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Live at Cyprus Avenue, Cork By Sophie Lee . Founder . 21/12/25 There are some gigs you remember vividly, and others you remember in fragments. Moments of noise, flashes of light, a voice cutting through the room. Gurriers fall firmly into the latter category. By the time Gurriers took the stage, the room was already loud with anticipation. They opened with Erasure , their recent single. From the start, frontman Dan Hoff wasn’t just singing, he was screaming, but in a way that felt controlled and intentional. Not chaotic for the sake of it, but like something that needed to be said loudly. The guitars stood out straight away. Mark MacCormack and Ben O’Neill brought two distinct sounds to the stage - sharp, almost screeching tones that felt closer to an alarm than a riff. It was abrasive and jarring in the best way, constantly keeping you on edge. At times it felt overwhelming, but that’s where Gurriers thrive. There’s an unmistakable Dublin post-punk thread running through it all. Hoff delivers his lyrics in a way that recalls early Fontaines D.C., not just sonically, but in attitude. That feeling that Hoff isn’t performing at the crowd, but telling them something directly, his accent grounding every word. Des Goblin  was a proper headbanger moment. Loud, relentless, and physical. The kind of track that doesn’t give you much choice but to move with it. One of the most striking moments of the night came during Sign of the Times . Hoff came practically into the crowd as the music behind him dropped back, leaving his voice exposed. In that quiet, you could really hear him. The track’s slightly gritty bassline crept in first before the rest of the instrumentation kicked back, and live, that tension hit hard. Top of the Bill  sent things into full chaos. The stage lights went wild, matching the urgency of the track and the band’s intensity. It felt frantic. They closed with Nausea , ending the set on an uneasy note. The volume, the noise, the sheer wall of sound made the room feel almost claustrophobic, nervous and overwhelming, but in the best possible way. It wasn’t a comfortable ending, and it wasn’t meant to be. The current Gurriers lineup sees Dan Hoff on vocals, Mark MacCormack and Ben O’Neill on guitars, Charlie McCarthy on bass, and Pierce Callaghan on drums. Even if the finer details blur together, the feeling lingers. Gurriers aren’t a band you neatly remember song by song, they’re a band that feel capable of reshaping what modern Irish post-punk looks like.

Soda Blonde live at Cyprus Avenue, Cork. By Sophie Lee . Founder . 17/12/25 I’ve written about Soda Blonde before, but this was my first time seeing them live and it felt long overdue. Cyprus Avenue feels like the perfect venue for a band like this. It’s intimate without ever feeling claustrophobic, close enough that you feel everything. I told Emma that by the end of the night she’d fall in love with Soda Blonde, and I wasn’t wrong. At the barrier, we met a fan who’d followed the band since their Little Green Cars days, which only reinforced what became increasingly clear as the night went on: this is a band that has grown without losing its grounding. Talented, yes, but also genuinely humble and deeply human. A special mention has to go to the opener, The Next New Low (Brian Mooney). Exceptional feels like an understatement. Alone on stage with just a guitar and a pedal board, Brian was completely himself, singing from a place that felt rooted in a pure love for music. Hurt People  stopped me completely. It’s one of those songs that makes you go still. Writing this now while listening back to it, Emma and I pulled the same face, that frown you make when something is beautiful but heavy. Brian’s music doesn’t feel made for everyone. It feels made because it needed to be. Nothing about his work feels mass-produced. It’s simple, stripped-back, and sincere. Seeing him live was a real privilege. When Soda Blonde finally took to the stage, all intentions of note-taking disappeared. As much as I wanted to document everything properly, I couldn’t. At the end of the day, I was just a girl watching one of her favourite bands. They opened with I Hear Birdz , which in hindsight was the perfect choice. It was powerful and immediate, pulling the crowd in straight away. Faye O’Rourke has a presence that feels entirely natural, like she was always meant to be on a stage. What I love most about Soda Blonde is how cohesive they are. They play off each other constantly, exchanging glances, moving together. Faye drifts instinctively towards Adam and Donagh, and nothing ever feels choreographed, it just works. When Motion  started, I nearly lost my mind (no pun intended). It’s my favourite Soda Blonde song, and live it hits much harder. Faye’s dancing is unrestrained and a little chaotic, but it fits the music perfectly. Adam and Donagh never stay still either, clearly having the time of their lives. Dylan’s drumming deserves its own praise. It's striking, steady, grounding everything. Adam’s backing vocals lift Faye’s effortlessly. Motion  is an exceptional song, one that resonates deeply with young people. It makes me feel seen. They also played In the Heat of the Night , which ended up being one of the strongest moments of the entire set. The intro alone pulls you in, that steady, pulsing beat, bodum bodum bodum bodum , before the line “the things we say in the heat of the night” lands and the crowd diverts immediately. Throughout the night, the band were incredibly interactive with the crowd, creating a constant back-and-forth that made everything feel shared rather than performed. It’s especially impressive when you remember that Soda Blonde are a fully independent band, releasing their music on their own terms. Nothing about it feels small, if anything, it makes their connection with the audience feel even more