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.

How I discovered Audrey Hobert I’ll admit it, I don’t usually listen to pop. Normally, I gravitate toward indie rock and music driven by layered instrumentation, but then I stumbled across a snippet of Audrey Hobert’s single Sue Me , and it immediately got stuck in my head. That was my entry point into her debut album, Who’s the Clown? , and now I’m completely hooked. A promising start Hobert is no stranger to songwriting. Before her debut, she co-wrote tracks for Gracie Abrams and is the sister of rising artist Malcolm Todd. I already knew she had a gift for writing, but hearing her own work only solidified that belief. Debut single Her debut single, Sue Me, set the tone for what was to come. It’s fun and danceable, with flashes of electro-pop, but the lyrics are messy and real, the kind of unfiltered thoughts you have in your twenties. While some of her early buzz came from being Gracie Abrams’ best friend, Hobert has proven herself to be much more than a name adjacent to someone else’s success. She’s carving out her own lane with music that’s raw, witty, and uniquely her. Hobert doesn’t present herself as some unattainable pop figure, she writes from the middle of life’s chaos, and that’s exactly why it resonates. Standout Tracks The album, released August 15, opens with I like to touch people . It plays like a stream of intrusive thoughts set to music, funny, unfiltered, and instantly captivating. Hobert’s voice is distinctly American, in the way Hayley Williams’ is familiar yet unmistakably her own. Don’t Go Back to His Ass might be the catchiest breakup anthem of the year. It captures the chaos of heartbreak with sharp humour and zero sugarcoating. It’s the kind of song you can imagine young women shouting along to in their bedrooms. It’s cathartic, cheeky, and real. Close behind is Bowling Alley a track that turns self-deprecation into something oddly comforting. Lines like “Sometimes I get on my knees, pray to God, the birds and the bees” are equal parts funny and poignant. Hobert has a way of making you feel okay about not having your life figured out; her messiness feels like solidarity. On Sex and the City she slows things down, reflecting on beauty, desire, and the hollow search for validation. Where the TV show painted a glossy fantasy, Hobert contrasts it with the monotony of real life and the emptiness of fleeting hookups. It’s strikingly honest, and that honesty is what sets her apart. Why Audrey Hobert Stands Out What makes Hobert special is her transparency. She doesn’t write to be perfect, she writes to be honest. She’s messy, funny, self-aware, and completely unfiltered. That relatability is rare, and it makes her debut one of the best I’ve heard in years. Her songs are polished enough to sit comfortably on mainstream playlists, yet they carry the quirks and raw edges of bedroom pop and indie rock. That combination makes her feel both fresh and familiar, she’s not chasing trends, but she also isn’t so niche that her music risks being overlooked. In a pop landscape often criticized for being overproduced, Hobert’s willingness to let the cracks show is exactly what makes her shine. Final Thoughts Who’s the Clown? proves that Audrey Hobert isn’t just “Gracie Abrams’ best friend” or “Malcolm Todd’s sister.” She’s a force in her own right and if this debut is any indication, she’s on her way to becoming a major voice in pop music. So, if you haven’t yet, go listen to Who’s the Clown? RATING: 4/5 MUST LISTENS: Bowling Alley, I like to touch people, Don't go back to his ass, Sex and the city, Shooting star Written by Sophie Lee.

