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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.

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.

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.

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.

Interview with Cutouts The bigger the band, the more we know about them, but what about our favourite underground musicians? The ones who remain undiscovered and mysterious? The ones who have so much advice and insight to offer to others who are desperately trying to make a name for themselves, to show the world their art. Cutouts are the kind of band you discover by accident and then want to tell everyone about. A group of four exceptionally talented lads who not only have something to say but also offer insight that any aspiring musician would benefit from hearing. My interview with them showcases exactly that. How Cutouts Came to Be – “The Accidental Origins of Cutouts” Cutouts are made up of Adam Walsh (vocals, guitar), Caolán Ledwidge (bass), Adam English (keys, guitar), and Jamie Conway (drums). They are a rock band with notes of indie, formed in Cork. Frontman Adam Walsh and drummer Jamie Conway first met at a rock camp when they were kids. “They put us together with two fellas and then another fella that didn’t work,” Adam says. “But we kind of stuck together.” Years later, Adam was working in Music Zone record shop when Caolán Ledwidge’s dad came in and asked if his son could join a band. Caolán hadn’t touched a bass before. “My dad told me the lads needed a bassist,” he says. “I’d never played bass in my life, but I joined blindly and turned out I was alright at it.” They originally had another keyboardist, Jamie Hartigan, but he had to step away due to the distance. “He was from up the country,” Adam explains. So, when Jamie left, they brought in Adam English, and that’s how the final four members came together.   Finding Music - “From Jazz Dads to U2 on Repeat” Music is central to each member’s life, but their paths into it are all uniquely personal. Adam English says, “My parents always loved music, not music I was into, but they pushed me to do it. I did piano lessons from age ten, and they apparently played music for me in the womb! It’s part of who I am.” He only picked up the guitar last year, but it quickly became a part of his daily routine. Adam Walsh jokes that he got into music for the “money and greed,” and laughs. But then he admits, “Music was something I could do at home. My dad is a jazz drummer, and I grew up listening to The Who. But I found my path with it.” Jamie Conway started with guitar lessons in school. “My parents played U2 non-stop,” he says. He learned “Here Comes The Sun” early on, and it gave him the push to want to be in a band. He played bass from 13 to 17 before switching to drums when the band needed one. Caolán Ledwidge grew up in a classic musical household. “In our house, it was a rule that you had to play an instrument. I started with piano, but I was shocking and never practiced. Then COVID hit, I picked up the guitar and played non-stop.” Ironically, Caolán would take the spot as the band’s bassist.   Are You in This for the Long Haul? - “Making Music a Life — or a Side Hustle” When I asked the lads whether they planned to pursue music full-time, it sparked a genuinely honest and varied discussion, each member is at a slightly different point in figuring it all out. Adam Walsh says, “I suppose I kind of have in my head that I’m giving the music my all for the next few years. I work in a record shop, so it’s the best place in the world to work while doing that! I reckon if we give it our all for a while, it’ll work out.” Caolán Ledwidge says, “Definitely yes. Whether it’s being a performing musician or sound engineer, the music industry is where I see myself in the long run. The main reasoning for that is that it’s the only sort of work I’ve gotten joy out of, which, for a long-term career, is crucial in my opinion.” Jamie Conway says, “As well as being in the band, I’m also in college studying mechanical engineering. I have a passion for both music and engineering, so whatever happens, I know I’ll be more than happy. However, if the band takes off, I’m completely on board with that. It’s a once in a lifetime opportunity — I’d be stupid not to.” Adam English says, “Unless things go well, I’m not planning on pursuing a music career. I’d love to play music as a hobby or side hustle.” I found this section inspiring, there’s something to be said for being this grounded and honest in your early 20s. To hear each of these lads share their own vision and reality without ego shows that they’re not self-absorbed, they’re thoughtful, deliberate creatives who know themselves.   