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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.

I told bassist Finn Walsh after their set at Coughlan’s Bar that I genuinely believe Little Known are going to be huge. That’s not something I say lightly, but after what I witnessed last night, there was no denying it. Opening for Fangclub at the intimate Douglas Street venue, Little Known completely blew me away. They might have been the support act, but they played like headliners.  Who Are Little Known? Little Known are Liam Daly, Finn Walsh, and Liam Berry - an indie/alternative trio formed in Cork. Their sound is unlike anything else I’ve come across. With the release of their debut album, “As It Is” in October 2023, they introduced themselves as a band rooted in introspective lyricism and a guitar-driven sound. It’s a powerful debut. Tracks like “Listen” have this mystical, otherworldly sound. I’ve had it on repeat for months. They’re not afraid to venture into heavier territory either. “I Don’t Care About You” hits harder, with grittier guitar lines. Little Known’s versatility is part of what makes them so compelling. Their recent single “Let Me Be Myself” is soft and vulnerable, focused on deep lyricism, while “Headwreck” makes you quite literally want to headbang. Little Known aren’t afraid to explore all genres and are constantly evolving their playing style. The release of “Headwreck” and “Let Me Be Myself” gave the band serious exposure, putting their listener count in the thousands. They’re set to support The Psychedelic Furs at both The Limelight in Belfast and The Academy in Dublin, clear signs that Little Known are quickly building a name for themselves. What stood out to me about Little Known is their chemistry, both on and off stage. I was fortunate enough to spend time with them before their set, and it was immediately clear that they’re not just bandmates, they’re close friends. Down-to-earth and genuinely passionate, they were more than willing to talk music with me. I even had the chance to collaborate with their incredible photographer, Leanne, on this piece. Drummer Liam Berry (captured by photographer Leanne Gabriel) Their stage presence is captivating. There’s a rawness to frontman Liam Daly’s voice that blends seamlessly with the band’s guitar-led style, his voice is unique and addictive. Drummer Liam Berry brings another layer of energy, pulling expressive faces mid-beat that only highlight his talent. Bassist Finn Walsh somehow manages to juggle basslines while controlling an intricate setup of effect pedals. Their talent is incomparable. Little Known is a band with something to say. With new single “The Richest Man” to be released on June 20, I am incredibly excited to see the direction Little Known takes next.   Bassist Finn Walsh (captured by Leanne Gabriel) Frontman and guitarist Liam Daly (captured by Leanne Gabriel)

There’s a certain courage in writing about love when you’re still learning how it feels. Grace Burns, in her debut poetry collection Derived From Us , does exactly that — and more.   At just 21 years old (age 20 at the time of release), Grace doesn’t pretend to have answers. Instead, she offers an open-handed collection of poems that wrestle with identity, heartbreak, longing, and the raw electricity of feeling something deeply for the first time.   Who is Grace Burns? For those unfamiliar, Grace Burns is more than a debut poet — she’s a young creative already finding her footing in multiple forms of art. The daughter of Christy Turlington and Edward Burns, Grace might be familiar to some from her public life, but her poetry and photography are a world apart. It speaks for itself, free from external expectations or celebrity weight.   Currently in her final year at NYU, she’s balancing education with creativity. There’s a kind of hunger in her work — not for fame, but for meaning. You get the sense she’s writing because she has  to, not because she thinks she should. That distinction matters, and it’s part of what makes this collection compelling.   A Voice Emerging — but Clear The first thing that struck me about Burns’ poetry is how unpolished it chooses to be. That’s not to say the writing lacks refinement — quite the opposite. But instead of filtering emotions through dense metaphor or academic distance, Burns leans into immediacy. Her work is personal, often direct, and delivered in a voice that is still forming but already confident in its emotional truth.   This is not poetry trying to be clever for the sake of it. It’s poetry that wants to be felt . Whether she’s exploring the ache of unrequited love or questioning her own sense of self, there’s an urgency to her words that resonates.     Standout Themes Derived From Us  is bound together by love — but not just romantic love. These poems move through different shades of connection: self-love, fractured friendships, admiration, confusion, maybe even spiritual yearning. What I appreciated most was how the collection never falls into cliché. Burns writes about love the way it actually feels when you’re young and unsure: overwhelming, contradictory, sometimes cruel, and always defining.   In one poem, she writes about her face as both a mirror and a mask— a powerful metaphor for the tension between internal self and public perception. Another piece muses on memory and its slippery nature — how we hold onto people who no longer exist the way we remember them.   There’s melancholy here, but also softness. Not despair, but introspection. These poems don’t demand answers — they live in the question.     A Promising First Flame Derived From Us  isn’t trying to be the definitive word on love or youth. It doesn’t need to be. What Grace Burns offers in this collection is honesty — sometimes awkward, sometimes lyrical, but always sincere. That’s rare. And it’s why this book works.   If you enjoy poetry that wears its heart without armour, that isn’t afraid to feel too much or not know enough, Derived From Us  is worth your time. Grace Burns might still be finding her poetic voice, but this debut proves she already has something worth saying, and something that’s worth listening to. Written by Emma Cody.

