Tag: irishmusic

  • A match made in TUD: When flowers are no longer enough

    A match made in TUD: When flowers are no longer enough

    Technological University Dublin’s African society Valentine’s event represents love beyond just romance and serves as a medium for promoting cultural integration.

    By Samuel Adeleke

    Photo credit: Samuel Adeleke

     With Valentine’s Day around the corner, a time often seen as a period to show and express love, TUD African Society brought the celebration early by organizing a Valentine’s event on 10th of February, at Bst259 Bolton Street.

    For Sharon Ojuade, President of the TUD African society, the theme of ‘A match made in TUD’ was not chosen for love and romance alone.

    “With this event, we aimed to create a relaxed and comfortable environment where people from the same background, different backgrounds, and experiences gather in one room, enjoying the atmosphere,” said Ojuade.

    In organising the event, the committee also sought the support of student entrepreneurs who offered services or provided freebies to participants in an African style.

    This included DJs, photographers, MCs, and the types of foods to be served.

    “Events like this give people a sense of belonging and serve as an avenue to promote student entrepreneurs from Africa and allow them to thrive,” said Ojuade.

    “Before the world loves you, your community must also love,” she added.

    The committee has experienced a record number of ticket sales for the event. For the president, it is inspiring to see that they live in a country with a strong sense of community.

    “Just because we live here doesn’t mean we shouldn’t have fun moments; people should still pursue what they need to pursue outside the community,” said Ojuade.

    Although it is an African society gathering, the event is open to other nationalities. “The first person to get a ticket for the event is an Asian. He reached and said he wanted to be part of it.” said Ojuade.

    According to Divine Nebo, the social director of the society, “the event is not just about finding love, it is about finding people who are like you to bond with on a different level.”

    And by extension, the theme of the event, ‘A match made in TUD’, is to show that love can be found anywhere, not just in school, but in environments like this, outside of social media.

    With students outside the African community feeling the pull of the event, Divine said, “the event is not only about Africa, but expressing the depth of African culture to non-Africans to see what African culture is about, beyond what social media portrays.”

    John Ologunlola, the event manager, also collaborated and highlighted the potential of the event to serve as a platform for non-Africans to experience African culture.

    “Even though they might not fully understand the African culture in its entirety, it is a valuable learning process,” said Ologunlola.

     Ologunlola mentioned that, as a Nigerian, he is learning more about the African culture and finding expression in the community alongside other African nationals, including Ghanaians and Congolese.

    With students like River Rogers, who is half Irish and half Polish, the intentions of the TU African society executive came to light.

    “It is my first time being in an African event,” Rogers said. “I am not African, but I can still attend and make some new friends,” he added.

    Not only did Rivers find the Afrobeat songs being played amusing, but he also left with the intention of trying an African dish. “I definitely need to try the African jollof rice,” he said.

    Mark Ologunlola, a former executive of the society, commended the event as a brilliant way of promoting cultural pride.

     “Events like this help people develop real relationships, and give people a picture of what love is,” he said.

     Ologunlola expressed excitement at seeing other people at the event, “no matter what part of Africa or the world you come from, we are all one body.”

    While the event promotes communal love, in a friendly society that helps people socialise, Nicole Okerikre, an African national from Nigeria, who participated in the event as a contestant, said, “This is a period of love, but people should find love in themselves first.”

    Denoting that self-love is non-negotiable.

    For Jaeson Jang, an Asian, ‘A match made in TUD was not just a Valentine’s event, but an opportunity to find expression among people of other cultures.

    “The African culture is amazing, I feel like family, I feel welcome. Everyone is enjoying themselves; no one feels lonely,” Jang said.

    Jang’s experience underscored the aims of the TU African Society to promote an atmosphere where joy, laughter, and love are shared without identity being a barrier.

    “Everyone can integrate into every culture; you only have to do it respectfully,” said Jang.

    By the end of the night, a match was indeed made in TUD as the event ended with Jaeson Jang from Asia and Nicole Odunsin from Africa emerging as winners.

    It was a reminder that love in its most powerful form goes beyond just being African or giving flowers; it is in identifying with people from other nationalities and embracing a sense of community.

     

  • Eve Belle finds harmony in lockdown

    Eve Belle finds harmony in lockdown

    The virtual ‘new normal’, a screenshot of Eve Belle over Zoom. Photo by Izzy Rowley

    Although Eve Belle and I live in the same city, we do not live within the same five-kilometre distance, and lockdown restrictions have demanded a Zoom call. Thankfully, Belle’s charm easily translates through a WiFi connection.

    There’s been a tangible shift in the artist’s career – she released her debut album, In Between Moments, last October to great critical acclaim, she has been named as one of Hot Press’ Hot for 2021 artists, and has been a part of the Other Voices #Courage series.