Bigger Baby Steps: Dollface  Returns with Honest, Heartfelt New Single “Before” Dollface, the moniker of Dublin-born singer-songwriter Aimée Rose, first introduced herself to listeners in January 2023 with her debut single Tired  – a delicate track that hinted at her gift for creating beautiful music. Since then, she’s carved out a unique space in the Irish music scene with songs that feel both nostalgic and disarmingly raw. Her music walks a fine line between melancholy and comfort, often breaking your heart while making you smile, sometimes in the very same line. With the release of her new single Before , Aimée returns from a short hiatus with a song that’s not just a continuation of her story, but a deeper, more reflective chapter. And I feel privileged that I was able to do a written interview with her. “A song is never finished, it’s just released.”: Aimée told me that she was once advised by a college tutor – “A song is never finished, it’s just released” – and it still rings true to her to this day. It’s a part of what led her to release Befor e now. “You sort of bite the bullet and realise, okay, this is as finished as it’s going to get,” she says. But the timing wasn’t only about the technicals; the song’s emotional relevance still resonated. “It’s true as I heal, true as I grow up.” “A sense of identity sort of hits the nail on the head.” One of Before’s  most memorable lines for me – “am I made from parts I didn’t make myself?”  – captures a crisis of identity that will feel familiar to many. For Aimée, it stems in part from her experience as an autistic person who’s spent much of her life mirroring those around her. “Now that I’m aware of it, it’s something I’ve been trying to work on,” she openly shares with me. “Trying to think of when I’m genuinely at my most happy and comfortable, and what brings that out in me.” Another line repeated – “I would rip my heart out just to prove something I don’t even understand.”  – continues that thread, touching on the ways we shape ourselves to be accepted. “Maybe while I’m not 100% sure who I am right now, I know who I’m not – and I think that’s a good start.” Creating to feel less lonely: For Aimée, songwriting is more about reflection than resolution. “I’m not trying to answer a question in my mind writing; to me, they’re more reflective observations.” Still, releasing a song like Before  brought a profound sense of relief. “There’s a feeling of release that comes with it,” she explains. “The reactions have always been more than I could have asked for… Maybe surprised at how many people relate to what I write.” Even the heavier lines – like “I always feel like I’m dying, but I never really do.”  – have unexpected layers of humour. “I wrote it to essentially say, ‘I’m very dramatic sometimes,’” she jokes. “But people have interpreted it a few different ways already, and I love that.” At the core of her art is a deep desire to connect – not for attention or acclaim, but for understanding. “Sometimes people message you to say that something in your art stuck with them. And then you feel less alone. That’s the absolute best part of sharing art – and the main reason I release music. It’s absolutely not for the money.” “Bigger baby steps” into what’s next: While before might be the only planned release for now, Aimée is writing more and more, and her live shows are set to evolve in the coming months. Though her earlier work was written during a time when she felt “pretty sad, existential,” she’s now exploring new emotional ground. “In my later twenties I’ve been lucky enough to experience joy and love in ways I hadn’t before.” – “I’m looking forward to seeing where that takes me in my writing.” She’s also branching out creatively, working with new producers and collaborators who’ve helped her sharpen her artistic vision. “It gave me a lot more confidence, and I was more sure of myself and the sound I wanted to create.” Asked to describe this new chapter in just three words, her answer comes with characteristic wit: bigger baby steps. “I called my first EP Baby Steps because that’s what releasing that music felt like to me.” – “Now I feel more confident and more assured… but I don’t think I’d go so far as to say I’m taking adult steps yet. Maybe one day.” Quickfire Round – Six Things to Know About Dollface: To wrap up our conversation, I threw in some rapid-fire questions at Aimée to learn a little more about the person behind Dollface  – from iconic first concerts to heartfelt advice. First concert you ever went to? “I’m never sure whether to be embarrassed by this because I can’t tell where it falls on the scale from embarrassing to iconic, but it was Glee Live.” If your music had a colour right now, what would it be? “Purple. I think the overall feeling of it is a bit melancholic, but depending on the light you look at it in, it can be bright as well. It isn’t all bad.” An album that changed your life? “There’s probably a hundred, but one that always comes to mind is Pet Sounds by The Beach Boys.” A non-musical talent people might not know you have? “Baking.” Biggest home comfort? “A duvet I can have decompression time under.” And lastly, one piece of advice for anyone dreaming of becoming a musician? “Just start. Do an open mic, release a single, whatever it is – everyone has to start somewhere. It’s terrifying, but sadly to be a musician, you actually have to be a musician.” A voice you’ll want to hold onto: Dollface  doesn’t just write songs; she writes truths that feel unspoken until you hear them in her voice. She’s a rare artist who can make pain sound comforting, who can make you feel seen even in your most confused, tender moments. With Before, she invites us deeper into her world – a place where reflection meets evolution, and vulnerability becomes strength. If Tired  was her first foot in the door and Baby steps  her tentative entrance, then Before  is a confident step forward. Not a leap, not a sprint – just a bigger baby step. And it’s exactly the kind we need right now. Written by Emma Cody.