genuine. I don’t remember every detail of the setlist, and honestly, that feels fitting. This wasn’t a gig where you mentally ticked off songs, it was one where you felt everything first. One moment that’s stayed with me was Champion of My Time , written about Faye’s mum. The room went quiet. The crowd didn’t just listen — they really listened. There’s something incredibly powerful about that kind of collective stillness. It made me unexpectedly emotional. It’s an incredibly brave song, to be that open with an audience. They also played Why Die for Danzig  and Less Than Nothing  from Dream Big , performed live with the National Symphony Orchestra. That project alone speaks volumes about Soda Blonde as artists, involving so many people, yet never feeling self-indulgent or overblown. Even while performing songs born from something so vast, the band remained completely grounded in the music. That humility carried through to the end of the night. While buying a signed vinyl and CD, they seemed genuinely delighted that people were connecting with their work. Not performatively grateful, just sincerely happy that their art was being appreciated. Terrible Hands  brought a completely different energy. It was pure joy. Adam, Faye, and Donagh came together at the front of the stage, standing shoulder to shoulder, and the atmosphere lifted instantly. Emma and I had so much fun during that one. They closed the set with Small Talk , and it felt like the perfect ending. During the instrumental, Faye stepped back and gave the lads the stage, allowing their playing to shine. She danced, clearly loving the music, not performing at  the crowd, but sharing the moment with them. It really was an amazing gig. Soda Blonde are a band that deserve to be listened to. Properly, attentively, emotionally. If you give them your time, they give you something back. This night made that undeniable. Terrible Hands (Excuse my awful singing)

A look inside the small Cork venue that has housed music legends By Sophie Lee . Founder . 27/11/25 Photography by Ciaran Foley It’s funny really, I walk past Cyprus Avenue to and from work most days, and only recently have I stopped and thought about how unassuming this venue actually is. From the outside, you’d never know that it has housed industry powerhouses early in their careers. Located right in the heart of Cork’s city centre, it’s a fairly small room, but its intimacy is what makes it special. For so many of us, getting the chance to see big mainstream artists here before  they blew up feels like a dream in hindsight. Having been to countless gigs there myself, I’d say Cyprus Avenue has the same atmosphere and character as The Button Factory, except with that unmistakable Cork charm. I’ve always preferred intimate gigs over huge productions, and Cyprus Avenue is one of the few remaining smaller venues in Ireland that still carries that magic. It encapsulates the feeling of Cork perfectly: a genuine sense of community, creativity, and pride that runs through our city’s music scene. Cyprus Avenue first opened its doors in 2003 under Ger Kiely, the owner of The Old Oak bar, and ever since, it has been an anchor of Cork’s live music scene. With a capacity of around 500, it captures that rare “big enough to feel electric, small enough to feel personal” balance. One of the things I love most about Cyprus Avenue is how versatile it is, it doesn’t discriminate by genre. I’ve been at raves, techno nights, indie shows, local bands, touring acts. Every experience feels different. Venues like Cyprus Avenue are vital to Ireland’s music ecosystem. They give emerging artists the room to grow, connect with audiences, and make mistakes before they step onto bigger stages. They offer a community space, high-quality entertainment, and a sense of belonging that only a Cork venue can deliver. If there’s one person who will read this article repeatedly, it’s ASC’s co-founder Emma Cody, a Dublin native who is absolutely obsessed with Cyprus Avenue. Our favourite band, Inhaler, played here in their early days, long before the crowds got bigger. That’s really the point: you never quite know who you’re seeing at Cyprus Avenue. A band who seem small now could be headlining arenas in a few years. I remember my guitar teacher telling me when I was eighteen that he’d seen Inhaler play at Cyprus Avenue when no one knew who they were. People were drifting in and out, half-listening, and now look at them. They’ve since headlined St. Anne’s Park and played the 3Arena. That’s the magic of venues like this. It’s not just Inhaler. So many huge artists have passed through Cyprus Avenue: Declan McKenna, Snow Patrol, The Coronas, Mumford & Sons, Ocean Colour Scene, Billy Bragg, The Darkness, The Undertones, The Frank and Walters, Pillow Queens, and that’s only naming a few. As it’s a smaller venue, the sound quality in Cyprus Avenue is always exceptional. Artists can fill the room effortlessly. It’s never too crowded or sweaty, and the bar is conveniently located just behind the venue space, making the whole experience relaxed and easy. There’s an intimacy to Cyprus Avenue that you just can’t recreate in bigger venues. Venues like Cyprus Avenue matter now more than ever. After Covid, the creative industry has made a huge comeback, but it’s places like this that we need to protect. Without smaller venues, local and rising talent would have nowhere to grow. Ireland is producing exceptional talent, Cork especially, and spaces like Cyprus Avenue remain vital in keeping those local music scenes alive. Cyprus Avenue may be small, but its influence is anything but. It’s a home for Cork music, a starting point for rising artists, and a venue that makes every gig feel personal. In a country where Dublin often dominates the spotlight, Cyprus Avenue stands as proof that some of Ireland’s most prominent talents begin quietly, right here in Cork.