    Releasing her debut album during a global pandemic cannot have been an easy choice – with touring off the table, it’s harder than ever to promote your music.

    “If I had waited for the right moment, four months on, I’d still be waiting, so I just decided to make the right moment,” she tells me.

    Luckily, there was an upside: “It’s an unusually good time to release music because there are people who are really reliant on having a new thing to focus on and a new thing to listen to.”

    In-lieu of the stage, Belle diligently performed over Instagram live – a platform many musicians have relied on during the pandemic. When I tell her I once heard another musician describe it as the fat-free version of gigging, she laughs and says “that sounds about right”.

    “I saw a boy I liked. He didn’t want to talk to me, so I went home and wrote a song about it as if it was the end of the world”

    Eve Belle

    Performing as part of the Other Voices #Courage series alongside Neil Hannon and Cathy Davey gave her a chance to escape the virtual world. “It was the first time I’d gotten to do anything resembling a gig since March. So, I was literally beside myself to be at anything even remotely in the shape of a gig,” she says.  

    She’s just released this performance as an EP of paired-back, acoustic versions of three songs on her album.

    Other Voices has been a constant in Belle’s career – performing on the Other Voices stage at Electric Picnic when she was 16, and then playing the musical trail in Dingle later. “It was a lovely way to continue the trajectory of that, so it was definitely close to my heart to be back,” she says. 

    How did Belle see herself as an artist when she first started out?

    “I wanted to be in emo bands in school, but my mum said no. I’m very glad she said no – I would’ve absolutely wrecked my voice, but at the time I was like ‘oh my god, why are you doing this to me?!’” She laughs.

    Belle’s lyric-driven songwriting style comes naturally to her – holding on to her emo roots by writing what she calls “sad bops”.

    “I remember, I was like 13, and went to some event where I saw a boy I liked. He didn’t want to talk to me, so I went home and wrote a song about it as if it was the end of the world.

    “I’ve changed in no way – everything that happens to me I write a song about… But it was cringier and worse back then,” she laughs.

    Coming back to the present, I ask Belle how she made the move from acoustic guitar to a fully produced, popified album.

    “I was just lucky enough to have somebody in the studio who, when I would say ‘this might sound really weird, but I want to try this’ he was saying ‘I’m already there, I’m already doing it.’”

    “It was a lovely way to continue the trajectory of that, so it was definitely close to my heart to be back”

    Belle

    This “somebody” is Fred Cox, who has also worked with Rag‘n’Bone Man and Grace Carter. Belle credits her confidence in the studio to their creative relationship – one built on trust and sonic experimentation. This, she says, was all part of the creative journey she was on at the time – and the album is a snapshot of that journey.

    “There is a distinct difference between what I’m writing now and what I was writing before, because there is such a distinct difference in how I exist now,” she says, referring to her life in lockdown.

    “It’s just had an effect on how I view the world, myself, and the things that are happening. In the same way I have grown and changed, my music has also grown and changed.

    “In the past six months I’ve started writing more with the piano, which definitely feeds into a more lyrical style.

    “With guitar, you’ve got it in your hands, which is grand, but you’re driving the process completely along on lyrics. I feel like with piano, it’s more atmospheric, which feeds back into writing.”

    Unfortunately, we’ll have to wait until the world opens back up to hear this exciting new material, and Belle can’t wait for that to happen, “I keep telling everyone, I’ll even go to the opening of an envelope.”

    Catch Eve Belle at her gig in Whelan’s in April and stream In Between Moments and Other Voices Courage (Live Acoustic Sessions) on Spotify now.

  • Artist Showcase: Banríon

    Artist Showcase: Banríon

    This week’s Artist Showcase will take a look at the work of Banríon, a Dublin based indie-rock band. Eric Ryan spoke to members of the band to find out more about the creation of their debut project Airport Dads and their plans for the future.

    Bands lead singer Róisín Ní Haicéid. Photo credit Banríon.

    Banríon is a four-piece indie-rock band from Dublin, Ireland, who are relatively fresh to the music scene, with their first release only coming in June of this year. Originally formed when lead singer Róisín Ní Haicéid wanted to take her solo music to stage, the band promptly gelled and began recording and releasing music.

    Led by the captivating voice and songwriting of Ní Haicéid, the band came out swinging with their debut project Airport Dads, a mature and cohesive project from a group of musicians that had only been playing together for three months.

    Airport Dads is a short, well-balanced project that doesn’t beat around the bush. The band immediately assert their presence with a dynamic sound, meshing soft indie rock with elements of post-punk and a strong DIY aesthetic. Completed with songwriting that details the turbulent nature of young life in Ireland, the EP touches on topics such as relationships, disability, emigration and heartbreak.

    Cover art for ‘Airport Dads’, Banríon’s debut project. Photo credit Banríon.