What Influenced That Decision? Of course, a decision like this doesn’t come from nowhere. Each member’s perspective has been shaped by personal experience. Jamie Conway: “I was always taught to have plans and then backup plans for those plans, so I suppose it’s just built into me to plan for every scenario I can think of. At this stage, though, I can’t tell which is the backup!” Adam Walsh: “I suppose the only factors really are it being what I do, and age.” Adam English: “I don’t think I have the mental fortitude or determination to stay in the industry long term. I’d grow frustrated with the lack of success and want to just pack it in.” This question made me reflect on how personal a music career really is. Some thrive in uncertainty, others need clarity and control. It’s rare to get this level of vulnerability from a band, Cutouts offer it willingly.   Songwriting: “We All Believe What We Have Is Good Enough” So , how does a band like Cutouts write their songs? Adam Walsh: “I suppose to date I’ve come up with the song and lyrics, and the lads add their magic. Although Adam [English] has suggested putting some stuff forward. Looking forward to that — it would add another element.” Caolán Ledwidge: “For the Cutouts, it’s Adam Walsh’s songs that he brings to us, and we figure out our own parts to add to it. When I make my own music, I usually come up with small ideas and I try to put those ideas into a metaphorical box, because with the endless number of ways you can make a song, it’s easy to get discouraged. I try to avoid that.” Adam English: “Adam usually has the idea and lyrics, and we build around it. I’d love to start bringing some of my own ideas too — I think it’ll add something new.” Jamie Conway: “All of the songs have started with Adam Walsh, but then he brought them to us and we developed them into what they are today.” This collaborative energy comes across clearly when you speak to them. It’s not about hierarchy, it’s about creativity.   The EP That Wasn’t They recorded an EP and then scrapped it. “With the EP, the whole thing was to help fund the album,” says Adam Walsh. “There were 2 or 3 from it I thought were solid, but it was all done at home, and I ended up not feeling the best about it. It also seemed to not be doing us any favours in terms of gigs and stuff.” Jamie Conway reflects: “It taught me that things won’t always be perfect or be exactly how you want them to be. Sometimes you have to make do with 95% — it’s better than getting nowhere just trying to ‘perfect’ something.” Their self-awareness and maturity at this early stage are what will carry them through. They’ve already had to let go of something they worked hard on and kept going.   On Recording Originals Now, they’re recording again with less pressure and more clarity. Adam Walsh: “Can’t wait to start sharing stuff. Heading in soon to polish off the first single.” Jamie Conway: “We have started recording the songs and are working on an album. We don’t have music out yet because we haven’t recorded anything fully. I personally cannot wait to add a bunch of our songs to my playlists!” Caolán Ledwidge: “I personally love it, I can’t wait for the studio recordings to come out for everyone, and it’s nice to have people hear the songs we’ve been working on for such a long time now.” Adam English: “I’d love to put something out there just for people who want to hear something from us outside of a live setting, but for now, we maintain our air of mystery. To find out if we are as good as everyone says, you just have to come to a show.”   Advice to Other Artists This section is incredibly helpful for other independent artists. Adam English: “I would advise to create whatever you can, while you can, and make it available for everyone, even if you aren’t totally happy with it. Someone might find what you made and appreciate it.” Adam Walsh: “I’m still the one looking for advice, haha.” Jamie Conway: “I don’t know if I’m qualified to answer this question as we have only just gotten started, but my advice is to ask for specific advice and then make the most informed decision possible.” Caolán Ledwidge: “There’s this idea in music where it’s considered a risky career due to the whole idea of the ‘struggling artist.’ I disagree with that wholeheartedly. Whilst yes, as an artist starting out there’s not a whole lot of money in it, the music industry is massive and there are plenty of different avenues you can find yourself in with sustainable careers.”   What Do You Wish You Knew When You Started? Adam Walsh: “How much I’d want to learn the piano.” Adam English: “How difficult it is to run a band. I’ve been in a few bands where it’s difficult to even organise times to rehearse, let alone agree on songs to cover, and getting people to practice their parts… You can forget about writing originals. Never in a month of Sundays. Gigs? Not on your nelly, mate. Studio time? Get this guy a straightjacket.” Caolán Ledwidge: “To surround yourself with better musicians. You learn so much more and so much faster just being around other people with more experience.” Jamie Conway: “I guess I wish I knew that it’s not necessarily going to be easy. Everyone is going to have an opinion on what’s best for the song/album/se,t and you’re not always going to agree with those ideas. Where possible, you should always try what everyone thinks and make sure you make the best decision about it.”   