An Seomra Ceol By Sophie Lee . Founder . 08/12/25 This week delivered some of the most politically charged and culturally significant Irish music news in recent times. Alongside major releases, arena-level announcements and the first signs of festival season returning. Here’s everything that shaped this week across Irish and global indie, rock and pop. RTÉ Confirms Ireland Will Not Compete in the Eurovision Song Contest 2026 RTÉ confirmed this week that Ireland will not take part in Eurovision 2026, following widespread criticism across Europe surrounding Israel’s participation while the humanitarian crisis in Gaza continues. In the months leading up to this decision, artists, fans and organisations repeatedly called on broadcasters to acknowledge the human cost behind the headlines. RTÉ’s withdrawal places Ireland among several countries who have chosen to step back rather than continue with business as usual. While Eurovision has long been a staple of Irish pop culture, this moment feels bigger than the contest itself. It reflects how deeply global conflict now intersects with music, media and public conscience and how cultural institutions are being asked to respond in real time. Inhaler Release “Hole In The Ground” + “Nightcall” cover On 28 November, Inhaler officially launched their next era with: Their brand-new single “Hole In The Ground” heavy cover of “Nightcall” The dual release marks their first major release since their last album "Open Wide", with fans already picking up on a darker shift in sound. It feels like the clear beginning of a new creative chapter. CMAT Announced for Major Belfast Outdoor Show (2026) CMAT was officially confirmed this week for a headline outdoor Belfast show in 2026, adding another major standalone date to her expanding live calendar. Her Euro Country  era continues to scale beyond album success into full outdoor headline territory, a level currently occupied by very few Irish artists. Kneecap Announce Headline 3Arena Show (2026) Kneecap will headline the 3 Arena on the 16 & 17th of December. Their rise from underground venues to Ireland’s largest indoor arena reflects a major shift in what Irish alternative success now looks like (politically, culturally and commercially). Festival & Live Scene Developments Electric Picnic 2026 — First Line-Up Wave Revealed The first wave of Electric Picnic 2026 has officially landed, with early confirmations already placing Irish acts at the centre once again. With homegrown talent sharing space with major international names, EP26 is already shaping up as another statement year for Ireland’s position within the global festival circuit. For more on the EP26 lineup, read our feature article. Global Highlights The Cure Hint at Studio Activity After Late-2025 Live Run After a string of late-2025 live dates, members of The Cure have hinted that studio work may be resuming. If confirmed, this would mark their first full creative chapter in over a decade, one of the most anticipated potential returns in alternative music. Bright Eyes Announce Full-Album Anniversary Shows for 2026 Bright Eyes have announced a run of massive 2026 anniversary shows where they’ll perform both I’m Wide Awake, It’s Morning and Digital Ash in a Digital Urn in full. With dates set for Red Rocks, the Hollywood Bowl and Forest Hills Stadium, this feels like one of those rare moments where indie nostalgia meets genuine cultural weight. A huge win for the early-2000s alt generation. Geese Finish 2025 as One of Rock’s Most Unpredictable Acts Following a completely sold-out North American tour and overwhelming critical praise, Geese are closing out 2025 as one of the most exciting and volatile rock bands in circulation right now. Their latest album Getting Killed has positioned them as a chaotic, emotional torch-bearer for modern alternative rock and it’s only accelerating. Water From Your Eyes Drop Surprise Experimental EP Ahead of 2026 Touring Brooklyn duo Water From Your Eyes have surprise-released a new EP, "It’s Beautiful", reworking tracks from their previous album into stranger, more distorted forms. It’s glitchy, unsettling and very on-brand for where underground indie is heading into 2026, inward, experimental and slightly uncomfortable. Recommended Listening This Week “Hole In The Ground” - Inhaler “Euro Country” - CMAT “Better Way To Live” - Kneecap "Taxes" - Geese Upcoming Gigs & Events (2026) CMAT — Belfast Outdoor Show — 2026 (31 Aug) Kneecap — 3Arena, Dublin — 2025 (16th & 17th Dec) Electric Picnic 2026 — August, Stradbally Major Irish tour announcements expected throughout January Emerging Irish Artists to Watch — Weekly Discovery Core CLIFFORDS Sound: Indie Rock Recent release: Marsh MADRA SALACH Sound: Folk, Alternative Recent release: I was just a boy LITTLE KNOWN Sound: Alternative, Indie Recent release: Headwreck

Why do we miss a time we didn't grow up in? By Sophie Lee . Founder . 05/12/25 All week, my feed has been filled with grainy footage from concerts in the 80s and 90s. Artists without autotune, without filters, just raw vocals and emotional storytelling. Most of us never saw these bands in their prime, yet we feel deeply connected to them. For me, it’s watching Thom Yorke’s voice crack as he sings, Bono sharing a mic with Springsteen, or the intensity of Depeche Mode's Devotional tour. It fills me with this strange, suffocating nostalgia that I can’t fully explain. So why are we obsessed with music we didn’t grow up with? I think TikTok is a huge part of it. Suddenly, the algorithm hands us back guitar solos, live sessions, and vintage tour clips. We scroll past Mark Knopfler playing immaculate riffs, crowd-shot Oasis concerts, footage of Blur taking the piss, and it feels like we’re seeing something freer. The industry seemed less filtered then. People were less media-trained. Music wasn’t polished, it wasn’t algorithm-tested, and it certainly wasn’t built for virality. It was just about the music. In a way, I think Irish artists are tapping into that same energy: Gurriers are echoing late-90s noise bands. Fontaines D.C. are rewriting post-punk heritage. CMAT blends Americana and folk storytelling. NewDad, The Cardinals, so many acts are reaching back into alternative themes.   Old music hits harder because it feels sincere. It’s imperfect in a way that makes it perfect. Bands back then were unapologetically themselves. They weren’t performing for online approval or fighting for playlist placement. They existed to play, to create, to be understood, and maybe that’s why those clips hurt a little. Not because we missed the era, but because we still recognise it. We see pieces of it here, in small Irish venues where young artists are figuring things out in real time, playing songs that don’t have marketing strategies behind them. Rooms where the sound isn’t perfect and someone’s guitar is slightly out of tune, but the crowd is locked in because it means something. Maybe that’s what makes Irish music so exciting right now: it hasn’t forgotten the rawness.     The Sincerity That Holds It All Together What ties these older artists together and why their music hits so deeply even for people who weren’t alive when it was released — is sincerity. There’s a raw honesty in older music that you almost never see replicated today, and you can feel it not just in the songs, but in their words. In 1985, Bono said something that’s always stuck with me: “I think we make very bad rock n’ roll stars… our audiences know us better than we know ourselves, and they see in U2 a band that’s fallen on its face so many times.” He was admitting that what people connect with isn’t ego, it’s vulnerability, flaws, and the willingness to get back up. That’s sincerity. Jeff Buckley understood this deeply too: “Every emotion has a sound. My identity forms my music.” There’s something so utterly honest in that. No branding strategy. No algorithm bait. Just music as a mirror. It’s messy, emotional, painfully human. Thom Yorke once said: “The most essential thing in life is to establish heartfelt communication with others.” Maybe that’s why Radiohead performances feel like being punched in the chest, you’re watching someone try to express a part of themselves that can’t exist in language. Dave Gahan of Depeche Mode said it in the most poetic way: “I will sing with joy. I will end up dust. Enjoy what you have here — you’re not going to be here forever, but the songs stay forever.” There’s something holy in that. Art outliving the body. Songs becoming proof that we existed, felt, and tried. Maybe That’s Why When I see grainy live clips of these artists, I don’t just feel nostalgia. I feel sincerity. I feel humanity. I feel the reminder that music used to be about connection rather than consumption. So maybe that’s why our generation clings so tightly to old music we didn’t grow up with: Because it reminds us of something we’re still trying to find.

