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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?

There are moments during a live show when it hits you, you’re not just watching a band on the rise, you’re witnessing a turning point in the music industry. That’s exactly what it felt like when Florence Road Lily Aron (vocals), Emma Brandon (guitar), Ailbhe Barry (bass), and Hannah Kelly (drums) took over the headline spot at The Button Factory for their slot at Ireland Music Week. The annual industry-focused festival has a reputation for surfacing the upcoming wave of Irish talent, and this year, Florence Road was a standout. My First Impressions: This was my first time at The Button Factory, and I’m already thinking about when I can get back. It’s one of those rare venues that strikes the perfect balance, intimate enough to feel connected to the stage, but with enough size and energy to carry a crowd. On this particular night, it was packed with industry heads, press, and everyone in between. From the moment Florence Road stepped out, the room felt completely locked in, phones were up, eyes were glued, and the kind of quiet anticipation that precedes something big hung in the air. The truth is, seeing Florence Road in a venue like The Button Factory felt like a privilege, because they certainly won’t be playing small venues like this for long with the attention they’re gaining in the Irish music scene. The band opened with “Figure It Out”, setting the tone with layered percussion and a strong underlying bassline before building into the kind layered and rocky sound that Florence Road are quickly becoming recognised for. Lily Aron’s voice is unlike any I have heard before, It’s one thing to have a great vocal take in the studio, it’s another to deliver it on stage, surrounded by a sea of people. Lily didn’t just deliver, she was completely in her element. The band ran through tracks like “Break the Girl” and the fast-rising single “Goodnight”, which got probably the biggest crowd reaction of the night. The song in particular is clearly a fan favourite, its slow-burn intro and explosive chorus landed even harder in the room than on record. Florence Road’s live sound adds an extra dimension. There’s a rawness to their delivery that’s refreshing, they’re not interested in playing things too safe, but it’s not all up in your face either. It’s not every night you get a sold-out crowd giving it everything for a band still early in their journey. People weren’t just nodding along, they were feeling it. Singing, swaying, shouting lyrics back with that kind of communal joy that live music does best. The chemistry between the band and the audience was natural. There wasn’t a ton of chatter between songs, but they didn’t need it. The connection was already there, and it only got stronger as the set went on. Florence road didn’t treat this gig like a warm-up, and it didn’t feel like one. It felt like a moment, the kind people look back on and say, “I saw them before they blew up.” With songs this strong and a presence this self-assured, it’s clear they’re not just a fleeting band. They’ve already announced a headline show at The Academy which is happening later this year, and seems to be sold out already. After what I saw at The Button Factory, that show is going to be phenomenal. Florence Road are going to be huge.

