I get off this floo
 r? Think straight anymore?” she sings of our true modern malaise\, that 
 unbound sense of not knowing how or what it is we’re supposed to contrib
 ute to this fractious world\, or if we even have the energy or will to try
 .\n\n“I wrote “Neon Signs” at a moment of feeling confused\, upside 
 down\, at that moment when even desire falls away\, and dissociation cuts 
 you loose from a story that while wrong\, still held things together\,” 
 Lindeman explains. “The song came with multiple strands entwined\; the w
 ay that something that is not true seems to have more energetic intensity 
 than something that is\, the confusion of being bombarded with advertising
  at a moment of climate emergency\, the confusion of relationships where c
 oercion is wrapped in the language of love. Ultimately though\, isn’t it
  all the same feeling?” The “Neon Signs” video\, directed by Lindema
 n\, is a journey through different sets of eyes\, perpetually shifting per
 spectives between people and objects.\n\nHumanhood was recorded over two s
 essions in fall of 2023 at Canterbury Music Company with drummer Kieran Ad
 ams\, keyboardist Ben Boye\, percussionist Phillippe Melanson\, reed-and-w
 ind specialist Karen Ng\, and bassist Ben Whiteley. The songs were left op
 en\; Lindeman and co-producer Marcus Paquin wanted to hear the sudden spar
 ks made by these new encounters\, to witness everyone react in real-time t
 o the songs and sketches she supplied. They all dropped into the fugue\, s
 haping the hazy unease that is so endemic these days into tangible sound. 
 Other friends eventually added their own pieces\, like old-time updater Sa
 m Amidon\, ace guitarist James Elkington\, and textural magus Joseph Shaba
 son. In the final stage\, mixer Joseph Lorge helped make sense of these mu
 sical webs\, and the album was crafted into a near continuous piece of mus
 ic\, with interstitial instrumentals fading into and out of songs. Texture
 s repeatedly shift between organic and synthetic\; synths merging with sax
 \, electronic drums shifting into banjo\, as songs coalesce and then disin
 tegrate in a direct echo of the emotional experiences that inspired them.\
 n\nMuch of Humanhood is a riveting and real document of what it means to b
 e lost\, to be hamstrung by confusion\, unease\, and grief for a period so
  long you begin to wonder if there is an end. As with Ignorance\, the firs
 t person lyrics point to a wider resonance\; we’re all dealing with ours
 elves through climate disaster\, as the world totters near a breaking poin
 t\, and none of it is easy or precedented. On previous albums\, Lindeman m
 ostly wrote about her past\, turning backwards to gain perspective. But fo
 r Humanhood\, she wrote from the present as she tried to work through it. 
 Humanhood\, then\, radiates with new urgency—and emerges as a sort of te
 ther\, offered up here for anyone else feeling disconnected from the verti
 ginous reality of right now.\n\nThe Weather Station will tour Europe and t
 he UK early next year.\n\n\n\n\n\n\n\n[embed]https://www.youtube.com/watch
 ?v=vmt41po0CIM[/embed]\n
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 11/TWS-Press-Photo-Neon-Signs_Shot-by-Sara-Melvin-1-copy.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:28@foggynotions.ie
DTSTART:20250315T200000Z
DTEND:20250315T230000Z
DTSTAMP:20241122T083410Z
URL:http://foggynotions.ie/concerts/concert/nadia-reid-whelans-dublin-marc
 h-2025/
SUMMARY:Nadia Reid
DESCRIPTION:Whelan's\nSaturday 15th March\n\n8:00 pm\n\n\n\nTickets\n\nTick
 ets\n\nAll Events\nShow Details:\nThere is a photograph that Nadia Reid st
 ill keeps\, taken ten years ago now on an old iPhone 4. It shows the singe
 r at just twenty two\, standing in a backyard in Auckland\, her face obscu
 red by a bright bloom of sparkler flame. “It was just a throwaway photo\
 , but I clung to that image through the years\,” she says. “You have t
 hose points in life that when you look back you see were a time of almost 
 cellular change. And that was one of those points\; all my cells were chan
 ging.”\n\nReid was drawn to this image once again in the making of her f
 ourth album\, details of which are to follow soon. This was the obvious ch
 oice for the artwork for her first single 'Changed Unchained'. Her first n
 ew music for four years and first for new label Chrysalis Records.\n\nMuch
  had changed since Out of My Province\, the album she released in early Ma
 rch 2020\, just as the Covid pandemic sent the world into lockdown. In her
  native New Zealand\, restrictions were some of the toughest in the world\
 , the country’s borders remaining closed for over two years. Reid toured
  the record as best she could\, she put on hold her plans to move to the U
 K\, attended to the steady rhythms of living. In July of 2021\, she gave b
 irth to her first daughter\, Elliotte\; her second\, Goldie\, arrived this
  past Spring.\n\nOn the new single\, Reid moves away from her earlier folk
  inclinations. “I still feel uncomfortable about the word folk and being
  a folk singer. It makes me sort of cringe. It’s too confining.” Reid 
 expands on her new fuller sound. "’Changed Unchained’ is a great examp
 le of me bringing lyrics and a melody into the studio\, then Tom (Healy\, 
 producer) and the band letting the mojo/muse/spirit do its thing in the ro
 om. That was a really freeing feeling for me. The song begun in this delic
 ate introspective way and formed into something quite powerful."\n\nAs wel
 l as a taste of what's to come next\, ‘Changed Unchained’ closes a cha
 pter on her first three records as something like a trilogy\; music that b
 elonged to a time before everything changed.\n\nNadia is currently on a SO
 LD OUT solo tour in the UK playing a short run of intimate venues. She’l
 l then return to tour Europe/UK in March ’25 with a full band in support
  of her new record.\n\n\n\n\n\n\n\n[embed]https://www.youtube.com/watch?v=
 U3Fh21QPsco[/embed]\n
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 11/Nadia-Reid-credit-Marieke-Macklon-pressimage.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:60@foggynotions.ie
DTSTART:20250315T200000Z
DTEND:20250315T230000Z
DTSTAMP:20250124T220921Z
URL:http://foggynotions.ie/concerts/concert/spooklet-workmans-club-march-2
 025/
SUMMARY:Spooklet
DESCRIPTION:The Workman's Club\nSaturday 15th March\n\n8:00 pm\n\n\n\n\nTic
 kets\n\nAll Events\nShow Details:\nRESCHEDULED DATE - ORIGINAL TICKETS VAL
 ID\n\nSaturday March 15th\, 2025\n\nShowcasing a brand new SPOOKLET live s
 how experience with dancer Fanni Fagerudd. \n\n \n\nSPOOKLET is a Dublin b
 ased electronic music producer. Sonically\, she moves through a range of g
 enres from ambient soundscapes to high intensity deconstructed club groove
 s with a distinct influence from artists like Sega Bodega\, Sevdaliza & FK
 A Twigs.\n\n \n\nTaking inspiration from found sounds plucked from the sur
 roundings of her everyday\, SPOOKLET finds beauty in the intricacies of th
 e mundane. \n\n \n\nOver the past year\, she has performed live across Dub
 lin & Ireland including One’s To Watch in Whelan’s\, Éalú Le Grá fe
 stival in Galway and a performance for Dublin Independent Fashion Week for
  Seeking Judy in Fade Street Studios. \n\n \n\nShe continues to grow her c
 ollaborative repertoire within the Irish music scene. In November 2024\, s
 he released a remix mixtape of her debut EP\, IN THE BELLY OF THE MOTHER\,
  which included reworks by producers ALYXIS\, Cruel Sister\, silverglass a
 nd more.\n\n \n\nWith an A/V setup which includes a fully automated lights
  show and dance performance\, her live shows are not to be missed.  \n\n\n
 \n\n[embed]https://youtu.be/qAb8Mm7bsro?si=LhsI-dhxEKEa6NTg[/embed]\n
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CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:30@foggynotions.ie
DTSTART:20250320T193000Z
DTEND:20250322T223000Z
DTSTAMP:20250228T173127Z
URL:http://foggynotions.ie/concerts/concert/anna-b-savage-unitarian-church