By Emma Cody . Co-Founder . 03/12/25 Photography by Alexander-Fjodorov Late November this year, the buzz around live-music ticketing found a surprising protagonist: rising British singer-songwriter Olivia Dean. What began as a routine tour (the upcoming “The Art of Loving Live” North American dates) – exploded into a full-blown controversy when resale tickets popped up almost instantly at jaw-dropping prices. Just hours after tickets sold out, screenshots circulated of resale listings for Dean’s shows listing prices at as much as 14 times the original ticket value – with some going beyond US $800-900. What was meant to be an ordinary presale transformed overnight into a glaring example of how resale markets can inflate and exploit fan demand. Instead of staying quiet, Dean took to social media calling out Ticketmaster, Live Nation and AEG Presents directly. In blunt terms she condemned the pricing as “vile”, “disgusting”, and “completely against our wishes.” She reminded the industry of what live music should be: “affordable and accessible.” Her call wasn’t just rhetoric, and it had an immediate impact. Within days, Ticketmaster announced it would cap all future resale listings for her tour at “face value.” On top of that, they promised partial refunds to fans who had already bought resale tickets at inflated prices. Why This Is Bigger Than One Artist It’s About The System: At first glance, this might look like a one-off mistake: a young star, a pissed-off fanbase, a platform forced to respond. But the more you dig, the more it becomes clear – this could be a turning point for how tickets are sold and resold in the live-music world: Resale markets have become an exploitative mess. The fact that resale tickets for a fresh artist like Dean skyrocketed to absurd levels so quickly shows how much power scalpers and bots still hold. Real fans get priced out, and often left with little recourse. Artists can  push back and change outcomes. By speaking out, Dean didn’t just raise awareness, she forced concrete action: resale caps and refunds. That sets a precedent. It suggests that when artists use their voice, they can correct exploitative practices – or at least push official platforms to do so. But the loopholes remain. Ticketmaster claims the new policy applies only on its own site. Resale platforms beyond their control? They remain a wild frontier. Buying outside official resale could still mean inflated prices – or worse: scams, bogus tickets, or last-minute nightmares. It underscores broader changes in ticket-sale regulation and ethics. With public anger mounting and artists increasingly vocal, this could accelerate moves toward stricter rules: caps, resale bans above face value, mandatory transparency, maybe even legislation. Who’s Helping Dean isn’t the first artist to speak out, but her influence seems to have had more bite than many. Some other musicians and ticket-sale platforms are cautiously supportive, though results vary. For example, Ticketmaster and Live Nation have now publicly aligned with Dean’s call: in their statement they said they “support artists’ ability to set the terms of how their tickets are sold and resold.” From now on, Dean’s tour will use their “Face Value Exchange,” meaning resale tickets are limited to what buyers originally paid – no extra markup. That said, the music-business ecosystem is messy. Not all resale sites are under Ticketmaster or Live Nation. Many third-party marketplaces or individual scalpers remain outside those constraints. Unless there’s industry-wide reform or legal regulation, it’s very possible these problems will just shift sideways rather than disappear. Dean herself knows that – she’s called the resale market “exploitative and unregulated,” and urged her peers to use their influence for change. What This Means For Fans, And What You Should Watch Out For: If you’re a fan, this whole episode is a reason to breathe a small sigh of relief, but stay alert. Here are a few takeaways that matter now: Keep your eyes on official resale platforms first. For Dean’s tour, Ticketmaster’s Face-Value cap provides some protection, but only if you stick to their site or other approved resale channels. Avoid shady resellers or comment-section offers. Dean’s original warning highlighted this: many resale adverts are speculative, fake, or overpriced beyond reason. But be realistic: this doesn’t guarantee resale fairness everywhere. Other artists may choose differently. Other platforms may ignore resale caps. The system still favors demand over fairness, unless fans demand better. Use this moment as leverage. If more fans speak up – if more artists push back, we might see more tours offering fair resale, or even broader reforms. Conclusion: As someone who cares about fairly accessible live music, the Olivia Dean x Ticketmaster clash feels like more than drama. It’s a microcosm of everything wrong with modern ticketing: unchecked resale, inflated prices, and fans sidelined by profiteers. But it’s also a rare win, an example of what happens when an artist uses their voice, when a platform feels pressure, and when supporters push for fairness. Maybe this is the beginning of a shift where live music stays a shared experience, not a luxury for those willing or able to overpay. If more artists follow Dean’s lead, or even if fans stay vigilant, maybe future tours won’t start with a scalper blitz the second tickets go live. Maybe gigs will feel more like community, less like currency. And maybe – just maybe – that’s how we keep live music alive for everyone.

