SINEAD O’BRIEN

SPOTLIGHT SINEAD O’BRIEN

SINEAD O’BRIEN HAS BEEN TURNING heads for the best part of a year, fusing poetry with music in a way that is equal parts entertaining and poignent. Moulding influence from artists such as The Fall and poet John Cooper Clarke, whom she has collaborated with.

2022 has already seen her play a variety of shows, including the pilgrimage to the states with her iconic SXSW show. It was here that she first flew into our radars, pricking our ears and tickling our brains.

Sinead has also recently released her debut album ‘Time Bend And Break The Bower’, which is filled to the brim with her stunning lyricism. It was clear to see that Sinead is an artist in the purest form who is constantly and meticulously planning out her next creative output. Our conversation with her was just further evidence of this and one we will not be forgetting anytime soon.

WORDS: KIERAN WEBBER PICTURES: CHLOE LE DREZEN

Hey Sinead, thanks so much for joining us! How have you been?

“Yeah, really good thank you. I was actually writing this morning but it’s getting really busy at the moment. I am just trying to find some time in the morning to keep writing, but it’s been great. I have been getting ready for the in-store tour to celebrate the album release.”

So, it’s safe to say you have a busy 2022 planned?

“(laughs) Yeah, it only gets busier as we head into September and October as we head on tour. Just as festival season comes to an end we’re pretty much heading straight out.”

Is there anywhere in particular you’re excited to head to?

“Do you know what I am excited about the variety. Some places I haven’t been to before and others we’ve picked up on the way. Whenever I am in Europe I always relay back to my manager if I’ve played a good venue or I have heard good things about it. I work very closely with my management to plan the routes out and we spent a while on this one. When I play somewhere I like to get an authentic taste for the city, I am not a fan of just playing then leaving. I want to see the place and feel a bit of what it’s about, chat to the locals, eat a meal there that’s representative of the city and not just the rider.

I do really like going to Paris, I love going to Paris so much actually. Every time I play there it’s very enjoyable. Berlin as well is another amazing city and

“THE LACK OF VEGEATBLES THERE [SXSW] WAS REALLY SHOCKING. WE HAD THIS REAL SEARCH FOR GREENS.”

of course we can’t forget the Limerick home show, that’s going to be very special. I can’t wait.”

That’s pretty rare for an artist to work so closely with their management when picking the places to play, is that something you’re pretty conscious about?

“Yeah, you can’t be that particular about every show you play of course as there are things like capacity etc. to consider. However, headline shows in London and Ireland there’s much more of a chance to choose. Basically, my manager, she gives me a selection and I can choose. There will normally be a to and fro, for example there were a couple of possible venues for Ireland, but I was insistent it had to be Dolands. I had a clear preference to play there as that’s where I grew up and I used to listen to all the live bands there when I was way too young. It’s very fun to work with my agent Sophie she’s

great and really gets it. She is always trying to think outside the box as well and not just trying to go down the classic route of playing your standard venues. She considered the more grass roots venues and interesting spaces to play. Of course, it still has to have a PA and be doable.

For example, for the London show we had our eye on Lafayette for quite a while actually as I did a pre-recorded thing there one time during lockdown. We all thought okay, this is going to be a great place to play. It’s a space that I know I can curate a show in, even though I don’t frequent there. It has the potential to feel like a different world and it’s great to get things like that locked in.”

It must be freeing as an artist to work with your management in this capacity? I guess it allows for you to create not just your sound but the overall vibe and feel of a show!

“Yeah exactly! It does give me extra work as I like to be involved in so many of the aspects, but I really enjoy it. If you’re not in control of it at this stage, then you have no hope of keeping it in your vision.”

So, speaking of live shows this year you were at SXSW which I imagine was an experience. Can you talk us through that? Any high or lows? What did you take away from playing in America?

“I guess the lows was the lack of vegetables there, it was really shocking (laughs). At one point we had this real search for greens, we did find this auditorium which was serving salads, it was like being in the garden of Eden (laughs). I was super recharged once I got that salad.

The high has to be living in that moment in space that only festivals provide you know? It’s so not normal and it’s so not how you live in your daily life. Your new reality becomes okay, I am seeing live music all day and if I remember I need to eat at some point. So, to be on both sides of that as in playing as well, and playing multiple times, and multiple venues.

It comes with its challenges too, such as getting used to the new space or dealing with weird sound systems or change set ups. It’s the weird particularities about these places, particularly SXSW though that make it so fun and interesting. It is chaos in the best sense.