The first time I heard Euro Country , I cried. Not quiet tears, but the kind that come when someone puts into words something you've felt your whole life but never knew how to say. It’s a song drenched in sadness, and a truth that’s rarely spoken aloud in Irish music. A truth that lives in the silence left behind by half-built estates, vanished pensions, and the pain we all inherited from a collapse we didn’t cause. What she’s written isn’t just a song. It’s an unflinching, heartbroken letter to a country that sold its people's dreams it never intended to deliver. A song about survival when survival shouldn't have been the only option. CMAT (Ciara Mary-Alice Thompson) from Meath is one of Ireland’s most important songwriters. Known for her theatrical performances and her fearless vulnerability, she’s carved out space for herself in a music world that often overlooks women who dare to feel too much. Euro Country is different. It’s  Sobering, Heavier, and it’s a reckoning. The title track from her upcoming third album opens with a whisper of Irish, “Cad is gá dom a dhéanamh mura bhfuil mé ag bualadh leat?” (What am I supposed to do if I’m not meeting you?) It feels like a call into the void, to a friend, a country, a version of Ireland that never came back. She sounds proud to be Irish, but that pride is stitched with pain. “I went away to come back, like a prodigal Christian,” she sings, nodding to our emigration cycles and our bruised, complicated ties to religion. Her voice trembles with both defiance and deep grief. She calls it her "Euro-Euro-Euro country ”  as if repeating it could make sense of what it’s become. The Ireland she sings about isn’t the culturally rich island we like to sell abroad. It’s the one with half-built housing estates, the ones we drove past as kids and whispered about, the ghost towns left behind by the Celtic Tiger crash. It's the country where people “started killing themselves all around me,” where construction workers built homes no one could afford. The 2008 financial crash left Ireland in ruins. The Celtic Tiger collapsed almost overnight, and with it went jobs, homes, and dignity. Over 300,000 people were unemployed by 2009, and emigration levels soared. Euro-country doesn’t just remember that era. It grieves it. This is what makes the song so devastating. For those of us who grew up in the shadow of the recession, Euro Country  feels like both a funeral and a protest. It’s for the generation who were told to “move on.” It’s for the fathers who never recovered. The mothers who kept it all afloat. The empty promises. The lost time. CMAT isn’t just documenting the past. She’s holding a mirror to the present. “The type of loss, pain, and lack of community that she feels we’re suffering from under modern capital isolation,” and it shows. Euro Country  isn’t nostalgic. It’s a warning. As a country, we are not healed. There are few artists bold enough to write songs like this. Her music reminds us that to grieve for a country is also to love it fiercely. In a housing crisis that pushes young people out of their hometowns, the rising cost of living, people are struggling to stay afloat. CMAT isn’t writing about the past, she’s writing about right now, with such devastating clarity. Because some of us never moved on. Written by Sophie Lee.

London’s live music calendar this autumn just got a serious standout – and it’s definitely something to take note of. The Dublin-born rock band will be hitting the stage at The Troxy on October 17th as part of Gig for Gaza, a major one-night-only fundraiser bringing together artists from across generations in support of humanitarian relief for the people of Gaza. With a lineup curated by the legendary Paul Weller, and a cause that couldn’t be more urgent, this is more than just a night out for music lovers – it’s a chance to see artists doing what they do best while lending their voice to a crisis that has shaken the world. A Must-See Set from Inhaler For Inhaler fans, this gig is something special. This show marks a rare opportunity to catch them live in such an intimate setting – and also in a setting that feels deeply personal and politically charged. Whether you first connected with their explosive debut album, It Won’t Always Be Like This , or discovered them more recently, Inhaler’s energetic live presence and emotionally raw sound have earned them one of the most loyal fanbases on the alt-rock scene today. But seeing them perform in the context of solidarity, activism, and community? That’s something else entirely. There’s power in watching artists use their platform not only to entertain but to amplify voices  and raise funds  for those in need. And for fans, it’s a reminder that the connection you feel through music can also be turned outward – toward something bigger. The Full Lineup: Icons + Impact Of course, Inhaler isn’t the only reason this night matters. Gig for Gaza brings together a stacked lineup of both iconic and contemporary acts, curated by none other than Paul Weller, whose long-standing legacy in both music and activism gives the event real credibility. Here’s what to expect on the night: Paul Weller – The man himself takes the stage with a full set. Primal Scream – Psychedelic indie legends bring their politically charged sound. Inhaler – Fan-favourite modern rock with anthems for a new generation. Maverick Sabre – Stripped-back acoustic performance, rich in soul and protest energy. Guest speakers + short films – Providing context on Gaza’s humanitarian crisis. Visuals by Robert Del Naja (Massive Attack) – A unique audiovisual component designed by the activist-artist. Why Gaza? Why Now? This isn’t just another benefit gig. The humanitarian situation in Gaza has reached devastating new lows, with international agencies describing it as one of the worst crises of our time. Over a million people have been displaced, hospitals and infrastructures are in ruins, and access to necessities like clean water, food, and shelter is severely limited. In a landscape where political solutions feel distant and delayed, solidarity and direct aid matter more than ever. That’s where Gig for Gaza steps in – not only to raise awareness, but to raise funds for two trusted organisations: Medical Aid for Palestinians (MAP) – Currently leading one of their largest-ever emergency responses, providing trauma care, medical supplies, and support to hospitals across Gaza. Gaza Forever – A grassroots charity delivering essentials like safe drinking water, tents, hygiene kits, and direct financial assistance to families impacted by displacement. By attending this event, fans will directly contribute to these ongoing efforts – turning their ticket into tangible aid. Music with Purpose In recent years, we’ve seen more and more artists choosing to step up, speak out, and take action – using their platforms not just to entertain but to educate, support, and mobilise. Gig for Gaza is a perfect example of that shift, where music becomes a vehicle for resistance and healing. For fans of Inhaler, this show offers something unique – the chance to witness the band in a live setting, yes, but also to be part of a wider community of people coming together for a purpose that transcends borders. It’s easy to feel helpless when watching international crises unfold. But events like this remind us that collective action – even in the form of a concert ticket – can create meaningful impact. So come for music. Stay for the message. And leave knowing you were part of something that mattered. Written by Emma Cody.