Why one of Ireland’s most exciting bands still isn’t getting the recognition they deserve. By Sophie Lee · Founder · 18/11/25 There are bands you like, and there are bands you genuinely can’t understand aren’t everywhere. Soda Blonde fall firmly into the latter. Made up of Faye O’Rourke, Adam O’Regan, Donagh Seaver O’Leary and Dylan Lynch, the Dublin four-piece formed in 2019 from the foundations of the critically acclaimed Little Green Cars. Rather than continuing what came before, they rebuilt their sound entirely. Across two albums and four EPs, Soda Blonde have crafted a body of work that is distinctive, ambitious and consistently evolving. What Sets Them Apart One of Soda Blonde’s most striking qualities is Faye O’Rourke’s unmistakable voice. There’s a choral, almost ethereal quality to it. It's immediately recognisable and central to the band’s identity within the growing Irish alternative landscape. Musically, Soda Blonde resist easy categorisation. They’re often placed under the alternative pop umbrella, but their sound is far richer than that, blending electronic textures, sharp guitar work and emotionally precise songwriting. They experiment across styles, making it difficult to pin them to a single genre. Bassist Donagh Seaver O’Leary is a crucial part of what makes the band work. Instead of fading into the background, his bass lines drive the songs, they're melodic, fluid and always intentional. Paired with Adam O’Regan’s guitar, the two create a tight, cohesive foundation. Soda Blonde operate less like four separate musicians and more like a unit that instinctively understands how to build around one another. Little Green Cars to Soda Blonde The shift from Little Green Cars to Soda Blonde is significant. The earlier project held a youthful rawness, Soda Blonde is its more mature, sharpened evolution. The chemistry is still there, but now it feels refined, the sound of a band who know exactly what they want to say. Their writing carries the clarity that comes with experience: relationships ending, choices that echo longer than expected, and the self-awareness that follows. Photo by Lucy Foster, courtesy of Soda Blonde Photo by Brendan Canty, used with permission for editorial purposes. Notable Tracks Terrible Hands “ Terrible Hands ,” from their debut album Small Talk , was my introduction to Soda Blonde, discovered unexpectedly in an old playlist of my ex-girlfriend’s. On the surface, it’s rhythm-driven, but not in a club sense. Instead, it’s the kind of track that slowly asserts itself, taking control of your brain. This is where Soda Blonde’s explosive dynamic reveals itself. The song begins with a steady rhythmic base — bass, drums and synths weaving together, before Faye’s vocal rises above the arrangement, lifting the entire track. The production is immaculate, but it’s the lyrics that leave the mark: “I’d take the bad parts of you over the good in me.” It captures the unsettling, familiar feeling of loving someone you know is wrong for you and choosing them anyway. Nothing about it is romanticised, it’s painfully self-aware. What makes “ Terrible Hands ” exceptional is the tension between what you hear and what you feel. It sounds euphoric, something you could dance to in a crowded room, but underneath lies a knot of longing, compromise and self-betrayal.   Try “ Try ,” taken from Small Talk , is one of Soda Blonde’s most affecting songs, and possibly my favourite. Faye O’Rourke’s vocals on “ Try” hits a specific, almost indescribable part of the brain, that rare combination of softness and sharpness that feels both soothing and shiver-inducing. Her tone carries the ache of the lyrics, a controlled emotional release that makes every lyric stick with you. The arrangement begins simply, scattered piano notes, a gentle pulsing beat, before building gradually. The guitar slips in slowly, tying everything together without overwhelming the mix. It’s a slow build rather than an explosion, and by the time it reaches full form, it hits with surprising impact. In the most accurate, if unprofessional terms: it fucking slaps.   I Still Have Feelings for You “ I Still Have Feelings for You, ” also from Small Talk , is one of their most stripped-back tracks, understated, almost fragile, and all the more affecting for it. I first gravitated toward it during a breakup, and its simplicity made every word feel heavier. The lyrics carry a self-critical honesty, a willingness to sit in discomfort rather than mask it. The final section feels like an emotional unravelling in real time, quietly devastating without tipping into melodrama. Musically, the track is deceptively simple: gentle acoustic guitar lines, soft piano notes, and Faye O’Rourke’s voice laid bare. In this stripped-back form, her delivery becomes even more affecting, intimate, confessional, impossible to turn away from. It’s proof that Soda Blonde don’t need explosive arrangements to leave an impact. When they strip everything back, the strength of their songwriting is showcased.   The Queen of Mercy “ The Queen of Mercy ,” from their People Pleaser  EP, is one of Soda Blonde’s most immediately engaging tracks. The rhythm section locks in from the outset, bass and drums creating a groove that’s subtle but addictive. What stands out is how much is happening in the arrangement without it ever sounding cluttered. There are multiple melodic lines running alongside each other, yet everything sits exactly where it should. It’s the kind of balance that only comes from musicians who know their strengths. A particularly effective detail is how the instrumentation follows Faye O’Rourke’s vocal as it climbs. When she pushes into a higher register, the instrumentation lifts with her, the synths brighten, the guitar shifts slightly, the whole track moves upward in response. It creates a cohesion that feels natural rather than forced. Conclusion Soda Blonde have the talent and the vision to become something huge. What they’re missing is the level of recognition their work genuinely warrants. They are one of Ireland’s strongest modern bands, not up-and-coming, not promising, but already delivering. The rest of the world simply needs to catch up. They're playing in Cyprus Avenue Cork on the 15 Dec, there are still tickets available and I can assure you it's going to be a phenomenal evening.

Ireland Music Week 2025 Being part of the press team at Ireland Music Week this year was an incredible experience, witnessing Irish talent up close was a real privilege. Among the many standout acts performing in The Button Factory on Thursday night were Madra Salach , Thanks Mom , and Florence Road , but for me, it was the Cork natives Little Known  who stole the show. Having seen them twice back home in Cork, I had no doubt their set would deliver. Since I last covered the band, they’ve built serious momentum, opening for The Psychedelic Furs  at The Academy and announcing their debut EP Billy , which features incredible tracks like Headwreck and Let Me Be Myself. Their Button Factory set was nothing short of phenomenal. From the moment they stepped on stage, it was clear Little Known  had something to prove. Their growth as a band is undeniable, constantly refining their sound and stage presence. Bassist Finn Walsh told me after the show that it was his first time switching to guitar during a set, which made his performance all the more impressive. Opening with “ Harmonix” an unreleased track from their upcoming EP they instantly captured the crowd’s attention. My personal favourite , “Listen, ” from their debut album As It Is , had me dancing and singing along from the start. An Seomra Ceol’s co-founder Emma leaned over mid-song and shouted, “That lad on drums is insane!” and she couldn’t have been more right. Liam Berry’s drumming was tight, dynamic, and full of energy. One thing that consistently stands out about Little Known  is how seamlessly their guitar riffs lock in with Liam Berry’s drumbeats. There’s something deeply satisfying about that synchronicity, it’s the kind of chemistry you only find in a band that truly understands each other’s rhythm. At the centre of it all is frontman Liam Daly. His voice is both unique and magnetic, carrying a raw emotion that makes every lyric feel deeply personal. The band showcased their versatility with “ Slow Daze,”  a slower, more reflective track that tugged at the audience’s emotions (and mine). It proved that while they can play fast and heavy, they’re equally capable of slowing things down to create something beautifully introspective. If you’re new to Little Known, start with “ Headwreck”.  It’s an explosive track that captures the best of their sound, infectious energy, musical precision, and an undeniable edge. Little Known are a credit to the Cork music scene. Mark my words, they’re going places. Huge thanks to Ireland Music Week for having An Seomra Ceol  as press this year, and if you want to catch Little Known  live, don’t miss their Billy  EP release gig in Dali, Cork on October 9th.