The highlight has to be playing the British Music Embassy, it was one of the funnest gigs ever. I got a phone call from one of my friends who was like we can’t get in, there’s a queue around the block, I just remember thinking to myself no this can’t be right! All my senses came alive after that phone call and I had this massive burst of energy. I like that lastminute adrenaline, I don’t tend to get nervous. That energy puts you in more of a spontaneous state of mind. It allows for you to go above and beyond what you can deliver, it makes it much more fun. I have a tendency before a show to let that get to me.”

I guess each show is unique then which allows for attendees to discuss the shows together and pick it apart? “Yeah! You have to really pick the vibe up really. Like for example I played a library once and that was the first time I had to really think about where I was and who I was playing too. The more people who engage and react really changes it for me. I have had lighting set ups before that has stopped me from seeing the crowd, it was such a block. It was really isolating actually, I really enjoy seeing the crowd. That connection is vital.”

You started as a poet, so I am curious to as how you brought music into the mix and how did you make it work so well?

“So, the very first time I performed there were people doing poetry and there music too, as well as people dancing. It was a very varied night. Even then I brought a friend on stage who was a musician and explained I needed music for this.

I gave him descriptive adjectives and he improvised around that. I am not interested in poetry circles or doing readings in Stanley homes, that’s not me at all. The music was not never there. I did perform with John Cooper Clarke without music and a woman came up to me afterwards and said she could hear music in the poem. This blew my mind as it meant I was on the right path and the format was working. I don’t have any doubt with what I want to do when it comes to music.

I do see them as different things. I wouldn’t hand in lyrics to a song to poetry magazine as an example. It’s crafted in a slightly different way, but the content can be the same. So, music has always been a part of it, even when I first started writing poetry I would listen to music. it would mostly be instrumental or music that was mostly without lyrics.

“THE MORE PEOPLE WHO ENGAGE AND REACT REALLY CHANGES IT FOR ME. I REALLY ENJOY SEEING THE CROWD. THAT CONNECTION IS VITAL.”

I don’t do it so much now as I have become very disciplined and more experienced. However, If I am in a cafe and I am writing I will still pop headphones in and write, I like to write to that rhythm.”

Do you have any artists that you would like to collab with?

“I do yeah, I have a massive list. However, I won’t be disclosing any with you (laughs). Basically, I do have a list who I would love to work with and some of these we’re talking too already. I could defiantly see myself working with an electronic artist in the future.”

Your debut album ‘Time Bend And Break The Bower’ is now out! Could you chat through the creative process and emotion behind the release?

“I feel like every day I get a bit more insight into the album because I have been sitting on it for a while and been talking lots about it. When I sat down to write the album I didn’t want to work on one idea, there are several in the album. The uniting force is that the album is a journey, there’s a companion, there’s a guide, and a narrator. I see it like that. I also see it like a book so there’s chapters that it works through. With the intro and outdo being more on the poetic form, ramping in and out.

The mood throughout the album is determined and almost fighty, there’s always something I feel like I am fighting for, not necessarily against. I always have things I am trying to say, and I am always passionate about getting them said and making sure they’re said in the right way.”

Are there any particular songs that stand out for you personally? “Well they all have a specific purpose and there are some that are so on the front sonically, such as ‘Like Culture’ and ‘Spare From My Size, Me’. From playing these tracks live I anticipate can have a connection with the most people. They have this real joy and urgency about them, they have an atmosphere that makes you want to grab life. I love those pieces and I love performing them as it’s the ultimate release of energy and it’s a catharsis.

Then there are the more lyric focused tracks such as ‘End Of Days’ and ‘Multitudes’, even ‘The Rarest Kind’. It’s much more social yet restrained, they’re kind of like big epic poems.

“THERE’S SCENES I WALK THROUGH, I AM THE NARRATOR BUT IT’S NOT ALWAYS FROM MY EXPERIENCE.”

They’re purely emotional songs, it’s hard to talk about the structure of those tracks, they kind of just came to be. Me and Julian were crying on the take we did, I cried during it and I have no idea why. I like that there are different temperatures on the album. It’s a true representation of my strengths and weaknesses.”

It’s safe to say there is a lot of yourself in this record?

“Yeah! There is but there are also things that are observational, it’s not a narration of my life. There’s scenes I walk through, I am the narrator but it’s not always from my experience. If it was a book I wouldn’t say it was a biography, it’s more of a non-fiction poem maybe. It’s almost like a documentary with surreal moments and hyper real moments, there’s a lot of different stuff. ”

Lastly, what can we expect from you for the rest of 2022?