Show date: 11th July, 2025 – The Marquee, Cork Last weekend, I went to see Chris Kent at The Marquee in Cork — and as always, the man knows how to land a laugh. His material is still as sharp and relatable as ever, full of that unmistakable Cork charm. From stories about family life to the subtle chaos of everyday Irish living, Kent has this effortless way of making you feel like you're just having a chat with a very funny old friend. His jokes are pure Cork — and I don’t just mean the accent. It’s the small things he picks up on, the local references, the way he captures the humour in stuff most of us wouldn’t think twice about. He has that unique ability to take the mundane and spin it into something funny and familiar. It’s what makes him an easy watch. But — and I say this honestly — something felt a bit off this time. Don’t get me wrong, it was still a decent night with some good laughs. But I couldn’t help comparing it to his show at the Everyman Theatre last year. That performance had something this one lacked: energy, passion, presence. At the Everyman, Kent was totally in the zone, feeding off the room, telling stories like he was living them right there in front of us. There was a spark, a connection, a pace that kept the whole audience engaged from start to finish. At The Marquee, some of that spark just didn’t translate. Maybe it was the bigger venue, or maybe it was just an off night. The delivery felt a bit more measured — more rehearsed than natural. Still funny, still clever, but it didn’t have quite the same punch. That said, even if this show didn’t quite land the way I’d hoped, there’s still something enjoyable about watching a comedian who knows his crowd and reflects Cork life so naturally. I’ll definitely give him another go — and hopefully next time, he brings back that Everyman fire, because when he’s in his stride, Chris Kent can be genuinely entertaining. Written by Lorna Haywood.

There are books you read, and then there are books you feel . Useless Magic  is firmly the latter – not just a collection of lyrics and poetry, but a living, breathing archive of Florence Welch’s (lead singer of Florence + The Machine) soul, spilled out in ink, paper, and stardust. As someone who has long been captivated by Welch’s music, I opened this book with high expectations and left feeling completely undone in the best way. This is not a polished, curated showpiece. It’s messy. It’s beautiful. It’s feral and soft, haunting and holy. And that’s exactly why it works. What struck me first is how tactile Useless Magic  feels – full of scrawled notes, dream fragments, chaotic sketches, and reflections that feel torn straight from her personal journals. The book invites you in like a trusted friend might share a box of old letters and drawings from under their bed. It’s intimate, but never indulgent – raw, but never directionless. The lyrics, many of which I knew by heart, take on a deeper resonance when removed from melody. On the page, without the swell of orchestration or Florence’s soaring voice, they become meditations. You start to see the architecture beneath the songs – how myth, pain, femininity, addiction, longing and the divine all thread themselves through her work like gold leaf in cracked porcelain. Her original poems – strange, mystical little gems – shimmer with vulnerability. They don’t follow rules. They don’t ask to be understood. They are more like weather than writing: shifting, unpredictable, and thrilling. Reading them feels like standing barefoot in a thunderstorm. If you come to Useless Magic  looking for perfection, you’ve missed the point. This book is about process – the sacred chaos of creation. It’s about living in the in-between spaces: between music and silence, dreaming and waking, destruction and rebirth. Welch doesn’t offer answers. She offers presence. There were lines in here that made me pause and close the book just to breathe. There were images that lingered in my mind like perfume. There’s an alchemy to Florence’s vision – how she transforms pain into beauty, fear into ritual, emotion into magic.  Ultimately, Useless Magic  is less a poetry book and more an experience – a mirror held up to the wild, tender parts of ourselves we often hide. For fans of her music, it’s a gift. For lovers of poetry and dreamers of all kinds, it’s a reminder that sometimes, the mess  is the masterpiece. Highly, wildly, urgently recommended. Written by Emma Cody.