By Emma Cody . Co-Founder . 02/12/25 Electric Picnic has finally dropped the first wave of its 2026 lineup, and the reaction has been nothing short of explosive. From longtime festival-goers to first-timers already eyeing up their tents, the energy online has been electric , and honestly, it’s easy to see why. This might genuinely be the strongest opening announcement the festival has delivered in years. The moment the announcement landed, one thing became clear: Electric Picnic isn’t playing around in 2026. Gorillaz are set to take over Stradbally on Saturday night, a dream booking many fans have been waiting for, including myself. Then, closing the festival on Sunday, Ireland’s own Fontaines D.C. will deliver what’s poised to be a high-energy homecoming set. It’s hard to imagine a better way to finish the weekend. The rest of the first nine acts only strengthen the hype: CMAT – easily one of Ireland’s most exciting performers right now. Sombr – a rising U.S. artist with a fast-growing following. Zara Larsson – bringing polished pop power to the big stage. Skepta – grime royalty, ready to shake the ground at EP. Wunderhorse – big energy, big riffs, perfect festival vibes. Role Model – smooth, emotional, crowd-friendly. Geese – Brooklyn-born alternative rockers known for intense live sets. This lineup already feels stacked, and it’s only the beginning. The Reaction Has Been Wild Within minutes of the announcement, fans online were calling it: “The best start to an EP lineup in ages” “A perfect mix of big names and fresh talent” “A proper return to form” And honestly? They’re right. Social Media, forums, and comment sections were buzzing with excitement, and for once, the consensus has been overwhelmingly positive so far. People are thrilled – and so am I. Why 2026 Already Feels Special: What’s making this announcement hit so differently? The variety is incredible – pop, indie, rock, grime, alternative, and experimental sounds all in the first nine acts. The headliners feel right  – Gorillaz and Fontaines D.C. offer two completely different but equally huge vibes. Irish talent is front and centre – and not as an afterthought. It feels curated, not just assembled – a real sense of vision. This is exactly what festival lineups should strive for: balance, boldness, and surprise. And with more  names still to come? We’re only scratching the surface. We’ll be there – And We’ll Be Covering Everything: Myself and Sophie (the founder of ASC) will both be on the ground next year at Electric Picnic 2026. We’ll be bringing: Live updates Highlights of the biggest sets News drops as they happen Coverage of all major announcements leading up to the festival Final Thoughts Electric Picnic 2026 isn’t just shaping up to be a great festival, it’s shaping up to be the festival of the summer. With a first wave this strong, the rest of the lineup could push it into all-time-great territory. If this is just the start? We’re in for something truly special.

By Sophie Lee & Emma Cody . Founders . 29/11/25 At An Seomra Ceol, we’re constantly listening, searching, and discovering new music. We know how frustrating it can be to find something new that actually sticks, so we thought we’d start sharing what’s been living rent-free in our heads recently. Here’s what the ASC founders have had on repeat this week. Sophie’s Rotation 1. Weird Fishes / Arpeggi – Radiohead Coming into winter, I’m finding myself gravitating towards more mellow, softer tracks. Weird Fishes  captures that mood perfectly. It’s dreamy, layered, and in my opinion, one of Radiohead’s best pieces of work. 2. Cowboy Gangster Politician – Goldie Boutilier I love this song. It’s upbeat, fun, and blends pop with subtle country influences. I’m not usually someone who gravitates towards country-leaning tracks, but Goldie Boutilier does what CMAT does so well: she mixes genres in a way that feels modern, and genuinely beautiful. This track has so much character, and it’s been on repeat all week. 3. There’s No Other Place – Inhaler An oldie but an absolute goody. This track is a masterpiece and easily one of my favourite Inhaler pieces. The intro instrumental, a full two minutes and thirty seconds of pure atmosphere is some of the best work they’ve ever created. It really showcases their musical ability in its rawest form. I hope and pray they bring back this style of playing someday. 4. Backseat – Balu Brigada I found this duo recently, and honestly, they’re just cool, and so is this song. Backseat  gives off the same chaotic, dance-floor energy as The Dare (whatever genre he is… house-indie-dance-chaos? That one). It mixes messy guitar with addictive dance elements in a way that feels fun, loud, and a little unhinged. 5. Let the Flames Begin – Paramore Old Paramore is perfection. Hayley Williams is perfection. This track has the same energy as Decode , that gritty emo-punk-rock edge that made their early music so iconic. Paramore’s older material will always be their best and Let the Flames Begin  is the perfect mix of raw emotion, sharp guitars, and Hayley’s distinct, powerful voice. It’s an amazing fucking song. My boyfriend’s sibling and I absolutely lose our minds to the Riot! album every single time.   Emma’s Rotation 1. Hole In The Ground – Inhaler I’m loving this song, it feels like the old Inhaler that made me fall in love with them in the first place. It has that early sound that just hits different, the kind that makes me feel like a kid again. It’s pure perfection. 2. Killer – Phoebe Bridgers This is my version of a seasonal-depression song , and honestly, the weather is perfect for it. Phoebe Bridgers has a way of evoking every emotion imaginable, but Killer  feels like an escape from reality. It’s soft, aching, and exactly the kind of track you put on when the world feels a little too loud. 3. So Cruel – U2 Don’t even get me started on this song. It feels like that moment right before something big happens, when your stomach drops and your whole world shifts a little. When I can’t find the words for how I’m feeling, I’m drawn straight to this track. Sometimes I genuinely think U2 gets me… and I get them. 4. Nobody’s Son – Sabrina Carpenter This song is just fun and honestly sums up the dating scene: emotionally unavailable losers everywhere. When I’m in a “roll my eyes and stick the fingers up” mood, this is the song that comes on. Sabrina is for the girls, always. 5. I’m On Fire – Bruce Springsteen My dad has Secret Garden  on his playlist, so over the years I’ve dived into Springsteen’s discography in my own time. He’s not a massive fan, but weirdly, whenever I listen to Springsteen, I feel like I’m on a late-night car drive with my dad, listening to whatever came up next on his Spotify. There’s a warmth and nostalgia to I’m On Fire  that hits every time. These are the songs that have been getting us through the week, a mix of nostalgia, softness, and the tracks that make us feel something, even when we’re not sure what. Let us know what you’ve been listening to lately, we’re always looking for new music to obsess over. More ASC listening logs coming soon!