Staying Authentic - “No Characters, No Pretending — Just Cutouts” Adam Walsh: “I’m happy enough doing it on my own terms. Not just from a self-help point of view, but it keeps things simple. There’s definitely a lot of silly pressure that goes with staying authentic and a lot of things that seem a bit pointless.” Adam English: “There has been no pressure on us to maintain an image, it’s been easy to be ourselves so far. I’ve never bought into that whole manufactured image thing. I work in retail, and even when I’m serving customers, I’d talk to them about normal things instead of playing a stupid character, it’s the same for performing. I get that performing means you have an obligation to play a character, but to me, that’s fake. It’s best to make yourself an interesting person. Iggy Pop, Fiona Apple, and Kurt Cobain come to mind. That being said, playing a character may work better if your true self is an asshole—but Cutouts aren’t assholes, we are nice and authentic.” Caolán Ledwidge: “Really just believing that what you have is good enough, which we all do!” Jamie Conway: “I think having confidence in who you are is important. Knowing that who you are has brought you this far, you don’t have to be inauthentic, you don’t have to live up to anyone else’s idea of you.” Cutouts aren’t just a band trying to make it. They’re a group of musicians who are growing in real time and doing so with honesty, heart, and a whole lot of talent. They’ve already become something special. You can catch them live at The Roundy on August 12th, and you probably should. Written by Sophie Lee.

Fontaines D.C. returned to the place that kicked off their music career with a show in the Guinness Storehouse to celebrate its 25th anniversary.  I was lucky enough to be one of the 7,000 Fontaines-devotees who saw the band play not too far from the place it all began during their BIMM days. Now with over five million monthly listeners and concerts selling out in massive arenas worldwide, the Dublin band has come far from their Workman's gigs so I am sure you can imagine the utter glee I felt, akin to a seagull in Stephen’s Green after robbing a chicken roll, when I saw that I got a ticket. On the beautifully sunny 25th of May, Fontaines D.C. were supported by Lankum, a band of astounding Irish contemporary folk music with an aim of political awareness that is timeless in the music industry. They started chants of ‘Free Palestine’ and urged the audience to show support, particularly in reference to the generational trauma of Ireland that strikes a chord in what is going on today. The crowd roared in support, an image that filled my heart with hope in comparison to what is seen, or more so what is not seen, in venues triple the size of the Storehouse. Lankum’s performance of songs such as ‘Go Dig My Grave’ and ‘The Wild Rover’ were nothing short of beautiful in a chilling sort of way. Their ability to captivate the crowd with an eloquent and heartfelt performance left its lingering presence on the venue that I can still feel as I write this. Not long after Lankum, the slow intro to ‘Romance’ creeped onto the stage and the Fontaines' set began. Grian Chatten reeled us in when he ran to the front of the stage as I was still trying to wrap my head around the fact that I was there, a feeling that conspicuously ran through the smiling crowd in a place so close to our hearts with the shared community. From ‘Dogrel’ to the first Irish performance of one of their latest singles, ‘It’s Amazing To Be Young,’ to say the atmosphere was electric would be an understatement. Though I was momentarily sickened at the lack of ‘Liberty Belle,’ being minutes away from the pub, I’m sure the band is very, very tired of having that same old boring conversation. The escalation of the quick and vibrant start to ‘Starburster’ to the newer, almost still verse at the end was certainly mesmerising as the sky got darker and the stage lights more visible. It was when ‘I Love You’ was on that I lost my voice completely, and completely in awe of how Grian does it. No feeling is comparable to that of a fan losing their voice to the voice we have blasting through our earphones every second we can.  Who better than Fontaines D.C. to celebrate 25 years of the Guinness Storehouse as a tourist attraction at the St James’s Gate Brewery? From Friday the 23rd to Sunday the 25th of May, ‘Lovely Days Live’ held three days of live music and culture with artists such as CMAT and DJ Barry Can’t Swim alongside Fontaines. The ticket proceeds went towards the Guinness Dublin 8 Community Fund to fundraise €1 million over the next five years for the local community. Though the band’s ‘childhood was small,’ they certainly fulfilled their dreams of being big. Luckily for us, it doesn’t mean they have forgotten where it began. They shared the love for an Irish hallmark that is so much more than splitting the G, that through St James’s Gate is the place you will find the boys in the better land. Written by Ruby Dolan.