 -dublin-2025/
SUMMARY:Anna B Savage
DESCRIPTION:Coughlan's Cork\nThursday 20th March\n\nRóisín Dubh Galway\nF
 riday 21st March\n\nUnitarian Church Dublin\nSaturday 22nd March March - S
 OLD OUT\n\n7:30 pm\n\n\n\nCork Tickets\n\nGalway Tickets\n\nDublin Tickets
 \n\nAll Events\nShow Details:\nA sense of rootedness is at the heart of An
 na B Savage’s third record You and i are Earth\, a record that is as muc
 h about healing as it is an unbowed sense of curiosity\, and\, more simply
 \, “a love letter to a man and to Ireland.”\n\nFollowing on from her c
 ritically acclaimed records A Common Turn and in|FLUX\, You and i are Eart
 h manages to convey a sense of intimacy\, while also being open-ended. Sou
 nds of the sea and bright-eyed strings coax us on opening song Talk to Me\
 , a study in tenderness\, which brings us to a place of the elemental. It 
 is a charged signifier that sets the tone\, “I don’t think I feel ner
 vous because of the intimacy of it\,” says Savage\, “the thing I feel 
 nervous about is that it is so delicate and subtle\, and the attention eco
 nomy has made us desire big shiny things that will whisk us away.\n\nYet Y
 ou and i are Earth transports differently\, swept along by an abiding sen
 se of calm\, a major progression from Savage’s earlier work\, “when I 
 was writing the first record\, it felt difficult. I wanted to make sense 
 of something I didn’t really understand. Then with the second record I h
 ad done some therapy\, and was getting to grips with myself\, but my old s
 elf was still pulling me back a bit\, but with this one it was quite diff
 erent”.\n\nGentleness is as radiant a touchstone on the record as earthi
 ness\, something that Savage attributes to the place she finds herself at
  present\, both geographically and emotionally. And quite literally the re
 cord bears witness to a particular piece of earth - Ireland\, and Savage
 ’s relationship to it as her new home.\n\nSavage’s connection to Irela
 nd goes back over a decade to when she studied a poetry Masters in Manches
 ter\, where both her teachers were Irish\, “and I totally fell in love w
 ith Seamus Heaney” she recalls.\n\n“Then in 2020 I did a Masters in Mu
 sic (in Dublin) and was reading essays about sean-nós singing\, watching 
 Cartoon Saloon stuff\, reading about Irish mythology - I wanted to educat
 e myself”. Since then Anna has spent much of her time on the west coast 
 of Ireland\, dipping back to her home in County Donegal between bouts of t
 ouring (this year supporting The Staves and St Vincent - having previously
  toured with Father John Misty and Son Lux amongst others) and trips to Lo
 ndon for work (this year alone she has soundtracked a new Alex Lawther-dir
 ected short film “Rhoda” which premieres at London Film Festival - an
 d was part of Mike Lindsay’s “Supershapes” - a collaborative album a
 nd super-group led by the Tunng & LUMP producer and multi-instrumentalist)
 .\n\nThis delicate\, yet blossoming\, relationship with her new home is al
 l laid bare in her pact with the sea on Donegal\, where amid skittering pe
 rcussion\, she asks it to “please look after me”\, and then Mo Cheol T
 hú which morphs into an almost-lullaby for a person\, a place\, and perha
 ps\, a hope. “One of the things that I was reading while I was making th
 is record was Manchán Magan’s book 32 words for Field\, and the idea th
 at language can have an explicit connection to the land. When I am in Irel
 and\, that sense of grounding is vast but also intimate\, and sometimes it
 ’s a bit magical and sometimes a bit scary.”\n\nIt’s fitting then\,
  that You & i are Earth folds in some of Ireland’s brightest contemporar
 y musicians\, with Kate Ellis and Caimin Gilmore from Crash Ensemble\, Cor
 mac Dermody from Lankum and Anna Mieke contributing vocals\, strings\, har
 monium\, bouzouki\, taishōgoto and clarinets to the album\, all tied toge
 ther by producer John ‘Spud’ Murphy (Lankum\, Black Midi).\n\nA sense 
 of reckoning underpins a compassionate piece of work\, with a conflation 
 of many strands\; histories and people\, and nature and human nature\, wit
 h the title song You and i are Earth taking inspiration from a 17th centur
 y plate that was found in a London sewer that has inscribed that unifying 
 sentiment. And yet the song\, while epic\, is also pared back and graceful
 \, warming to something that sounds like a swirling storm of strings. The 
 record is not trying to hide anything\, but instead unfurls a vulnerabilit
 y that binds\, such as on the delicate I Reach for You in My Sleep with it
 s dreamy marriage of guitar and choral flecks\, and the sweetly aching Th
 e Rest of Our Lives\, which really serve Savage’s magnetic\, elegant voi
 ce.\n\nThat process is brilliantly rendered on Agnes\, a complicated piece
  of work featuring Anna Mieke that turns on tropes of duality and transfor
 mation. It mirrors an unsettling experience that Savage had through medita
 tion\, which ultimately ended in an immersive\, beautiful feeling\, “I f
 elt like I was part of the earth\, completely connected to the mycelium ne
 twork\, I felt like I was where I was meant to be.”\n\nIn many ways\, th
 at experience framed the album’s artwork\, a photograph taken in some wo
 odlands in Co. Sligo\, with Savage looking up at the trees\, their fractal
 s reflected in her eyes\, mirroring something she had felt in her meditat
 ion\, bringing us back full circle\, and to that sense that we are essenti
 ally in unison\, or at least striving to be\, that “you and I are earth
 ”.\n\n\n\n\n\n\n[embed]https://www.youtube.com/watch?v=Bp4MS9dhmFM[/embe
 d]\n
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CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:29@foggynotions.ie
DTSTART:20250320T200000Z
DTEND:20250320T230000Z
DTSTAMP:20241122T083829Z
URL:http://foggynotions.ie/concerts/concert/spiritualized-pure-phase-dubli
 n-2025/
SUMMARY:Spiritualized Pure Phase Live
DESCRIPTION:National Stadium\nThursday 20th March\n\n8:00 pm\n\n\n\n\nTicke
 ts\n\nAll Events\nShow Details:\nFoggy Notions presents a live performance
  by Spiritualized of their seminal 1995 opus Pure Phase. Tickets on sale n
 ow.\n\nPURE PHASE (1995)\n\nBriefly renamed Spiritualized Electric Mainlin
 e\, Pure Phase expanded on the amount of personnel involved in making the 
 record\, with Sean Cook joining on bass and the Balanescu Quartest adding 
 string arrangements. The record sounds like no other as there are two mixe
 s running together concurrently.\n\nJason: “You can’t really compare t
 his record to any other because of how we mixed it\; in such an “incorre
 ct” way. When we made it I was crashing on (frequent Spiritualized colla
 borator) John Coxon’s couch in London\; he had his own studio and was al
 ways open to new ideas.\n\nWe mixed the tracks twice but I couldn’t deci
 de which one I liked better so we said “let’s have them both”. Both 
 of them were on tape so we spent hours cutting them into usable sections. 
 If you run two things together in parallel you get this kind of Hawkwind e
 ffect (phase)\, which gets deeper as they drift away from being ‘locked
 ’\, so we had to keep re-locking on a bass drum every eight or ten bars 
 and it took forever. There was no digital recorders back then or if there 
 were they were prohibitively expensive. I’ve actually tried to do this w
 ith digital and it doesn’t work the same way because they lock too accur
 ately. Because it was achieved with tape\, it gave it this strange kind of
  movement.\n\nThe thing that astounded me most about Pure Phase is that it
  didn’t make any allowances for the audience. It stuck to its guns. It w
 as like ‘I’m gonna sit on this part for as long as it’s necessary...
 and it’s probably a little too long.’\n\nIf you listen to the isolated
  parts\, everything is incredibly simple\, the horns\, the slide\, all the
 se little motifs and they lock together like some strange kind of machine.