Lucy McWilliams’ latest single, “Even If We Say Goodbye,”  captures the fragile, final moments of a relationship with poetic subtlety and emotional intelligence. Anchored by a severely catchy production that covers the emotional and true lyrics of the song, and McWilliams’ achingly beautiful vocal delivery, the track offers a deeply human meditation on endings–those that happen quietly, and those that never quite resolve. The refrain– “Even if we say goodbye / Even if we’ve one more night”  –repeats like a mantra throughout the song. It’s not just a hook; it’s the sound of someone trying to come to terms with something slipping away, looping the thought in their mind to soften its impact. McWilliams builds the song not around closure, but around the absence  of it. In the verses, she paints quiet, devastating images: a lover leaving in the morning, moments of miscommunication and emotional imbalance. The line “Was it me? Do I love too much?”  in the pre-chorus hits like a self-inflicted wound–raw, uncertain, and heartbreakingly relatable. The repetition of “I guess I’m never good enough”  isn’t just self-doubt; it’s the echo of a conversation that didn’t end the way it should have. What makes “Even If We Say Goodbye” so compelling is how true it feels. It doesn’t offer easy answers, and it doesn’t pretend that walking away always comes with clarity. Instead, McWilliams invites us into the confusion, the denial, the mourning that comes before the acceptance. It’s the kind of track that will sit with listeners who’ve ever stayed one night too long, or who’ve wondered–quietly, maybe years later–if it was all their fault. Rating:  ★★★★☆  (4.5/5) An intimate and emotionally intelligent track that lingers with grace and ache. Written by Emma Cody.

Irish Indie-Rock band Inhaler has often faced criticism due to lead singer Elijah Hewson’s connection to U2’s Bono with some reducing their success to that famous family tie. Judging them based on this fact overlooks the dedication and determination that have driven their progress since the beginning. With the release of their latest album, fans have been quick to voice their opinions, questioning whether Inhaler is shifting from their Indie-Rock roots towards pop. I firmly believe that any band willing to explore new sounds is one that is constantly evolving and improving.   With their debut album, It won’t always be like this , Inhaler made waves in the Irish music scene, topping the charts. Playing alongside artists such as Harry Styles, Arctic Monkeys, Pearl Jam and Blossoms cemented their place within the music industry. Inhaler has carved out its own identity. With the success of their second album , Cuts and Bruises  released in 2023 they firmly established themselves as serious artists. The album demonstrated Inhaler’s artistic maturity in addition to their growing popularity.   Inhaler are natural-born performers, I’ve had the privilege of seeing them live through each album era. Having attended three of their shows, it's clear that while each album has a unique sound and approach, their diversity as artists sets them apart from any other band in the music scene. From the raw energy of It won't always be like this to the more refined depth of Cuts and Bruises , each era has felt like a natural progression, showcasing their ability to evolve. Obviously this new album will sound different, it’s a reflection of the band’s growth, shaped by new experiences, fresh ideas, and a willingness to explore uncharted territory. As artists, they have moved forward, and so should we in our expectations. Change is part of the creative process for many established artists.   The new album kicks off with “Eddie in the Darkness” immediately setting the tone of the album. Josh Jenkinson’s lead guitar riff brings a fresh, catchy energy that pulls you right in. What follows is an eclectic mix of songs that demonstrates Inhaler’s willingness to explore different genres. For anyone claiming that the album leans too heavily into pop, I’d point them to “X-Ray” a track that makes it clear that Inhaler hasn’t strayed too far from their indie rock roots. While the album may experiment with new influences, it’s still a reflection of the band’s original sound.   This album focuses on lyricism, offering fans a chance to connect with the themes on a personal level. Tracks like “Concrete” reflect on the challenges of change and growth, perfectly capturing the internal struggle of holding onto things that are no longer serving you, even when you know they're wrong for you. While Inhaler have definitely become more versatile with their sound, Open Wide  demonstrates their growth as artists. They’ve managed to experiment with new ideas while still maintaining the sound that made us fall in love with them in the first place. This is a very solid album, one that proves they’re not afraid to take risks and push boundaries. As they continue to evolve, there’s no doubt we’ll be seeing even bigger things from them in the future. Written by Sophie Lee.