An Seomra Ceol By Sophie Lee . Founder . 24/11/25 This week was full of movement across the Irish and global indie scenes , alongside some major announcements from established Irish acts. Here’s what caught our eye.   Soda Blonde Announce Orchestral Live Album — Out 12 December Soda Blonde will release Dream Big (Live with The National Symphony Orchestra)  on 12 December.Seeing an Irish alt-pop band experiment their sound with a full symphony is a testament to how ambitious the Irish scene has become. We’re excited for this one. Westlife Mark 25 Years With New Album & Global Tour Irish pop icons Westlife continue their 25-year celebration with 25 – The Ultimate Collection , followed by a world tour into 2026.While ASC gravitates toward the indie world, we still love moments like this, reminders of Irish acts who built global foundations long before this new wave started. Kodaline Confirm Split After Final Album After more than a decade together, Kodaline announced they will part ways following their fifth and final studio album. It’s a moment that closes a chapter for Irish pop-rock, just as so many newer indie voices step into their own space. These shifts shape the musical landscape you see on ASC every week. This Week in Irish Indie NewDad Begin Teasing New 2026 Music Galway indie band NewDad are already hinting at their next era — sharing studio clips and teasing that fresh music is coming next year. After a huge 2025 touring run, they continue their slow but steady global ascent. Sprints Build International Buzz After Sold-Out European Dates Dublin’s Sprints keep gaining momentum following a string of sold-out European shows. With multiple international outlets highlighting Ireland as an alternative hotspot, Sprints are one of the key bands. CMAT’s “Euro Country” Continues to Pick Up Global Praise CMAT’s latest single and album cycle remain a talking point across music publications. Her ability to blend pop, indie, and country storytelling is pushing Irish songwriting into new, genre-blurring territory. Global Highlights The Weeknd’s Tour Breaks $1 Billion — A Live Music Milestone The Weeknd’s After Hours Til Dawn  tour has crossed the $1 billion threshold, selling more than 7.5 million tickets. For artists, this is a reminder of the scale of the global touring economy, the machine they enter, resist, or rewrite. UK Moves to Ban Ticket Resale Above Face Value The UK government is moving to outlaw ticket resales for profit, aiming to curb scalping and make gigs more accessible. With Ireland’s live scene so interconnected with the UK, this policy shift could spark similar conversations here. Basement Jaxx Announce Early 2026 UK Dates The electronic duo have added Glasgow and Edinburgh shows for March 2026, evidence that legacy electronic and indie-adjacent acts are gearing up for a big touring year ahead. Indie Rumours: Boygenius Hints & Beabadoobee 2026 Demos Boygenius collaborators have been subtly teasing each other online again, prompting talk of new 2026 material.Meanwhile, Beabadoobee has shared early demo snippets, also pointing to a busy year ahead. Recommended Listening This Week Revisit Dream Big ahead of Soda Blonde’s orchestral release NewDad’s discography — prepping for their next chapter Sprints’ latest live session recordings CMAT’s “Euro Country” — still a standout Anything from the rising Irish alt wave spotlighted internationally Upcoming Gigs & Events Neil Young & Elvis Costello — Musgrave Park, Cork (1 July 2026) General sale opens 28 November. Watch for early 2026 indie tour announcements — many artists are holding dates quietly before end-of-year reveals. Quick Takeaways Irish indie is entering a confident new phase, with acts like NewDad, CMAT and Sprints shaping the landscape. Global touring is shifting, policy changes, mega-tours and industry decisions will influence Irish fans and artists alike. We’re in a moment where Irish legacy acts and emerging indie acts are moving in parallel, and ASC sits right in the middle of that conversation.