  Something like Kraftwerk was the nearest thing in my musical vocabulary a
 t the time. Great rock and roll music is like systems\, it has its own end
 less cycle. Pure Phase was Michael Nyman\, Steve Reich and John Adams\, ro
 ck ‘n’ roll and gospel music\, and it sounds like driving as fast as y
 ou can in torrential rain.\n\nI wish I could do it now\, to mix things twi
 ce and throw it together and end up with this magic world\; it was so imme
 diate. It was a huge accident that it created this world where you’ve go
 t this phase\, where you have a sound on one side of the stereo and then t
 he very same sound on the other side but in a different mix\, with a diffe
 rent eq\, a different tone\, a different reverb and when you put them toge
 ther the two sounds move into some random place near the centre of the ste
 reo field but no place you would ever put it if you tried it in a conventi
 onal sense. It was a thing that was out of our control and it just sounded
  better than we could have imagined so we chased it.\n\nThings that take f
 orever... I love that. I think that’s the best thing. Because it’s lik
 e wringing this thing of every enjoyment that I can possibly get from it. 
 But it wasn’t like an endless “what’s the point\,” it was impossib
 le to hear the song any other way once we’d pressed the “combine” bu
 tton. It was impossible to look back.”\n\n\n\n\n\n\n\n[embed]https://www
 .youtube.com/watch?v=LQxrzqu4PYU[/embed]\n
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CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:31@foggynotions.ie
DTSTART:20250321T193000Z
DTEND:20250321T230000Z
DTSTAMP:20250227T141909Z
URL:http://foggynotions.ie/concerts/concert/junior-brother-button-factory-
 march-2025/
SUMMARY:Junior Brother
DESCRIPTION:Button Factory\nFriday 21st March\n\n7:30 pm\n\nSpecial Guests\
 n\nSEARCH RESULTS & PETER MCGANN (MC)\n\n\n\nTickets\n\nAll Events\nShow D
 etails:\nCarefully pushing the boundaries of what modern Irish folk can lo
 ok and sound like\, Junior Brother is an idiosyncratic\, challenging\, and
  richly lyrical singer/songwriter from Co. Kerry. With Junior Brother’s 
 newest single\, ‘Take Guilt’\, the fearless artistry for which he is a
 dmired reaches exciting new heights\, with thrilling clarity and shatterin
 g power. One of Junior Brother’s most powerful statements to date\, ‘T
 ake Guilt’ is out now (September 18th) accompanied by a Lyric Video by D
 ylan Gomery\, and a music video to follow starring Éanna Hardwicke by Ell
 ius Grace on October 4th.\n\nJunior shifts in his seat slightly\, before l
 aying out his stall\; “Things in the world are hard to ignore. Some thin
 gs are almost impossible to forget. Privilege is reaching the end of the a
 rticle and closing the paper - guts wrenched\, heartbroken and everything 
 forgotten by dinner time. Modernity unburdens itself\, desperately trying 
 to progress past history’s horrors - but horrors that used faces as curr
 ency will forever look back at us in the mirror’s reflection.\n\nSmall d
 isgraces face minorities closer to home every day. I’m white and male an
 d I have done nothing\, but the crimes and horrors done in my face’s nam
 e requires me to take guilt. I’ll bring this guilt with me to escape hat
 e\, as the news of morning clears into the long dead day.”\n\nBorn Ronan
  Kealy\, Junior Brother’s debut album ‘Pull the Right Rope’ earned a
  Choice Music Prize nomination for Irish Album of the Year\, and similarly
  lauded sophomore LP ‘The Great Irish Famine’ claimed another Album of
  the Year nomination at the RTÉ Folk Music Awards\, along with glowing pr
 ess from The Guardian\, MOJO Magazine\, and The Irish Times to name just a
  few.\n\nBuilding upon a debut album described as “Raw and stark - but v
 ery beautiful" (Hot Press Magazine)\, and the "Truly unforgettable" (MOJO 
 Magazine) second\, ‘The Great Irish Famine’\, Junior Brother has whipp
 ed up a dedicated following\, thanks to unmissable live shows\, and music 
 both excitingly forward-looking and anciently evocative. Thrilling appeara
 nces in iconic venues worldwide have left crowds spellbound\, from the Eas
 t Coast of the U.S. to Eastern Europe. He has played support for a variety
  of like-minded acts such as The Proclaimers (U.K. & IE)\, The Murder Capi
 tal (Europe) and Glen Hansard\, the latter personally choosing Junior as t
 he opening act for his 2019 US Tour.\n\nFollowing the "wry songs of anxiet
 y and frustration" (The Guardian) of ‘The Great Irish Famine’\, Junior
  is currently at work on album number three\, with famed producer John "Sp
 ud" Murphy (black midi\, Lankum) at the helm. Junior Brother "makes mincem
 eat out of every other structured singer-songwriter you can think of" (The
  Irish Times) - and his incredible journey has only just begun.\n\n“[An]
  unfiltered acoustic mix of neuroses\, loss of innocence and religious opp
 ression… Truly unforgettable.” - MOJO Magazine\n\n“He thinks in ways
  that not only make him extraordinarily different but also virtually every
 thing on ‘The Great Irish Famine’ remarkable.” - Tony Clayton-Lea\, 
 The Irish Times\n"Junior Brother has all but single-handedly upended the c
 onception of experimental folk on these shores" - Brian Coney\, The Thin A
 ir\n\n\n\n\n\n[embed]https://www.youtube.com/watch?v=lj-L13lqXkg[/embed]\n
ATTACH;FMTTYPE=image/jpeg:https://foggynotions.ie/wp-content/uploads/2024/
 11/JPG-ronan-2-copy.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:32@foggynotions.ie
DTSTART:20250321T200000Z
DTEND:20250321T230000Z
DTSTAMP:20241122T110759Z
URL:http://foggynotions.ie/concerts/concert/tunng-whelans-dublin-2025/
SUMMARY:Tunng
DESCRIPTION:Whelan's\nFriday 21st March\n\n8:00 pm\n\nSpecial Guest Dana Ga
 vanski\n\nTickets\n\nTickets\n\nAll Events\nShow Details:\nTunng Announce 
 new album ‘Love You All Over Again’ released January 24th on Full Time
  Hobby.\n\nCelebrate 20 years since first album in 2025.\n\nTime flies whe
 n you’re being Tunng. Can it really be over two decades since the band
 ’s genre-blurring\, self-styled ‘pagan folktronica’ first emerged fr
 om an east London studio. It surely can\, and what’s more\, January 2025
  will mark the twentieth anniversary of This is Tunng... Mother’s Daught
 er and Other Songs\, a debut longplayer whose acoustic guitars and poetic 
 disquisitions on nature\, mythology and the human condition\, courtesy of 
 Sam Genders\, sieved through fellow band founder Mike Lindsay’s lattice 
 of fractured beats and crackling electronics\, still sounds like an impiou
 sly postmodern wedding of the rustic and the synthetic\, the arcane and th
 e futurist.\n\nThat 20-year-old signature sound makes a warm return on Tun
 ng’s eighth studio album\, Love You All Over Again\, a winning amalgam o
 f texture and melody\, disconcerting imagery and shapeshifting production\
 , predicated\, Lindsay reveals\, on a conscious reacquainting with the ban
 d’s first principles. “I went back to the first two albums just to lis
 ten to how we fused genres – things like Davy Graham\, Pentangle\, the E
 xpanding Records catalogue and the Wicker Man soundtrack. Over the years\,
  Tunng’s sound has varied and twisted\, but at the root there is always 
 a flavour of what Sam and I made on that first album. Rather than searchin
 g for a new avenue we went back to what we used to do\, which\, after all 
 this time\, felt like it was a new avenue... Love You All Over Again is ou
 r way of coming full circle.”\n\nLead single ‘Didn’t Know Why’ is 
 a dauntless face-off between metallic synths and pellucid guitar arpeggiat
 ion with lyrics about a familiar Tunng song character\, Jenny. “It's ver