There are headline sets that make noise , and then there are those that carve themselves into the emotional memory of a generation. Last weekend at Glastonbury 2025, The 1975  delivered the latter. With a performance that was as self-aware as it was sincere, the band cemented their place in the canon of truly great Pyramid Stage moments–not just as musicians, but as cultural barometers of their time. The stage design spoke volumes before Matty Healy ever did. A half-car sliced in silhouette, treadmill choreography, ironic screen captions (“Matty is changing his trousers”), and a cascade of visual references painted a picture of a band that refuses to be pinned down. To casual fans or just anyone who doesn’t really know the band all that well, their stage design was fun and interesting. But for fans that know every detail of every stage design from every tour (like myself), this stage combined many iconic moments from previous 1975 tours or music videos. They’ve always lived between spectacle and self-deconstruction–but this performance pushed that dynamic to its breaking point. Yet for all the ironic posturing, what came through was something raw: vulnerability, nostalgia, and connection.  When Healy beautifully stumbled through the lyrics of “Be My Mistake,” visibly shaken and emotionally cracked, the distance between stage and crowd dissolved. It was no longer about artifice–it was about being seen The band carefully curated a set that blended their early indie-pop sheen with the later, messier textures of their evolution. “If You’re Too Shy (Let Me Know)” hit with unfiltered joy, while “Love It If We Made It” reminded the audience that protest and pop can occupy the same breath. And of course, crowd favourites like “Somebody Else” and “The Sound” were met with open arms, mass singalongs, and tears that blurred the line between fan and performer. What was perhaps most striking was their comfort with silence. The band wasn’t afraid to pause, to let a moment stretch, to take it all in. At a festival known for bombast, that stillness was revolutionary. For Matty Healy, this wasn’t just another show–it was a reckoning. For a man that has been done wrong and abused by the media for years, it felt like a wave of relief seeing the crowd love him and the band as much as I’ve loved them for the last handful of years. Everything the band did on that stage was perfection and pure class. I’d be lying if I said I didn’t feel a serious amount of pride and emotion for everyone on that stage. There was no political grandstanding, no headline-grabbing antics (surprisingly). Just a recurring message: “We want our legacy to be about love and friendship.”  In a world that increasingly rewards noise over nuance, that peaceful sentiment echoed louder than any pyrotechnic. For fans, this night was more than just a setlist–it was a communion. Many in the crowd have grown up alongside The 1975, aging into their own anxieties and identities with Healy’s lyrics as a backdrop. Seeing them headline Glastonbury wasn’t just a musical payoff; it was emotional closure, validation, and evolution. This wasn’t the chaotic, confrontational 1975 of old, nor was it a polished, crowd-pleasing festival set designed to win over skeptics. It was something rarer: a portrait of a band at their most unguarded, aware of their contradictions, and finally–finally–comfortable letting us see them that way. The 1975 didn’t just headline Glastonbury. They mirrored it. Fun, magical, overstimulated and overstated. They brought the noise and the tears, the joy and the ache. And in doing so, they gave their fans something more than a show–they gave them a moment, a core memory. The kind that will be whispered about years from now, when someone says, “Were you there, when The 1975 headlined Glastonbury?” Written by Emma Cody.