    Banríon waste no time in flexing their collective musical muscle with their opening track ‘Yesterday’s Paper’. With instrumentation similar to that of Snail Mail, the jangling guitar, bass and drums strike harmony with Ní Haicéid’s vulnerable and lulling voice, which is calling out for the repetition of the past as its certainty offers a sense of comfort and security.

    “Yesterday’s paper” from Banríons debut project ‘Airport dads’

    Equally as haunting and captivating are the following tracks. ‘Ouchie’ is a powerful ballad that describes the turmoil and pitfalls of young love and heartbreak, while ‘Bunkbeds’ is a song about emigration which is sure to have you staring at the slats of the imaginary bed above you, missing those you love most.

    The project, which was influenced by artists such as Frankie Cosmos and Julia Jacklin, gains its DIY aesthetic from the fact that it was recorded in drummer Michael Nagle’s home in Connemara, as storm Jorge made its way across Ireland in late February.

    On recording and mixing the project, Nagle said, “A lot of the things that may sound like creative decisions were more compromises we had to make. We recorded in a room where the snare drums, base drums, and vocal mic were all bouncing off the walls”. He added, “I realised it had to change direction. I thought I could try and tighten this down, or I could lean into it.”

    Lead singer Róisín Ní Haicéid and drummer Michael Nagle. Photo credit Banríon.

    But, like most artists, Banríon’s progress this year has been halted by the coronavirus. What was shaping up to be a stellar debut year for the newly formed band was hindered by restrictions limiting rehearsal time and the cancellation of all gigs.

    Ní Haicéid spoke about how this particularly affected their “fast pace” process of creating music: “Before lockdown, I’d write songs right before practice and then immediately show them to the guys. We had only ever practiced ‘Ouchie’ once before performing it and then recorded it the next week”.

    She continued, saying “the way I write Banríon music is at this really fast pace, and the bit I love most is bringing it to the guys and working together”. Nagle added that “Creating music for the band has been more difficult when you have no grasp on what’s going to happen”. 

  • Review: Tá an Grian ag taitneamh

    Review: Tá an Grian ag taitneamh

    Fontaines DC lead singer Grian Chatten
    Credit: Wikicommons

    After a hectic year touring their debut album Dogrel, which was named BBC 6 Music’s album of the year, the boys of Fontaines D.C. arrived home to give the people of Dublin what they wanted, which consisted of listening to unfiltered, home-grown talent on a Sunday night. The atmosphere outside the Dublin 8 venue of Vicar Street was rife with anticipation and talk of “one of the best f***ing bands to come out of Ireland since I don’t know when,” to quote a riled-up attendee.

    Inside, their support act, Warm Drag, attempted to draw a crowd through their electro-rock sound but even when Fontaines D.C. guitarist Carlos O’Connell joined them on stage, it was clear they were not why the masses had flocked. After a quick 15 minutes interlude, in which the gentleman next to me found the time to check into Vicar Street on Facebook to earn some extra clout with his friends, out came the band. No introductions, greetings or even a word before they launched into their opening number, Big. Living up to its name, big is exactly what this song was, an explosion of sound and, as put by Dan Stubbs of NME speaking on the band earlier in the year, the entrance into a: “sucker punch of huge tunes, songs that are unreasonably anthemic for a band so new to have up their sleeves.” The crowd was mostly made up of Fontaines D.C. merch-clad men over the age of 40, who were more than ready for the night. Watching the Liam Gallagher-esque movements of lead singer Grian Chatten as he stood shouting imperfect melody into the microphone.

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    They didn’t slow down once they started, racing into Chequeless Reckless and then onto a new one from the band, Televised Mind. The crowd was engrossed, lapping up whatever they were offering. The Lotts calmed the room a bit but as soon as the quintet played the opening bars of Boys in the Better Land, any decorum present was lost in an ever-growing mosh pit topped with various crowd surfers.

    Fontaines DC album cover

    Evergreen and Dublin City Sky gave a chance for the room to cool down before being utterly upended by Hurricane Laughter which Chatten fidgeted his way through, pulling at his clothes, pacing the stage and giving himself an occasional slap across the face between lyrics. This was the build-up to their final song Too Real which followed some of the only words spoken by the frontman: “We don’t do encores”. Unsurprisingly enough, they didn’t need an encore. Too Real left the audience perfectly satisfied with the show that Fontaines D.C. had just given, with the rest of the band coming out of the background and doing a little showboating of their own, climbing on amps, playing the guitar with a beer bottle and just generally joining in with the erratic behaviour displayed by Chatten throughout the show.

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    Fontaines D.C. are a band of very few words indeed, but this doesn’t take away from their undeniable ability to entertain, bringing about an insatiable hunger for modern Irish bands. As put by Amos Barshad of the Irish times, they are “an anarchic guitar-rock band in a bleep-bloop present.”