 y Tunng: dark but then warm and melancholic. Sam heard this and immediatel
 y brought back the murderous Jenny\, who has appeared on two previous Tunn
 g albums”. Genders offers his take on Jenny. “She once represented a k
 ind of romantic ideal – ‘the one’ – but now she’s a sort of ever
 y-person – a kind of archetype of all of us!”\n\nLove You All Over Aga
 in is an album that gets to the very essence of Tunng. "For Tunng to work\
 , it has to feel surprising\, odd and unpredictable\, and the new album ha
 s all that. It’s all about Tunng being back\, as a family\, within our o
 riginal boundaries\, bringing the love to all who have been a part of our 
 journey over 20 years.” Lindsay sums up nicely.\n\nPraise for previous a
 lbum ‘Dead Club’\n\n‘This is a really astonishing piece of work…Se
 ven albums in\, Tunng have made something that manages to be not only musi
 cally stunning but also has some hefty cultural import’ – NARC (5/5) A
 lbum of The Month\n\n‘Rich with clarinet and strings\, this is an album 
 of murmured wise advice’ – Financial Times (4/5)\n\n‘Tunng’s seven
 th album is impressively wayward…gorgeous textures of clarinets\, guitar
 s and synthesizers keep the project bracingly alive’ – MOJO (4/5)\n‘
 remarkable collision of music and spoken word…as odd and beautiful as it
  is thoughtful and contemplative’ – UNCUT (7/10)\n\n\n\n\n\n\n[embed]h
 ttps://www.youtube.com/watch?v=d41T8UCvH1c[/embed]\n
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CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:52@foggynotions.ie
DTSTART:20250322T200000Z
DTEND:20250322T230000Z
DTSTAMP:20241205T101156Z
URL:http://foggynotions.ie/concerts/concert/brigid-mae-power-bill-mackay-d
 ublin-2025/
SUMMARY:Brigid Mae Power & Bill MacKay
DESCRIPTION:Irish Debut
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 12/Bill-MacKay-Photo-1-by-Jamie-Kelter-Davis-copy.jpeg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:33@foggynotions.ie
DTSTART:20250326T200000Z
DTEND:20250326T230000Z
DTSTAMP:20241122T111151Z
URL:http://foggynotions.ie/concerts/concert/six-organs-of-admittance-dubli
 n-march-2025/
SUMMARY:Six Organs of Admittance
DESCRIPTION:Irish Debut
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 11/SixOrgans.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:61@foggynotions.ie
DTSTART:20250327T200000Z
DTEND:20250327T230000Z
DTSTAMP:20241213T104646Z
URL:http://foggynotions.ie/concerts/concert/why-whelans-march-2025/
SUMMARY:WHY?
DESCRIPTION:Whelan's\nThursday 27th March\n\n8:00 pm\n\n\n\nTickets\n\nTick
 ets\n\nAll Events\nShow Details:\nYoni Wolf has spent the last two decades
  traveling the remote sonic terrain where underground hip hop\, avant-pop\
 , and psych-rock meet. In that time he’s cultivated a unique sound\, and
  a unique position as one of contemporary music’s most distinctive voice
 s. Some of Yoni’s most compelling and critically-praised musical experim
 ents have been issued under the moniker WHY? and his latest entry is no ex
 ception. On AOKOHIO Yoni condenses the essential elements of WHY? into a s
 tunningly potent musical vision.\n\nCo-produced by Yoni and his brother Jo
 siah\, AOKOHIO presents a rich palette of musical voices that emerge and d
 isappear into a constantly shifting kaleidoscope of sound. “I wanted a w
 ide variety of sounds. I didn’t want this album to sit in one sonic zone
 . I’ve always felt like too jagged of a person to be smooth in that way\
 ,” Yoni says. While the album features many notable guest contributors\,
  from Lala Lala’s Lillie West\, to Nick Sanborn and Amelia Meath of Sylv
 an Esso\, the listener’s attention remains squarely directed on Yoni’s
  voice and vision.\n\nAOKOHIO finds Yoni rethinking fundamental aspects of
  his approach to creating and delivering his music. The album is presented
  as six movements comprised of two to four songs each\, with some segments
  appearing as brief fragments that dissolve within seconds.\n\n“When I s
 tarted this project\, I decided I needed to try a new approach in creating
  music and how I work\,” Yoni reflects. “I wasn’t feeling the idea o
 f going back in and making another ten or twelve song album. It felt arduo
 us. It felt like too much. So I wanted to pare the process down and make i
 t manageable. I thought\, ‘Why don’t I make small five or six minute m
 ovements and finish up each movement before I move on to the next.’ That
 ’s how I started approaching it. The whole process took over five years\
 , I’d start working on something and set it aside for awhile. The earlie
 st songs on this album started in 2013.”\n\nAs Yoni reimagined his appro
 ach to creating music\, he also began thinking of new ways to share the mu
 sic with his audience. “I initially wanted to release the music as I pro
 gressed through the project\,” Yoni says. “When I finished a movement 
 I wanted to put it up digitally on Bandcamp or Soundcloud. I just wanted t
 o make little pieces of music and put them out there. But I had a call wit
 h my manager and the label and they said\, ‘We can release stuff through
  time like that\, but we want to do it properly.’ So the idea of the pro
 ject changed after that\, but it retained the integrity of working in move
 ments. It’s definitely a very different way of working for me. I think i
 t has yielded some interesting results.”\n\nThe concept of sharing AOKOH
 IO in segments over time has been preserved with the release of an accompa
 nying visual album. “I think it’s a very artful way of putting the mus
 ic out there\,” Yoni explains. “It’s like a television series\, it
 ’s revealing itself slowly over time. I think it’s cool that the audie
 nce gets to hear it one piece at a time\, and has to wait and digest each 
 piece before they get the next one.”\n\n“I knew early on that I wanted
  that visual element for this album\,” Yoni recalls. “My brother and I
  have worked on video stuff our whole lives. Our dad had video equipment s
 ince we were little kids\, he had an editing suite in our basement. We wer
 en’t rich\, we were actually fairly poor\, but somehow he’d gotten aho
 ld of these video editing decks and cameras. Even though my brother and I 
 had dabbled in video as kids\, it’s not what we do for a living. So we w
 anted to find someone\, and fucking randomly a guy messaged me on Instagra
 m and was like\, ‘Hey\, I like your music and I’d love to work with yo
 u.’ I looked at his work and I was like\, ‘This guy is for real!’ 
 ”\n\nThe author of that fateful Instagram message was Sundance award-win
 ning director Miles Joris-Peyrafitte. “Miles directed the first three se
 gments of the visual album and is the mastermind of the overarching video 
 project\,” Yoni explains. Joris-Peyrafitte’s visuals cut contemporary 
 footage of Yoni and actress Tatiana Maslany with vintage home videos docum
 enting Yoni’s childhood life in Cincinnati. It’s a fitting juxtapositi
 on\, as Yoni’s lyrics on AOKOHIO seem to question how memory\, history\,
  and place shape our anxieties and sense of self. “I moved back to Cinci
 nnati after living in the Bay Area for over a decade\,” Yoni says. “Th
 is album is very much me thinking about my mom and dad\, and my siblings.
 ”\n\nYoni’s return to his Ohio hometown brought on a period of critica
 l self-reflection. “Is there a word for bad nostalgia?” Yoni asks. “
 When I think of the word nostalgia\, it seems like pleasant feelings and a
 ll that\, but this is not really like that. It’s more about reflecting o
 n the anxieties I’ve had since I was born. Why are they there? Is this e
 pigenetics? Is that shit just inside of me because of the Holocaust and my
  relatives back then? What am I really? Why do I operate in these ways?”