Cork is crawling with talented, passionate musicians, and I’m always so thankful to witness that talent firsthand. Ways of Seeing played their final sold-out show of their Ireland tour at Coughlan’s Bar on Douglas Street last night, with Cutouts opening. I was honoured to be invited to cover the gig by both bands’ incredible management team, Reclessreviews — a huge thanks to Gene and Patrycja. Cutouts are made up of Adam Walsh (vocals, guitar), Caolán Ledwidge (bass), Adam English (keys, guitar), and Jamie Conway (drums). They are a rock band with indie influences, formed in Cork. Seeing these four lads on stage, who couldn’t be much older than I am, I wasn’t entirely sure what to expect. Especially when the first thing lead singer Adam Walsh said to the crowd was, “Now’s the time to lose clothing.” They had me in stitches before a single track was played, but when they began, Cutouts were nothing short of phenomenal. They opened with a track called “Tied Down,”  which was rhythmically soft to begin with, showcasing their musical chemistry. I heard hints of The Monkees in the early melody, with Adam Walsh’s vocals giving me serious Davy Jones energy. What started as a dreamy, nostalgic track transformed into a full-blown guitar shred. It was one of those moments that makes you turn to your friend and go, “Wait, why haven’t they released this?” It was that good. “Life and Times”  was the standout track for me, distortion pedals echoed throughout the venue, with a dramatic punch landing on the lyric “dying”. That’s when I realised just how far Cutouts could go. They followed it with a cover of “Don’t Do It”  by The Band, which let bassist Caolán Ledwidge shine with a groovy, confident bassline. I also appreciated the integration of keys throughout the set. Adam English added a texture that many live bands overlook or try to fake with pedals. The band’s humour and stage presence were just as memorable. When Adam Walsh introduced a song by saying, “Here’s an instrumental one called D Radio,” I wasn’t ready for the chaos that followed.  It was a full-on shred, gritty and turbulent. Adam English swapped keys for guitar, Jamie Conway thundered in on drums, and the whole thing felt like a storm breaking out on stage. They are an incredibly versatile band with heaps of potential, and oh my God, can Adam Walsh scream. The set of lungs on that lad is insane. Cutouts band Finally, it was time for the headliners. Ways of Seeing are James O’Donnell (vocals, guitar), Calvin Brannigan (bass), Donal Linehan (guitar), and David McDermott (drums). They are no strangers to the Irish music scene. Interestingly, Ways of Seeing began in 2020 as a solo project by frontman James O’Donnell, gradually evolving into the fully-fledged rock band that played to a sold-out crowd at Coughlan’s. From the moment they began, it was clear they were seasoned performers. With their debut album “ End Comes to Light”  released in 2022 and a history of playing iconic venues like Mike the Pies and Whelan’s, not to mention supporting Cork legends The Frank and Walters, Ways of Seeing have been steadily making a name for themselves. They opened with an unreleased track, “Ancient History,” which will feature on their upcoming album “ The Inheritance of Fear” . The moment it began, I was hit with a wave of nostalgia, it had the introspective energy of early The Cure. James O’Donnell’s performance was deeply emotive, almost theatrical, while the band locked in with precision, playing seamlessly together. “Ancient History” felt urgent, like something that had to be heard. There was a gorgeous interplay between lead and rhythm guitar, adding dimension without ever clashing. “Sunlight” was a standout. The opening alone felt like lying in a field in the dark while a million stars burst overhead, a perfect reflection of the debut album’s themes. It’s a track steeped in both lightness and longing, hopeful yet bittersweet. This is music that sits with you. The crowd was completely enthralled, silent in awe. Ways of Seeing has this compelling, almost elusive presence on stage, you never quite know what’s coming next. Drummer David McDermott’s playing is especially worth mentioning, it’s sharp, intentional, and mood-defining. That was particularly clear on the track “Every Night,” where each hit added weight and direction. One thing that added to the atmosphere was the use of looping guitar riffs, the kind that circle back again and again, subtly shifting as the song moves forward. It gave the set this hypnotic, immersive feel that pulled everything together. What still has me laughing is James O’Donnell, frontman of Ways of Seeing, walking into Adam Walsh’s workplace to formally ask if Cutouts would open for them. That shows serious initiative. The two bands complemented each other brilliantly, and I’m genuinely excited to see where both go next. It was one of those nights that remind you why local music matters. Ways of seeing  Written by Sophie Lee.