“I am working a lot and will be writing lots, I really want to give myself time to expand into. There’s a couple of really exciting announcements on the way, really excited for festivals, TV appearances, lots of really exciting stuff. I am going back to Ireland a lot now to write on my own and I am doing demos there that are sounding really different. So, more work and more music!”

LIVE SHOWS OCEAN VALLEY

WILL AND THE PEOPLE

GUILDHALL, ST.IVES, CORNWALL

Australian psych rock titans Ocean Valley dazzled the sold out St.Ives Guildhall.

WORDS & PICTURES: KIERAN WEBBER

ST. IVES IS A CORNISH

seaside village mostly known for aggressive seagulls (keep them pasties hidden), idyllic scenery, surf, and it’s artistic community. During the summer months it plays host to a wave of tourists all looking for a seaside escape, so it’s hard to imagine it being a location for a touring band.

However, in the instance of last night the St Ives Guildhall played host to one of Australia’s most successful and prominent psych bands, Ocean Alley. It was hard to believe that they’d be playing in a venue that is hidden behind a variety of crooked buildings and wonky pathways, but they were, and it made the night all that more far out. As we entered the historic building it was immediately clear what a treat this was to watch both Will And The People and Ocean Alley in such a unique and small space. Not to say the venue is tuny, not by any means but considering the size of the bands, it was a rare opportunity.

Kicking the night off was the frantic and anarchic sounds of Will And The People, an interesting blend of characters and sounds. It was a sound that blended the early 2000’s indies with The Pixies, with a sprinkling of punk poetry for good measure. Their stage presence was utterly infectious as well, with the crazed eyes of front man Will Rendle constantly browsing through the horizon. Not to mention his flailing movements across the stage. It was incredibly entertaining all round, especially in the closing song ‘Animal’, which saw Will Rendle throw himself into the crowd on multiple occasions (the first attempt resulting in a head dive towards the ground).

After a quick changeover and stage preparation Ocean Alley were primed and ready to conquer St. Ives. The lights dimmed low and the instantly recognisable riff of ZZ Top‘s ‘La Grange’ echoed throughout the Guildhall. As they strutted out it wasn’t

long before they broke out into ‘Tombstone’, a psych barrage that filled the room. As the guitar licks swept gently over the crowd and the smooth vocals of Baden Donegal trickled into the ear canals it was evidently clear they had the crowd in their palms.

The crowd was hanging off every note that they threw out, reciprocating with shouts, cheers and hollas, and for good reason. Ocean Alley put on one hell of a show, playing through their back catalogue, tracks such as ‘Confidence’, ‘Knees’, and ‘Yellow Mellow’ delighted fans, new and old. Not to mention that as a band they were incredibly tight, not a note out of tune. It was hard not to be enamoured by the band as they swayed across the stage, dishing out sonic psych delicacies. However, there was one moment that I am desperate to talk about, a moment that nearly brought me to tears. Around half way through the set, I heard the familiar guitar tones of ‘Breathe’ by Pink Floyd, and I couldn’t believe it, a medley that included ‘Comfortably Numb’ and ‘Money’ ensued. You have to be brave to cover any track by Pink Floyd, but to do it so confidently and so beautifully was truly moving. If anyone doubted this band as musicians, this would have firmly boasted their skills as artists. It was a very special moment that will remain with me till the day I die.

It was a stunning performance from both bands, with Ocean Alley cementing themselves in the towns history. I don’t doubt there won’t be a person in St Ives not talking about that performance for time to come. What a true delight and treat to witness.

FESTIVAL COVERAGE DOT 2 DOT FESTIVAL

BRISTOL

WORDS & PICTURES: CLUNY POWELL

THE SUN WAS ONCE AGAIN

SHINING across the hills of Bristol for Dot to Dot festival 2022, with a rough plan for the day scribbled on a piece of paper in one hand, and camera in the other we were ready to face the music. After collecting our wristbands from the legendary Thekla and perusing the vast array of delicious looking food options, with the rhythmic sounds of Brighton’s Porchlight in the background, we head over to The Louisiana. The scheduling gods were working in our favour this year, giving our favourites Saloon Dion two sets; one in the early afternoon that fits perfectly with our plans for the day and one in the deep depths of the evening. We ran into Taryn McDonnell (guitarist/vocalist) and he snuck us “backstage” where Saloon Dion were writing their first of two last minute set lists. Getting back into the safety of The Louisiana Bar we managed to watch them catch the attention of those coming down the

Our Top Performances At End Of The Road 2021

stairs after atypical punk band Loose Article’s set in the main room, whilst sipping on ice cold water to counteract the increasing warmth of the small and slightly stuffy room. Their lively guitar music with an undertone of anger not only juxtaposes how lovely these lads are, but also the feeling of the cosy family owned pub/venue that is The Louisiana.