 \n\nUltimately AOKOHIO sees Yoni pushing to find meaning and peace of mind
  in the moment\, even if it’s not exactly where he wants to be. “The t
 itle is sarcastic I guess\,” Yoni offers. “But it’s also wishful. A 
 lot of my album titles have been names of maladies\, like Alopecia and Mum
 ps\, Etc. I don’t want to project that into the world. You know\, ‘A-O
 K Ohio\, I’m here and it’s fine.’ It’s like a mantra\, ‘A-OK Ohi
 o\, I’m here and it’s OK.’ Even though in reality\, everyday I’m l
 ike\, ‘I’ve got to get the hell out of Ohio.’ ”\n\nAOKOHIO feels l
 ike a consequential addition to the WHY? catalog\, possibly even an artist
 ic turning point. But its creator remains circumspect when asked to commen
 t on the album’s significance within his discography\, instead preferrin
 g to characterize the work as the latest iteration of his deep commitment 
 to his artistic practice. “I have no idea if this record is good or not\
 ,” Yoni says. “But I never really know. I know that I’ve never writt
 en a song that’s indispensable to the American songbook. But in terms of
  what it is\, it’s a piece of art. I put blood\, sweat\, and tears into 
 this album\, and struggled through the creative process as I always do. As
  far as where this sits with the rest of my albums? I can’t answer that.
  I just know that my career is a lifelong career\, and I’m working it. E
 very time it feels right\, it makes me feel good.”\n\n\n\n\n\n\n[embed]h
 ttps://www.youtube.com/watch?v=Qn8aZZF3GOI[/embed]\n
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 12/Yoni_July_2024_Hordinski_0034-scaled-1.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:34@foggynotions.ie
DTSTART:20250328T193000Z
DTEND:20250328T230000Z
DTSTAMP:20241122T111637Z
URL:http://foggynotions.ie/concerts/concert/new-jackson-rory-sweeney-butto
 n-factory-2024/
SUMMARY:New Jackson\, Rory Sweeney & The Outside
DESCRIPTION:Button Factory\nFriday 28th March\n\n7:30 pm\n\n\n\n\nTickets\n
 \nAll Events\nShow Details:\nFoggy Notions presents a celebration of live 
 electronic music featuring New Jackson\, Rory Sweeney & The Outside. PLeas
 e note this show is rescheduled to Friday 28th March. All tickets remain v
 alid.\n\nNew Jackson is the lauded sonic poet of nocturnal romance\, an ar
 tist who’s evocative machine soul has enjoyed a celebrated career both o
 n and off the dancefloor. The impending release of his second album OOPS
 … POP! for Permanent Vacation now rewrites his own inimitable playbook f
 rom his current abode on Ireland’s south west coast to further affirm hi
 s status as one of electronic music’s modern visionaries.\n\nSince his p
 roduction debut under the alias back in 2011\, Irish musical polymath Davi
 d Kitt has released some of his most beautiful music as New Jackson. It’
 s an anything-goes electronic sound driven by an “MPC-mindset”\; a har
 dware-obsessed vision of rhythm further clarified by Kitt’s unrivalled s
 ongwriter’s nous\, impassioned love of ecstatic dance music and adventur
 ous experimentation in the studio. The project’s origins date back to hi
 s time as part of Dublin's 'Thomas The Skank Engine' crew (behind the now-
 legendary Dub Trax parties)\, a key focal point of inspiration that anchor
 s Kitt with an underground mentality no matter where his music’s popped 
 up since.\n\nThis all\, of course\, in tandem with his beloved live show\;
  a spectacle in performance and sound that featured around the globe at pl
 aces like Berlin’s Panorama Bar\, Frankfurt’s Robert Johnson\, NYC’s
  Output\, Amsterdam’s Sugar Factory and Ibiza’s Pacha Destino as part 
 of Solomun's ‘Plus Live’ series. Then there’s the small matter of hi
 s near three decade-long DJ career\; a passion of sprawling selections tha
 t expose his vast digger’s knowledge and defiance of genre frigidity tha
 t speaks to his versatility within the craft\; as comfortable rocking fest
 ival main stages as he is spinning rockabilly 7’s in a dimly lit pub.\n\
 n‘OOPs… POP!’ then is the highly anticipated sequel album\, a refres
 hing new twist in the New Jackson oeuvre. Released with long-time collabor
 ators Permanent Vacation\, it is a concise triumph in techno-pop recorded 
 across the span of five years and three different countries. Within the al
 bum’s 9 tracks\, Kitt manages to transform his process into a leaner bea
 st\; tightening the screws around arrangements and songwriting to inspire 
 an album sonically effortless in demeanour and spontaneously playful in st
 ructure and form.\n\nRory Sweeney is hard to define\, having made a name f
 or himself as one of the key artists in the Irish Underground. His solo mu
 sic is both dramatic and playful\, with glitchy electronics and cinematic 
 balladry.\n\nMostly known for acclaimed production work for artists such a
 s Sello\, Curtisy\, Kojaque\, Aoife Wolf\, Sloucho\, EMBY and Pippa Molony
 \, Rory seamlessly traverses mainstream and experimental sounds. He is the
  current AVA Festival Producer of the Year recipient.\n\nRory's live set b
 rings you to the otherworld\, a place totally unlike our own. Expect textu
 red atmospheres\, glonked out club beats\, heavy bass and moments of disor
 ienting beauty.\n\nThe Outside is new collaborative project between musici
 an/producer David Kitt and dj/sound artist Aoife O'Neill. Using field reco
 rdings recorded locally in Kerry as a starting point the pair stretch out 
 in all manner of exciting electronic directions running the gamut from bli
 ssed-out ambient to futuristic club-ready bangers.\n\n\n\n\n\n[embed]https
 ://youtu.be/ZtnVcROPXU4?feature=shared[/embed]\n
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CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:36@foggynotions.ie
DTSTART:20250329T193000Z
DTEND:20250329T230000Z
DTSTAMP:20241126T171214Z
URL:http://foggynotions.ie/concerts/concert/coco-clair-clair-button-factor
 y-dublin-2025/
SUMMARY:Coco & Clair Clair
DESCRIPTION:Button Factory\nSaturday 29th March\n\n7:30 pm\n\nSpecial Guest
  Raven Artson\n\n\n\nTickets\n\nAll Events\nShow Details:\nWe are proud to
  announce the Irish Debut of Coco & Clair Clair. Tickets on sale now.\n\nC
 oco & Clair Clair joke that if their debut album\, 2021’s Sexy\, was a b
 aby boy\, then their forthcoming album Girl is\, well\, a baby girl. The A
 tlanta-based duo\, who mix hip hop with lo fi dream pop and glimmering ele
 ctronic production\, have gained acclaim over the last few years for their
  effortless charm and winking braggadocio. On tracks like their viral hit 
 “Pretty\,” Clairo and Deaton Chris Anthony collaboration “RACECAR\,
 ” and “Wishy Washy\,” which was featured on Atlanta\, the duo coolly
  dismiss the boring men who want to date them\, talk shit about people who
  copy them\, and luxuriate in being the life of the party. That kind of un
 filtered confidence is often associated with male musicians\, but Coco & C
 lair Clair’s music is also lush\, vulnerable\, and intimate. On Girl\, t
 hey push that tension between stereotypically male and stereotypically fem
 ale attributes further than ever before\, with newly confessional lyrics\,
  polished production\, and the same verve that has always defined their wo
 rk. Girl is a thrilling\, poignant album that shows just how multifaceted 
 girlhood and femininity can be.\n\n\n\n\n[embed]https://www.youtube.com/wa
 tch?v=7NCQb-mWkHs[/embed]\n
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CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:35@foggynotions.ie
DTSTART:20250329T200000Z
DTEND:20250329T230000Z
DTSTAMP:20241122T112024Z
URL:http://foggynotions.ie/concerts/concert/dehd-whelans-dublin-march-2025
 /
SUMMARY:DEHD
DESCRIPTION:Whelan's\nSaturday 29th March\n\n8:00 pm\n\n\n\nTickets\n\nTick
 ets\n\nAll Events\nShow Details:\nCigarettes burn in the moonlight. Neckla
 ces bang against bare chests. And on their triumphant fifth album Poetry\,
  Dehd transports us to a world steeped in imagery. It’s a world painted 
 in the sunset tones of summer romance and flickering old flames. It’s mo
 torcycle chrome (“Mood Ring”)\, it’s fake Gucci Sunglasses (“Dog D
 ays”)\, and it’s shaking hands before a swaying lover (“Hard to Love
 ”). Across fourteen songs\, the trio–Jason Balla\, Emily Kempf\, and E
 ric McGrady–throw themselves against the question of what it means to ho
 pe\, knowing all too well that things end and hearts can break. “You can
 ’t beat death\, but you can beat death in life\,” wrote Charles Bukows
 ki and upon listening to this album it’s obvious the band has chosen to 
 attempt the latter.\n\nAfter hitting a stride with their 2020 breakout rec
 ord Flower of Devotion\, followed by their radiant Fat Possum debut Blue S
 kies in 2022\, Dehd did something different. They turned a writing session
  into a road trip. With a van full of recording equipment they headed to K
 empf’s off-grid Earthship in New Mexico where they chopped wood to keep 
 warm and worked for as long as the solar panels held a charge. They then t
 raveled north to a borrowed cabin surrounded by the chilly waters of the P
 uget Sound\, where the hours were marked only by the movement of the tide.