Victoria Kennefick: Hunger, Memory, and the Fierce Intimacy of an Irish Voice By Emma Cody · Co-Founder · 23/11/25 Some poets write with elegance, and some write with precision. Every now and then, a poet arrives who writes with urgency, as though each line is carved from something deeply lived. Victoria Kennefick is one of those rare writers. Her poems don’t simply communicate emotion, they inhabit  it. They move with a pulse, a breath, a vivid sense of presence that stays with you long after the page is turned. In the landscape of contemporary Irish poetry, Kennefick’s voice is unmistakable: fierce yet vulnerable, visceral yet tender, grounded in ritual, memory, and the complexities of the body. She is a poet whose work feels both intimate and expansive, a voice shaped by personal history but resonant far beyond it. Who is Victoria Kennefick? Originally from Shanagarry, County Cork, and now based in County Kerry, Victoria Kennefick has quickly become one of the most acclaimed and compelling poets of her generation. Her path to poetry blends scholarships, curiosity, and deep engagement with the Irish literary tradition. She completed a PhD in English Literature at University College Cork, and later travelled to the United States as a Fulbright Scholar, studying at Emory University and Georgia College & State University. Her academic grounding is evident in her work — not in a way that distances the reader, but in the way she structures her poems: thoughtful, layered, and attentive to the resonances between past and present. Body of Work: From First Pamphlet to Award-Winning Collections: White Whaler (2015) Published by Southword Editions, White Whale  introduced Kennefick’s early style: lyrical, mythic, and unafraid to grapple with longing, transformation, and the depths of personal history. It laid the foundation for everything that followed. Eat or We Both Starve (2021) Her debut full-length collection, published by Carcanet Press, was a defining moment. A book about hunger, for connection, for memory, for survival — it navigates the terrain of family, desire, grief, and the rituals that bind us to each other . Egg/Shell (2024) Her second collection continues her exploration of the body, identity, and vulnerability. Egg/Shell  is a book concerned with thresholds, the moment something fractures, or something forms. The poems feel delicate yet unflinching, and the collection won the Farmgate Cafe National Poetry Award, further cementing her growing reputation. A Significant Presence in Irish Literary Life: Kennefick’s impact extends beyond her books. She has held several prestigious roles, including: Poet-in-Residence at the Yeats Society, Sligo Writer-in-Residence at University College Dublin 2025 Writer Fellow with the Arts Council of Ireland and Trinity College Dublin. Her work has appeared in leading literary journals such as Poetry, The Poetry Review, PN Review, The Stinging Fly,  and Poetry Ireland Review . She also co-hosts the Unlaunched Books Podcast, showcasing her interest in uplifting emerging writers and fostering literary community. Some of My Favourite Pieces: Hunger (from Eat or We Both Starve ) “Hunger” is one of Kennefick’s most striking explorations of loss, inheritance, and emotional need. The title signals not just physical appetite, but a deeper, more haunting emptiness, one that grief leaves behind. The poem treats hunger as a metaphor for absence: the absence of a loved one, the absence of comfort, the absence of the version of ourselves that existed before that loss January “January” is a poem steeped in atmosphere, cold, stripped-back, edged with the sharpness of early winter light. “ If “Hunger” deals with emotional emptiness, then “January” explores a different kind of barrenness: the moment when a year begins but the speaker feels suspended, waiting for something unnamed. Seamount “Seamount” for me personally is one of Kennefick’s most evocative poems — a piece that feels geological, mythic, and intensely emotional. A seamount (an underwater mountain) is a perfect metaphor for what lies beneath the surface: memory, grief, buried desire, hidden versions of the self. Why She Matters: Kennefick stands out because she writes poems that feel lived, not merely crafted. She brings to the page a rare combination of emotional immediacy and technical precision. Her work speaks to the complexities of contemporary Irish identity, but equally, it transcends geography. Anyone who has experienced loss, longing, or the intricate nature of family will find themselves reflected in her lines. She is a poet unafraid of vulnerability, unafraid of darkness, unafraid of the truths the body carries. And as she continues to evolve, her work feels like it’s only becoming more powerful. Conclusion: If you’re discovering Victoria Kennefick for the first time, begin with Eat or We Both Starve . It’s a bold, unforgettable debut full-length collection that will show you exactly why she has become one of the most significant Irish poets of the last decade. The move straight into Egg/Shell , a collection that demonstrates growth, depth, and daring. In a poetry landscape hungry for honesty, clarity, and emotional resonance, Kennefick offers all three — in abundance.