At this point, the distinction between a concert and a camping trip is practically non-existent. You don’t just pack clothes, you pack like you’re heading off on a short holiday. Snacks, power banks, blankets… they all make the cut. I once witnessed a girl arrive with an entire rotisserie chicken and a fold-out chair, which was almost definitely stolen from her mum’s garden. You know you’ll be standing for hours, hoping to get a barricade spot. You arrive early, bond with strangers, and complain about the wait. Most of us are guilty of doing it, but is it worth it to be in the eyeline of your favourite band? Let me tell you about the time I gave in to concert culture myself. Until November 2023, I had never queued for a gig. That changed with Inhaler’s biggest headline show at the 3Arena. If I had known the implications of what that meant, maybe I wouldn’t have.. I booked a hotel in Dublin that cost so much it nearly financially ruined me. I came armed with a cowboy hat, matching boots, and zero sense of self-preservation. The night before the show, my friends and I chose double vodka whites over a decent night’s sleep. At 3 am, we made the walk of shame to the 3Arena, only to find a “queue” of three people. Yes, three people in pyjamas, wrapped in blankets, lying on pillows. We joined them on the freezing concrete of the Dublin quays, inflatable band member dolls in hand, while people waiting on the night bus tried to figure out what type of cult we’d joined. I briefly met a girl from America who told me she hadn’t even booked a hotel, she was just going to sleep in the queue. That made me feel a bit better about my own life choices. At least I had a bed waiting for me. I compare concert culture to a camping trip simply because of this interaction. By 8 am, the queue had exploded, my energy had vanished, and I was being micromanaged by a random girl who had appointed herself queue security. (Real security wouldn’t show up for hours.) On the brink of shouting at her, my friends and I fled to Wetherspoons for a couple of pints and some warmth. We pulled ourselves together and returned to the queue, where I shoved a heat pad down my top and braced myself for another few hours of borderline frostbite and quiet despair. Despite the cold, the exhaustion, and the hangover, there was something weirdly charming about it all. People shared blankets, sang along to Inhaler’s set list, and at one point we even started a mini dance party to keep spirits up. Still, by the time the doors opened, I was dizzy, aching, and felt like a geriatric in a mosh pit. We just about made it to the barricade, only to be shoved, elbowed, and squashed by the sea of people behind us. My ex appeared right behind me, someone who had rocked up hours later, looking fresher than I felt, and somehow got the same view. When Inhaler finally took the stage, I was tired, grumpy, and dangerously close to regretting everything. What frustrates me the most is that a few months later, I bumped into the band at the Grand Social. No queue, no chaos, no heat pad needed. After seventeen hours of suffering, it turns out I could’ve just waited. So, is it worth it? If you enjoy running on two hours of sleep, physically aching, and feeling like you’ve aged 40 years by the time the encore hits, then yes, completely. There’s something weirdly addictive about the chaos. One minute you’re wrapped in a blanket contemplating your existence, the next you’re screaming lyrics with strangers who somehow became your best friends. Concert culture is feral, unhinged, and borderline unhealthy, but to be completely honest, I’d probably do it all over again. Written by Sophie Lee.