  On the way back to Chicago for their final writing session at the warehou
 se they’ve called home for over a decade\, Balla and McGrady became stra
 nded for days in rural Montana after hitting a deer and abandoning their v
 an. This tireless sense of adventure\, both internal and external\, has be
 come a trademark of Dehd over the years. “Eating\, sleeping\, breathing
 —our only purpose was to write\,” Kempf recalled. And it seems in this
  place of quiet focus Dehd have achieved their most honest and vulnerable 
 writing yet.\n\nIn the studio they tapped Ziyad Asrar (of Whitney) to co-p
 roduce alongside Balla\, marking their first time collaborating with someo
 ne outside of the band for the recording process. With the addition of Asr
 ar the emotional landscape of the record is vividly rendered\, at times co
 nfessional and others anthemic\, vocals bared\, up front with the confiden
 ce of a band that knows the power of their words.\n\nNo one writes about l
 ove quite like Dehd\, and on Poetry\, they somehow make even heartbreak so
 und inviting. In the swirl of budding new relationships and lingering brea
 kups\, their lyrics find themselves at once exalting love and then turning
  to doubt it. Examining their own self-defeating habits. “I let myself g
 et in the way\, turning every thought to jealousy\,” admits Balla on “
 Light On\,” “But was it worth losing a home?” On “Pure Gold\,” K
 empf excavates her feelings for another woman–and while writing the song
  found Kempf confronting years of internalized heteronormativity\, she wri
 tes about a sapphic love that feels almost too perfect for Dehd: “Easy b
 reezy. Ooh yeah we laugh so freely\,” she sings\, embodying the liberate
 d joy of a new crush.\n\n“Everyone I know is breaking hearts tonight\,
 ” Balla howls on “Dog Days”\, “Everyone I know is bleeding\, but I
  know we’ll be alright.” This restless optimism is uniquely Dehd and s
 peaks to their career of confronting the messy duality of life and love. O
 n Poetry the band conjures a world as if through the eyes of Leonard Cohen
  or the camera lens of Wong Kar-wai. There's a darkness\, but not a bleakn
 ess as they explore self-love\, feminism and friendship with rare candor. 
 “Dist B\,” based on a trying emotional experience Kempf had in Copenha
 gen\, frames a breakdown as a cry for help: “What will it take for you t
 o see me?” she asks. On “Knife\,” she takes aim at the patriarchy—
  “the closest thing to a political song that I'll probably ever write”
 — and shoots to kill: “It’s a matter of time and I’ll be free\,”
  she sings\, while the old guard counts their days: “You’re outdated. 
 You mean nothing.”\n\nThe album Poetry represents a journey as vast and 
 nuanced as the American landscape Dehd traveled to write it. It culminates
  on the scorching closer “Forget\,” a breakup song transformed into ma
 ntra. “How could I forget?” Balla laments as distorted guitars burn li
 ke the last embers of the day. It’s fitting that the final words of the 
 album come in the form of a question\, because as Dehd would have us see i
 t\, we have a choice: to play it safe or to risk it all and live life like
  Poetry.\n\n\n\n\n\n\n\n[embed]https://www.youtube.com/watch?v=LbdHMLEYwwA
 [/embed]\n
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CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:57@foggynotions.ie
DTSTART:20250401T193000Z
DTEND:20250401T223000Z
DTSTAMP:20250213T121730Z
URL:http://foggynotions.ie/concerts/concert/geordie-greep-dublin-2025/
SUMMARY:Geordie Greep
DESCRIPTION:Vicar Street\nTuesday 1st April\n\n7:30 pm\n\nSOLD OUT\n\n\nTic
 kets\n\n\nAll Events\nShow Details:\nFoggy Notions presents Geordie Greep 
 (of black midi) for his Irish Debut at Vicar Street.\n\nNew Dates Added To
  World Tour Including Two Nights At Koko\n\nDebut Solo Album ‘The New So
 und’ out now on Rough Trade Records\n\n“The main theme of the record i
 s desperation\; you don’t hear an unreliable narrator but someone who is
  kidding themselves that they have everything under control\, but they don
 ’t.” Geordie Greep\n\n“An incredible\, accomplished confection” 9/
 10 UNCUT\n\n“A thoroughly brilliant and modern rock album” Loud & Quie
 t  / Albums Of The Year\n\nGeordie Greep (guitarist and vocalist in black 
 midi) today shares a blistering live concert film recorded in New York at 
 TV Eye\, watch the performance here. The film features Geordie’s US Band
 \, Santiago Moyano on Percussion\, Charlie Shefft on Drums\, Cameron Campb
 ell on Keys and Dave Strawn on Bass.  Geordie says his intention has been 
 “to do a Keith Jarrett thing’\, have a different group of session musi
 cians in a different place and lean into the fact that we’re not going t
 o get it the same.” New tour dates have also been added to Geordie’s a
 lready extensive world tour which takes him across Europe\, to North Ameri
 ca and onto Japan and Korea – including two nights at Koko\, his biggest
  London headline shows to date. See below for full details.\n\nFollowing t
 hree astonishing albums with black midi\, most recently 2023’s ‘Hellfi
 re’\, and almost non-stop worldwide tours for near-on five years\, Geord
 ie Greep has somehow found time to record his first solo album ‘The New 
 Sound’\, an album that has allowed him scope to explore creative ideas l
 ike never before. It boasts a brand of high quality\, all-embracing altern
 ative pop fun not heard in a very long time. Geordie Greep\; “With recor
 ding ‘The New Sound’\, it was the first time I have had no one to answ
 er to. And with every impulse I had\, I was able to completely follow it t
 hrough to its conclusion. Being in a band (black midi)\, we often have thi
 s ‘we can do everything’ feeling\, but you are also kind of limited in
  that approach\, and sometimes it's good to do something else\, to let go 
 of things.”\n\nOver thirty session musicians were involved in the making
  of the album\, on two continents\, in São Paulo and London. Geordie Gree
 p\; “Some of the tracks we had recorded already\, elsewhere\, but it jus
 t wasn’t right\, so we re-recorded them with new people. Half of the tra
 cks were done in Brazil\, with local musicians pulled together at the last
  minute. They’d never heard anything I’d done before\, they were just 
 interested in the demos I’d made. The tracking was all done in one\, may
 be two days. Then we did the overdubs later\, in London.” \n\nGeordie Gr
 eep has had plenty of practice with black midi over the years in performin
 g musical and lyrical Cruyff turns\, full of stop-starts\, blasts and bang
 s and whispered soliloquies. Here the method is employed to ask: what part
  of the narrative should we listeners believe\, or take as our emotional c
 rutch? The mercurial\, insouciant tone set in ‘Terra’\, or the gruesom
 e imagery it is juxtaposed with? After all\, Greep tells us\, this is the 
 story of “the museum of human suffering.” Consider\, too\, the strange
  emotional undulations created in ‘Through a War’\, where the music ma
 kes a very polished stab at aping a soul revue\; or a salsa class. It’s 
 there to give colour to a set of imaginings which include cannibalism\, be
 ing boiled alive\, and a woman giving birth to a goat. You’re never quit
 e sure when\, or whether\, you are supposed to be shocked\; or laugh. Even
  if\, as with the latter\, Geordie Greep gives us the punchline\; “And t
 hat’s how I spent my adolescence.”\n\nStreet life is all around: the l
 istener is thrown into a world of cafes\, bars and clubs\, visit theatres\
 , cabarets and strange museums\, or rented rooms. Here we see our heroes c