Six months after their debut album “ Asante”, Dublin native band “ Karibu Sana" took to the stage in Swords Castle on June 7th to close the day filled with talent. The original four-song set turned into a five-song set for the crowd of more than 60 gig-goers.   Karibu Sana was formed in October 2023 and consists of four members, from left to right: Stuart Deacon (lead guitar), Lucas Thornes (drums), Harry Lynam (vocals and rhythm guitar), and Alisha Donnery (bass guitar). Their music style and genres consist of indie, bedroom pop, and alternative rock, almost resembling the sound of ‘The Cure’ or early ‘Mac DeMarco’. Their youthful energy brings a fresh take to the genres.   The setlist of the evening included “Green Hills”, “Clementine”, “Made of Stone” by ‘The Stone Roses’ and “Rush Hour”. With a cover of the Red Hot Chilli Peppers’ “Californication” as the encore, which the crowd eagerly chanted for.   That night their newest single “Clemintine” hit streaming platforms, marking the day as an unforgettable one for the band. Not only did Karibu Sana bring the house down at the mini festival, but the crowd did too. With their high energy, many moshpits, loud cheers and singing along made the bands set one of the highlight of the day.   Karibu Sana’s journey is only taking off and they’re ones to keep a close eye on. Their next big gig is on June 25th at the Soundhouse in Dublin City and it won’t be one to miss. Written by Sabina Donnery.

I’m feeling incredibly sentimental right now, overwhelmed with pride to be from Ireland. A small island that consistently produces talented, versatile artists. Inhaler’s biggest headline show to date at St Anne’s Park only cemented that pride. The sense of community and acceptance at the gig was overwhelming, and witnessing the band reach this milestone felt incredibly surreal. Watching them play on that stage, it hit me just how far they’ve come from playing to a scattered few in The Grand Social to standing in front of 20,000 people. It’s the kind of full-circle moment that makes you tear up without even realising. The atmosphere was unforgettable, Dublin flags draped over people’s shoulders, everyone buzzing in anticipation for “Dublin in Ecstasy”. Groups of friends embracing and dancing together as if they had been apart for years. Music brings people together, some of my closest lifelong friends have come into my life because of it. The night kicked off with Scustin, a post-funk band from Bray. I hadn’t listened to their stuff before, but they completely won me over with their energy. They were fun, expressive, and played into Irish humour in the best way with songs like “I’m never flying with Ryanair again”. They were the perfect opener, getting the crowd going right from the start. Next up were Gurriers, one of the most anticipated acts of the night. A post-punk band formed in Dublin, I was genuinely excited to see them live, and they didn’t disappoint. There’s something about their energy that reminded me of early Fontaines D.C. It was raw, loud, and gritty. When “top of the bill” came on, the crowd became explosive. The band tore around the stage with infectious confidence. It was a completely unfiltered, captivating experience. When Blossoms came out, I tried very hard to remain composed (I failed). The Blossoms, formed in Stockport, have phenomenal stage presence. Lead singer Tom Ogden delivered an almost theatrical performance. Having seen them before, opening for Inhaler at the 3Arena, they have easily become one of my favourite bands. Everyone and their mother were dancing their hearts out. Fittingly, I brought my mum along, and throughout the set, she kept asking, “Sophie, when are they going to play Gary?”. They played familiar favourites such as ‘Charlemagne’ and ‘Your Girlfriend’. Blossoms were nothing short of exceptional. The wait for Inhaler to come on felt tense, the good kind of tense. This was the band I had followed for years. It was my fifth time seeing them live, but somehow this felt different. The second they stepped on stage, I screamed along with the thousands packed into St. Anne’s Park. They kicked off with "Open Wide", the title track of their latest album. Elijah Hewson during "Billy (Yeah,Yeah,Yeah) There’s nothing like being at a gig where you know every word, shouting lyrics alongside your best friends. They played some of my all-time favourites, including “Totally” which made its way back into the setlist. One of the most powerful moments of the night came when they dedicated “My King Will Be Kind” to Palestine, using a song about incels as a sharp and unexpected message of solidarity. It felt like a bold statement, a defiant "fuck you" to anyone lacking empathy. You could see it all over their faces, the awe, the love, the disbelief. They looked out into the crowd and saw not just fans, but people who had grown with them. That’s what an Inhaler concert feels like, it’s like home. No matter how big the venue gets, they somehow make it feel intimate. During “Dublin in Ecstasy,” they connected with the crowd like they were playing in a room of a hundred, not a park of twenty thousand. The lads gave it everything. Inhaler has already achieved so much, and still, it feels like they’re only getting started. With three albums under their belt, Inhaler has established themselves in the global music scene. St Anne’s wasn’t just a concert, it was an experience that opened me up to new music and reminded me why I love it in the first place.  More than anything, it served as proof that with passion, persistence, and belief, people who dare to dream big really can make it. Written by Sophie Lee.