Alicia Clifford is a 22-year-old singer-songwriter from North London who is quickly carving out her own space in the indie-folk world. Drawing inspiration from artists like Adrienne Lenker and Laura Marling, Alicia has shaped the genre into something distinctly hers. A skilled guitarist and honest storyteller, she has already released three singles, each serving as a stepping stone toward her debut EP, Training Wheels . What makes Alicia so captivating is her transparency. She is entirely herself, and that shines through in her music. Her lyrics pull from memory and personal experience, creating songs that feel both wistful and thought-provoking. Speaking about her connection to music, Alicia told me: “ Human connection is lacking in today’s world, and being able to share emotion through music really is such a powerful and beautiful thing. Music has helped me through many hard times in my own life, and I want to be that soundboard for others.”   TRAINING WHEELS I was lucky enough to hear Alicia’s debut EP ahead of release, and it is one of the most moving debuts I’ve come across. Across its four tracks, soft guitar lines and layered vocals weave together to create something intimate yet powerful. What makes Training Wheels  even more inspiring is that it was created entirely by women — written by Alicia, recorded, produced, and mastered by women alone. In an industry still dominated by men, Alicia’s debut is a statement of empowerment as much as it is a showcase of her artistry. The songs on Training Wheels  were originally written when Alicia was younger. Having fallen out of love with them, she revisited the tracks years later and reimagined them, transforming them into something that feels both raw and deeply personal. Training Wheels Ep Cover   TIGHTROPE Tightrope  is a track that immediately tugs at your emotions with its layered, melodic humming. Alicia sings from a place of nostalgia, reflecting on how quickly life passes by, the yearning to enjoy youth, and the struggle of being at odds with yourself: “As I tear myself to tatters.” What stands out most is Alicia’s openness about mental health. The song carries an overwhelming sense of fragility, of not wanting to waste time, and its bridge is breathtaking. The lyric “It’s all we know, it’s all we know”  echoes like a choir, angelic and haunting. "Tightrope" Press Release   JOSH’S SONG Opening with a gentle instrumental laced with the sound of a child’s laugh, Josh’s Song  is a beautifully tender track. Alicia’s layered vocals create a feeling that lingers long after it ends. It reads almost like a goodbye, grappling with the pain of leaving someone or something behind. Lines like “I love you with all my heart”  may be simple, but they capture the song’s sincerity perfectly. When she sings “such a cute little baby that made me short circuit,”  it feels as though we’re right there in the memory with her. Alicia’s ability to make the personal feel universal is what makes her music so relatable. "Josh's song" Press Release   TAKES ONE TO KNOW ONE Takes One to Know One shifts the mood, carrying more urgency than the other tracks. It reflects on the monotony of life, “Live life in the same way every day” , and the burden of not wanting to weigh loved ones down with heavy feelings. The song feels like listening to pages from Alicia’s diary, raw and unfiltered, as if she had something to prove both to herself and the world.   "Takes one to know one" Press Release REFLECTIONS Training Wheels  is a remarkable debut, a collection that perfectly represents Alicia Clifford’s artistry. It is an EP of self-discovery, where she makes peace with the past while taking bold steps forward. There’s a quiet strength in these songs that suggests Alicia is only at the beginning of a long and promising career. The first track, Sandman , arrives on October 3 rd ,  and it’s a release worth keeping on your radar. PRESS PHOTOS   Written by Sophie Lee.

The idea of artists creating alter egos isn’t new . From David Bowie’s Ziggy Stardust  to Beyoncé’s Sasha Fierce , alter egos allow performers to break free from expectations and experiment creatively. More recently, we’ve seen actors like Joe Keery, who performs music under the name Djo  to distance his artistry from his Stranger Things fame. Jared Leto took a similar approach, establishing Thirty Seconds to Mars  as its own entity, separate from his acting career. KJ Apa’s transformation into Mr Fantasy feels like something entirely new, not just an alias, but a full-blown reinvention. Who is Mr Fantasy ? For those who first stumbled across the TikTok’s, the question wasn’t what is this?  but who is this? The recognisable star of Riverdale was gone. Instead, viewers saw a bizarre, flamboyant figure with an English accent, a wig, and a level of eccentric charisma that felt both unsettling and magnetic. The disguise was so convincing that speculation ran wild online. Was this really KJ Apa? Or some strange internet personality breaking onto the scene? That deliberate confusion was the genius of it all. By obscuring his identity, Apa created mystery. Fans weren’t just consuming content, they were investigating it. Stirring Controversy At first, many didn’t know what to make of Mr Fantasy . Some thought it was cringeworthy, others found it hilarious, and plenty were just baffled. But the reactions didn’t matter as much as the attention. Every post sparked discussion. Every accent slip or exaggerated gesture added fuel to the viral fire. Then came the reveal, this wasn’t a random person on the internet, it was KJ Apa, a household name. The payoff was massive. The curiosity snowballed into exposure, setting momentum for his debut single, also titled Mr Fantasy . The Music Itself The song itself turned out to be genuinely good. Nobody expected it. The internet was prepared for a messy, novelty track, something that matched the absurdity of the character. Instead, Apa delivered a debut single with real substance. That twist flipped the narrative. Mr Fantasy  wasn’t just a viral character experiment anymore, it was proof that KJ Apa could actually hold his own musically. In some ways, the alter ego distracted people enough to lower expectations, which only amplified the surprise when the music landed. It’s a clever inversion, by playing the fool online, Apa set the stage to be taken seriously as an artist. Why It Works as Marketing Mystery & Intrigue  – By hiding behind a persona, Apa captured attention in a crowded TikTok landscape. Viewers weren’t scrolling past, they were stopping, replaying, and commenting. Breaking Expectations  – Fans knew Apa as an actor, but no one expected this. Reinvention allowed him to shed the shadow of Archie Andrews and prove he wasn’t afraid to be weird, experimental, and, most importantly, memorable. Virality First, Music Second  – In today’s industry, artists don’t just drop singles, they drop moments. Apa understood this, using TikTok skits and bizarre character work to create an audience before introducing the music.   A New Era of Artist Branding? If successful, Apa’s Mr Fantasy  experiment might inspire other celebrities to push boundaries with alter egos. It’s not just about separating careers anymore, it’s about performance art, and using social media to blur the lines between satire, character, and artistry. In a sense, Apa has turned marketing into performance itself. He didn’t just promote his music, he created a whole character that demanded attention. Conclusion KJ Apa’s Mr Fantasy  is more than just a quirky side project. By leaning into strangeness, embracing mystery, and letting the internet’s curiosity do the heavy lifting, he’s managed to reinvent his image and launch a music career in a way that feels fresh, bizarre, and brilliantly effective. Whether Mr Fantasy  lasts or not, one thing is certain: KJ Apa has shown that sometimes, the smartest marketing strategy isn’t playing it safe, it’s making people ask, what on earth did I just watch?