 arry out a series of naughty assignations\, military cosplay or socio-econ
 omic triumphs. Greep\; “I was often thinking of walking through a city\,
  and thinking about a million dollars\, showing that kind of feeling\, you
  know?” Taking on The New Sound in its entirety can feel like you are tr
 ying to cross Piccadilly Circus after a skinful. Single ‘Holy Holy’ is
  possibly the best example: has urbane romantic fantasy ever sounded this 
 way? Probably not since Noël Coward. This story of an imaginary liaison i
 n a nightclub is soundtracked by ’noughties indie pop chords and bravura
  Latin big band arrangements - including a three-piano attack (Steinway\, 
 Bechstein\, electric). ‘Motorbike’ sees a change in vocal duties: as b
 assist and album producer Seth ‘Shank’ Evans starts up a doleful solil
 oquy about not getting what he wants.\n\nIt’s certainly an album that fu
 lly engages the listener\, throughout the eleven tracks. Greep\; “I was 
 worried about the length in terms of not overblowing it. But I’m also re
 ally bloody bored of listening to music and\, for better or worse\, knowin
 g in advance what it means or what it’s trying to do. All my favourite m
 usic is about the listener coming to terms with what is going on. My favou
 rite singers\, like Peter Hammill or Nat King Cole\, are literally one of 
 a kind. I love that. Especially with lyrics\, where you’re not sure what
  they’re going on about\, but you know it’s not just abstract thoughts
 .”\n\n\n\n\n\n\n\n[embed]https://www.youtube.com/watch?v=qszu-WSGoOs[/em
 bed]\n
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CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:85@foggynotions.ie
DTSTART:20250405T200000Z
DTEND:20250405T230000Z
DTSTAMP:20250304T094759Z
URL:http://foggynotions.ie/concerts/concert/bo-staloch-bello-bar-dublin-ap
 ril-2025/
SUMMARY:Bo Staloch
DESCRIPTION:Bello Bar\nSaturday 5th April\n\n8:00 pm\n\n\n\n\nTickets\n\nAl
 l Events\nShow Details:\nFollowing his incredible Irish Debut in August 20
 24\, Bo Staloch returns to Dublin this April with full band.\n\nBorn and r
 aised in Austin TX\, Bo Staloch is an up-and-coming singer-songwriter base
 d in Nashville. Through the release of his debut single 'Springtime Red Tu
 lips\,' he has gained the attention of many\, including some of his bigges
 t idols and inspirations. Bo has a very unique sound that blends the world
 s of Americana\, Country\, Folk and Pop. He takes listeners on a wild jour
 ney through his extremely vivid storytelling capabilities.\n\nIn 2024 alon
 e\, Bo played over 30 shows in his first year as a touring act. This inclu
 des supporting John Vincent lll\, Hans Williams\, Wyatt Flores and Richy M
 itch & the Coal Miners.\n\nKeep your ears and eyes open for a ton of new m
 usic from Bo soon!\n\n\n\n\n[embed]https://www.youtube.com/watch?v=5Eqnyqs
 BVZc[/embed]\n
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 03/Bo-Staloch-copy.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:37@foggynotions.ie
DTSTART:20250405T200000Z
DTEND:20250405T220000Z
DTSTAMP:20241122T113059Z
URL:http://foggynotions.ie/concerts/concert/the-tubs-workmans-cellar-dubli
 n-april-2025/
SUMMARY:The Tubs
DESCRIPTION:The Workman's Cellar\nSaturday 5th April\n\n8:00 pm\n\n\n\n\nTi
 ckets\n\nAll Events\nShow Details:\n“Their 2023 debut was the best Briti
 sh indie-pop in a generation\, and the first single from their follow-up a
 lbum is as good\, with an almost absurdly melodic jangle-riff offset by ru
 eful lyrics.” The Guardian\n\nThe Tubs – Cotton Crown Bio\n\nThe Tubs'
  second album\, Cotton Crown\, sees the Celtic Jangle boyband venture into
  darker\, more personal territory while continuing to hone their highly ad
 dictive brand of songcraft. It’s a true level up album which sees the ba
 nd expand their sonic palette to take in a kaleidoscopic range of influenc
 es: everything from soulful pub rock (Chain Reaction) to Husker Du aggress
 ion (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in.
  As Pitchfork noted\, The Tubs see jangle as a ‘vast world of moods and 
 muses’ and Cotton Crown sees them continuing to explore this world and c
 reating a distinctly Tub-ular sound in the process.\n\nThis is in no small
  part down to Owen ‘O’ Williams’ vocal performance- often compared t
 o a young Richard Thomson- and his frank\, bleakly funny lyric writing. Co
 tton Crown sees him delve further into his favorite themes of love-psychos
 is\, unsympathetic mentally ill behavior\, and the humiliations of being a
  musician in London. This time around\, however\, there’s a palpable sen
 se of risk in his self assessments/confessions. No more so in the track’
 s closing track Strange- an accounting of the clumsy\, intrusive\, well-me
 aning social interactions that took place in the period following the suic
 ide of his mother (the folk singer Charlotte Greig.) As Williams says: “
 I’d tried a few times to write a song about it. The result had always se
 emed either mawkish\, simplifying or like I was hawking my trauma. But the
 n this one came out\, and it felt right because it looked at something sma
 ller: the weird\, unsatisfying\, strangely funny ways everyone\, including
  myself\, acted after the dust settled.” The album artwork features an i
 mage of Williams as an infant being breastfed by Greig in a graveyard- a p
 romotional shot taken around the release of her debut album (the re-issue 
 of which was featured in The Guardian in 2023.)\n\nThe essential trick Cot
 ton Crown plays is to offset Williams’ lyrical bleakness with joyous\, h
 ook-laden blasts of pop perfection. This is largely down to the guitar wor
 k of George Nicholls\, who\, across the album\, effortlessly slips between
  the virtuoso jangle of Marr\, the driving folk-rock of Pentangle and the 
 chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Ad
 d to that the breakneck rhythm section of Taylor Stewart (Drums) and Max W
 arren (Bass)- who attack each song with power-pop ferocity\, recalling Gui
 ded by Voices at their drunken-yet-tight best- and you’ve got yourself a
  recipe for indie rock greatness.\n\nThe band’s debut ‘Dead Meat’ wa
 s a word-of-mouth sensation that saw the band earn accolades from Pitchfor
 k\, The Guardian\, MOJO\, SPIN and more. They even gained some celeb fans:
  the inimitable Mark Proksch (The Office (US)\, Better Call Saul\, What We
  Do in the Shadows) starred in the video for their “Round the Bend” si
 ngle & punk legend Iggy Pop has praised them on his BBC 6Music radio progr
 am. Standing in opposition to the UK norm of post punk\, and hookless high
 -minded indie prog\, the album was described by Kitty Empire (Observer) as
  a “shot in the arm for indie rock”. The band’s hard touring and rau
 cous\, beery live show have seen them stand out at festivals like Greenman
 \, End of The Road\, Melbourne Rising and Canela Party. The band (minus St
 ewart) were previously members of Joanna Gruesome- who won the Welsh Music
  Prize\, toured the UK and US extensively\, and were praised in Pitchfork\
 , Rolling Stone\, The NY Times\, The Guardian and others. Lan McCardle (Jo
 anna Gruesome\, Ex-Void) also provides backing vocals on several tracks. T
 he Tubs are part of the Gob Nation collective- the London-based network of
  bands\, writers and promoters who were recently profiled in The Guardian\
 n\n\n\n\n\n\n\n\n[embed]https://www.youtube.com/watch?v=Y3MDLKzwwZo[/embed
 ]\n
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CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:38@foggynotions.ie
DTSTART:20250406T193000Z
DTEND:20250406T230000Z
DTSTAMP:20241122T113445Z