Dublin will be buzzing from October 1st – 3rd  as Ireland Music Week 2025  takes over the city with three days of live showcases, industry talks, and plenty of chances to discover the next big act. Set up by First Music Contact , with support from Culture Ireland  and The Arts Council , the festival has become a launchpad for some of Ireland’s most exciting names. This year’s sponsors include Warner Music Ireland, Sony Music Ireland, Claddagh Records, IMRO, RAAP, Anthem Vinyl, and Minding Creative Minds  – a backing lineup almost as stacked as the artists themselves. Where it’s Happening The action is spread across some of Dublin’s favourite live venues: The Grand Social Workman’s Club The Button Factory Wigwam Curveball For the first time, daytime showcases will take place across Thursday and Friday afternoons at The Grand Social, giving fans two opportunities to catch rising acts in a more intimate setting. Meanwhile, Lost Lane  becomes the festival’s “industry hub,” hosting panels and workshops on everything from AI in music to planning your first tour. Who’s Playing This year’s lineup brings together 50 emerging Irish artists  alongside a handful of special guests from Estonia, Latvia, and Lithuania . Names already catching our eye include: Florence Road  – Upcoming Indie band. Lord Ormond  – dramatic and impossible to ignore. Emma Noodles  – playful, unpredictable, and building a serious following. Thanks Mom  & The Fynches  – fresh voices in Ireland’s independent scene. Little Known  – Cork’s own, guitar-led trio we’ve featured here before. And that’s not even scratching the surface, with names like Babyrat, God Knows, Zoé Basha, April, and Martello also on the bill, you’re guaranteed to stumble across something special.   Why You Should Go Ireland Music Week isn’t just another festival. It’s where the future of Irish music reveals itself. If you’re serious about music discovery, this is the week to clear your calendar. Tickets are still available on Eventbrite. An Seomra Ceol will be in attendance at Ireland Music Week 2025, bringing you highlights, must-see moments, and new artists to add straight to your playlists.

Excitement is an understatement for NewDad’s new album, Altar , and watching this Galway trio evolve from an underground act into one of Ireland’s most compelling bands has been thrilling. Every release feels like a new chapter, and this one? They’ve poured their heart and soul into it. For those who haven’t followed closely, NewDad is Julie Dawson, Fiachra Parslow, and Seán O’Dowd. Altar , arriving in just nine days, promises a versatile, deeply personal record. The album explores growing up, the sacrifices Julie has made as a woman in the music industry, the meaning of home, and the struggle to find your place in the world. Every track feels deliberate and layered, a reflection of a band maturing without losing its raw edge. Some singles already hint at the album’s scope. PRETTY Pretty  feels like coming home. NewDad don’t just write about Galway, they make it feel like a person you could fall in love with. Julie’s words capture the city’s energy and charm, from ‘his menacing gaze has me hypnotised’ to ‘you look nice like a dream.’ Galway feels alluring and powerful, and listening to Pretty , you can’t help but admire how effortlessly NewDad turns the city into a living, breathing character. ROOBOSH Roobosh flips the mood entirely, with a punchy, urgent energy that feels alive and unpredictable. It’s chaotic, loud, and thrilling, daring both the band and their listeners to embrace the unexpected. Angry, messy, and exhilarating, it hits in the best way. EVERYTHING I WANTED Everything I Wanted brings a quiet intensity, slowing the pace to reveal a vulnerable, introspective side. Julie’s vocals are raw and intimate, singing ‘Left my mind in a dark place.’ The song resonates long after it ends, exploring themes of self-destructive behaviour and declining mental health. It’s a reminder that NewDad’s music isn’t just to be heard, it’s to be felt. Beyond the songs themselves, Altar   is an exploration of identity and belonging. Galway’s presence shapes the album and the band’s perspective throughout. Julie’s experiences as a woman in the industry add another layer, threading vulnerability and honesty throughout. Yet the album never feels heavy-handed, it’s full of playful, energetic, and beautifully chaotic moments. Altar   promises to be an album that’s all over the place in the best way, vibrant, emotional, and utterly alive. It’s about growth, identity, and the people, places, and experiences that shape us. NewDad are here at their most open. Whether you’ve followed them from the start or are discovering them for the first time, Altar is impossible to ignore. When it drops in nine days, get ready to fall in love with their new album. Written by Sophie Lee.