The Irish music scene has been making waves in the global media, with chart-topping artists such as Fontaines DC, Kneecap, and Inhaler. Countless up-and-coming, talented Irish bands and artists are steadily gaining recognition beyond Ireland. Here’s my comprehensive list of Irish acts that should be added to your Spotify playlist.   FIONA O’CONNELL Fiona O’Connell hails from Clare and is an exceptionally talented singer-songwriter and producer. Her debut single ‘Easily’, released in February 2023, amassed thousands of listeners, putting her on the map. Fiona has molded the folk genre into something uniquely personal, focusing on intricate and heartfelt lyrics. Fiona’s music takes you on an emotional journey, offering a quiet space to reflect. I had the pleasure of watching Fiona’s set at the Grand Social in Dublin, armed with just a guitar, she’s capable of captivating an entire audience.   For fans of: Lizzy McAlpine, Hozier, and Phoebe Bridgers Song to start with: “In the end”   LUCY MCWILLIAMS Lucy McWilliams is a singer-songwriter from South Dublin. Lucy is an incredibly versatile artist whose music blends Indie, Folk, and Jazz influences. After relocating to London, Lucy immersed herself in the UK music scene. She’s a gifted lyricist, and the way Lucy writes has a way of evoking buried emotions. I first saw Lucy open for Inhaler at the Olympia Theatre in Dublin. I came for Inhaler but left as a fan of hers. Her latest single, “The Greatest Man,” is nothing short of amazing. Every time I listen to it, it hits me in a way that feels both familiar and otherworldly.   For fans of: Laufey and Olivia Dean Song to start with: “Plastic”   DISORDER Disorder is David England, Ewan McAra, Michael Tinnelly, and Jack Porter. They are a four-piece Alternative/Indie band based in Belfast. Disorder has gained serious traction since the release of their debut single “Pretty, Pretty, Pretty”. They took Belfast by storm, cementing themselves as key artists in the Northern Irish music scene. Disorder didn’t stay confined to Belfast, they’ve played various live shows throughout Ireland and in the UK. Their EP “Summerhouse” is a must-listen, frontman David England’s distinct vocal edge sets the EP apart. I discovered Disorder by accident while at Fred Zeppelin’s in Cork. They were playing, and I instantly fell in love with their sound.   For fans of: Inhaler and Wunderhorse Song to start with: “Millennial Dreaming”   SODA BLONDE Soda Blonde is Faye O’Rourke, Adam O’Regan, Dylan Lynch, and Donagh Seaver-O’Leary. Formed in Dublin, this Alternative/pop band has released two successful albums, “Dream Big” and “Small Talk”. Frontwoman Faye O’Rourke’s voice is distinctly unique, raw, and compelling. Their debut album “Small Talk” is a whirlwind of emotion, when listening you’re unsure if you want to cry or dance. With a sold-out European tour under their belt, the band is steadily gaining recognition beyond Ireland.   For fans of: Bleach Lab and Sunday (1994) Song to start with: “Terrible Hands”   LITTLE KNOWN Little Known are Liam Daly, Finn Walsh, and Liam Berry. Formed in Cork, Little Known’s debut Album “As it is” is a striking introduction to the band’s sound. With guitar-driven tracks, the album gained Little known well-deserved recognition in the Cork music scene. There’s something almost nostalgic about them, they remind me of the Indie bands I grew up listening to, but yet they’re completely different. Little known have carved out their own identity, and they’re undeniably natural-born performers. I had the pleasure of seeing Little Known’s set in Fred Zeppelins, Cork. It was one of the most enjoyable gigs I’ve been to.   For fans of: Slowdive and Nirvana Song to start with: “Listen”   KATE FIELD Kate Field is a singer-songwriter based in Dublin. Kate’s debut EP “And The Persian Rugs” is a deep reflection of a life lived with all its highs and lows. Notably, her single “21st Century Whore” explores the darker side of love. She captures her experience with toxic relationships, and the way she conveys it makes it incredibly relatable for anyone who has struggled with heartbreak. Kate’s transparency is what sets her apart as an artist.   For fans of: Lana Del Ray and Alanis Morisette Song to start with: “Party Pleaser” Written by Sophie Lee.

It is remarkable to captivate a room with your presence alone. We go to gigs and watch our favourite artists perform, but it’s only when the music is stripped back, just the artist and an instrument, that we truly see their art. I was privileged to see Lucy McWilliams perform an intimate set at Camden Recording Studios in Dublin. It was unlike anything I’d ever experienced. There was no explosive crowd, no stage lights, just a small room where we sat quietly on chairs surrounding a piano and a microphone. It felt comfortably quiet, nothing like the usual chaos of a gig. There’s something powerful about watching an artist in such a vulnerable state. Despite the small crowd, I imagined how exposed Lucy must have felt. She had no band, just her and the piano. Lucy sat at the piano with her notebook in hand, playing a mix of unreleased music and songs we already knew. The moment she began, a whirlwind of emotion hit me. It was beautiful, not because it was perfect, but because it felt so deeply human. The way her hands moved, the way she poured herself into the piano. It was incredibly personal and heartfelt. What stuck with me was when Lucy spoke about contemplating what makes something beautiful. She confessed that the song she’d just written didn’t meet that standard, and she had tried to capture that struggle within the lyrics. Lucy knew she had to play it anyway because performing it would challenge that doubt. The song moved me deeply, and at that moment, I realised how harshly we judge ourselves, endlessly critiquing every detail. When, in reality, there is beauty in imperfection. We often put artists on a pedestal. We forget they are just like us, that they have feelings, doubts, and struggles. Intimate gigs like this allow us to connect with the person behind the music. Lucy McWilliams is one of the kindest, most talented people I’ve had the pleasure of meeting. Written by Sophie Lee.