URL:http://foggynotions.ie/concerts/concert/oracle-sisters-button-factory-
 dublin-april-2025/
SUMMARY:Oracle Sisters
DESCRIPTION:Button Factory\nSunday 6th April\n\n7:30 pm\n\n\n\nTickets\n\nA
 ll Events\nShow Details:\nMulti-instrumentalist artist trio\, Oracle Siste
 rs is the reunion of two childhood friends\, Lewis Lazar and Christopher W
 illatt\, whose lives are deeply intertwined. They were brought together by
  a twist of fate in Paris\, where they met Finnish musician Julia Johansen
 .\n\nAfter two EPs\, 'Paris I' and 'Paris II\,' with retro-futuristic insp
 irations\, they gained attention with their track 'Asc. Scorpio\,' before 
 releasing their first album\, 'Hydranism\,' in 2023.\n\nTheir music has ro
 ots in the folk tradition from their time spent time in Edinburgh and Dubl
 in\, later incorporating americana\, rock n roll\, psychedelic and soul pi
 cked up on their travels. Catch the band on tour across Europe in 2025."\n
 \n\n\n\n\n[embed]https://www.youtube.com/watch?v=jqV8FT-FI80[/embed]\n
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CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:39@foggynotions.ie
DTSTART:20250408T193000Z
DTEND:20250410T230000Z
DTSTAMP:20241122T114748Z
URL:http://foggynotions.ie/concerts/concert/gavin-friday-vicar-street-dubl
 in-2025/
SUMMARY:Gavin Friday
DESCRIPTION:Irish Debut
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CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:40@foggynotions.ie
DTSTART:20250411T200000Z
DTEND:20250411T223000Z
DTSTAMP:20241122T115135Z
URL:http://foggynotions.ie/concerts/concert/adrian-crowley-project-arts-ce
 ntre-2025/
SUMMARY:Adrian Crowley
DESCRIPTION:Project Arts Center\nFriday 11th April\n\n7:30 pm\n\n\nTickets\
 n\nAll Events\nShow Details:\nAdrian Crowley just released his captivating
  single Tangled on the brand-new label Valley Of Eyes Records. The mysteri
 ous track is produced by John Parish and features Nadine Khouri on backing
  vocals. On Tangled Crowley says:\n\n"I see this song as a kind of restles
 s wander through a predawn neighbourhood\; and a dip into the shady realm 
 of a sleepless mind\, when nocturnal creatures are still prowling around\,
  and ruminations and febrile thoughts take hold until the morning comes. T
 his song was almost lost. The morning after it was written\, the day's dis
 tractions lead me away from it for a while and it was duly forgotten. But 
 then one night\, preparing the new album\, I found it again."\n\nAdrian Cr
 owley is an award-winning Irish songwriter\, singer\, and composer who has
 \, in over two decades\, created a deeply affecting body of work. The Dubl
 in-based artist is noted as having a uniquely dark poetic sensibility and 
 an arrestingly resonant voice. His songs have led him to being described a
 s a master storyteller and the rich tapestry of his expansive recorded out
 put is proof that he is an endlessly inspired and inspiring artist.\n\nAdr
 ian Crowley’s voice is a powerfully emotive thing. His deep timbre and r
 ichly arranged songs and haunting lyrical narratives\, amid settings that 
 alternate sweeping sonic majesty with ghostly starkness\, is uniquely his 
 own.\n\n“Like a gothic Leonard Cohen – leaving you aching for more.”
  UNCUT\n\n\n\n\n\n\n[embed]https://www.youtube.com/watch?v=_w7LeUymV3w[/em
 bed]\n
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CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:80@foggynotions.ie
DTSTART:20250415T193000Z
DTEND:20250418T230000Z
DTSTAMP:20250326T182359Z
URL:http://foggynotions.ie/concerts/concert/maria-somerville-ireland-april
 -2025/
SUMMARY:Maria Somerville
DESCRIPTION:Irish Debut
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 02/Maria-Somerville-by-Cáit-Fahey-.jpg
CATEGORIES:Concert
END:VEVENT
BEGIN:VEVENT
UID:58@foggynotions.ie
DTSTART:20250424T200000Z
DTEND:20250424T230000Z
DTSTAMP:20241212T093450Z
URL:http://foggynotions.ie/concerts/concerts/moin-whelans-dublin-2025/
SUMMARY:MOIN
DESCRIPTION:Whelan's\nThursday 24th April\n\n8:00 pm\n\n\n\nTickets\n\nTick
 ets\n\nAll Events\nShow Details:\nMoin are a London-based three-piece feat
 uring Tom Halstead and Joe Andrews of the electronic outfit Raime\, alongs
 ide visionary percussionist Valentina Magaletti.\n\nTheir music recontextu
 alizes a range of guitar-based genres—grunge\, shoegaze\, and post-rock
 —through an enigmatic reimagining of the traditional band dynamic. Emplo
 ying both conventional and unique compositional techniques\, their sound i
 s marked by a visceral immediacy that comes to life in full force during t
 heir live performances.\n\nMoin walk the line between the reassuringly fam
 iliar and the unsettlingly inquisitive.\n\nImbibe Coffee Roasters started 
 in May 2018 with an aim to bring coffees of an unrivaled standard to Irela
 nd but to do this using a business model that was different to any other. 
 Although profit is important for every business it is not the main driver 
 of Imbibe.\n\n1% of all Imbibe’s coffee sales go to Women’s Aid\, 1% t
 o projects at coffee origins and a further 1% is shared among their staff.
  They don’t engage in CSR programs that are simply window dressing. When
  you buy Imbibe coffee you are making a difference.\n\n\n\n\n\n[embed]http
 s://youtu.be/OZeeCdrdd3c?si=O0U8JGeXh5GE_wqM[/embed]\n
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CATEGORIES:Concert
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BEGIN:VEVENT
UID:92@foggynotions.ie
DTSTART:20250424T200000Z
DTEND:20250424T230000Z
DTSTAMP:20250315T213645Z
URL:http://foggynotions.ie/concerts/concert/jim-page-the-cobblestone-dubli
 n-2025/
SUMMARY:Jim Page
DESCRIPTION:The Cobblestone Dublin\nThursday 24th April\n\n8:00 pm\n\n\n\nT
 ickets\n\nAll Events\nShow Details:\nThe return of American songwriting le
 gend Jim Page\, whose composition "Palestine" features on the latest Chris
 ty Moore album A Terrible Beauty.\n\nJim Page is an America singer/songwri
 ter from Seattle\, WA\, who has released two dozen albums and written a mo
 untain of songs - some covered by the likes of Christy Moore\, The Moving 
 Hearts\, Dick Gaughan\, Roy Bailey\, Michael Hedges\, and the Doobie Broth
 ers. \n\n \nOn top of being a great concert performer\, his workshops on f
 earless songwriting are deeply effective and open to all skill levels. He 
 does not shy away from the hard topics – politics\, historical residue\,
  and the labors of love. If you can talk about it you can sing about\, tha
 t’s how he sees it. \n \nHe has been named "One Of the 50 Most Influenti
 al Musicians In Seattle History." He’s been doing it since the 60s and h
 e shows no sign of slowing down. “Jim's been writing great topical songs
  for as long as I can remember\, bringing his acute wit and wry humor to a
  host of subjects that can really use both.  He cuts right to the heart wi
 th music you actually enjoy listening to. I'm a longtime admirer.” BONNI
 E RAITT “Every now and again I encounter a singer who gives me a glimmer
  of hope. Jim Page carries the light.” CHRISTY MOORE \n \nJim’s 24th a
 lbum – THE TIME IS NOW: “Songwriting master craftsman delivers career 
 defining album.” Graeme Tait\, Americana UK “Jim Page is a lyrical gen
 ius with a guitar. This man personifies the word ‘free-flow.’ Page tak
 es to the mic and the song invents itself on the spot\; his talent is a na
 tural wonder.” GAVIN REPORT “If Jim Page ain’t the bastard son of Wo
 ody Guthrie I’m T-Bone Walker.” ROBERT HUNTER\n\n\n\n\n\n[embed]https:
 //www.youtube.com/watch?v=lj-L13lqXkg[/embed]\n
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CATEGORIES:Concert
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