With not a minute to spare in our tight schedule we rush across central Bristol to The Lanes to see energetic duo Getdown Services, who never fail to get the crowd moving. Whilst singing about hating landlords they manage to get the stern security guard involved, and moments later in classic Getdown Services style, one half of the band, Josh takes his shirt off and throws it into the crowd, trusting that it will be brought back to him. Settling in for an afternoon of fantastic local bands at The Lanes, we take a breather before HAAL grace the stage. Despite being a massive change of pace compared to Getdown Services, HAAL’s post-industrial motor rhythms and hypnotic riffs in collaboration with their Scalping inspired visuals playing behind them capture the audience. This is a truly mesmerizing experience, with drummer Joe Frost occasionally leaving the kit behind and appearing at the front of the stage to play synths.

Of course, heading back to the O2 Academy, where we spent the entirety of Dot To Dot last year, to celebrate with young Alfie Templeman (and the rest of his adoring fans) the release of his debut album ‘Mellow Moon’. Between songs, soft shouts of “stop thinking” echo around the room, so the familiar opening riff was welcomed with a big cheer. The soft sounds of Mac Demarco inspired 19-year-old Alfie’s self-taught and self-produced music was a welcome break for the security who had earlier dealt with the bustling crowd of Bob Vylan. Not only was this a lovely audio experience, but also a great visual experience, with the lighting perfectly encapsulating the mellow, yet bright songs of Alfie Templeman and his band.

Wandering Wandering through the crowds of people enjoying the last of the sun by the harbour towards The Louisiana for our penultimate band of the day.

Arriving early and marking our spot at the front of the main room, we wait whilst watching Brighton band Lime Garden do their soundcheck, a perfect little taster of their genre-bending music and their truly kind-hearted actions. Minutes after disappearing, they emerge again politely pushing through the crowd back to the stage. The upbeat tempo and twinkles of synth with Chloe Howard’s beautiful voice singing dry-witted lyrics was the perfect way to spend the last of the evening whilst the sun was slowly setting outside.

Feet aching now, we wonder why trainer brands do not sponsor multivenue festivals, whilst walking back to the O2 to watch the embodiment of musical fusion that are Squid. It is clear that they take inspiration from jazz, whilst injecting aspects of punk and indie, with the mosh pits increasing rapidly however there will be no crowdsurfing from the main singer since Squid’s unusual set up sees the main singer sat behind a drum kit. His unique voice mixed with the manic trumpet towards the end of Houseplants creates a high energy, busy feeling without being completely, for a lack of better words, mind boggling. The heavy bass and rapid intensity increase feels heavily inspired by The National Anthem by Radiohead, with multiinstrumentalists Louis Borsale and Laurie Nankivell swapping between their different guitars and trumpet (for Laurie).

HUTCH CAN BE DESCRIBED in three words: unusual, hilarious, and amazing. Coming out of the seaside city Brighton, Hutch thrived in lockdown and since having been let out of the house, they’ve been unstoppable. Formative members include Dan Shephard and Jack Prichard, whom I sent these questions to through an incredibly annoying Instagram message which he graciously answered, wholly and brilliantly.

Over lockdown, Dan and JP lived with bassist Charlie Bogg, they wrote songs and recorded live sessions, now that’s three. After that, they started to play shows, and needed a drummer, Owen Bullock, now there are four. And before recording their debut single ‘Radiator Centre’ they wanted, needed, some extra twang added to the mix, so in turn, they needed Eva Lunny. That’s the complete Hutch lineup (at the time of release, who knows who else they may have picked up).

So, the aforementioned questions, and their answers. Hopefully, reader, this will shed some light on the psyche of JP and Hutch as a whole. And allow you to keep a special place in your heart for them, as I do.

CATCH-UP HUTCH

WORDS: WILLOW SHIELDS

Hutch as in rabbit hutch?

“No, as in hutch. Band.”

Can you think of a riddle and tell it to me?

“Yes we can, but no we can’t.”

Sky, forest or sea?

“We like the oceans. We like sea cucumbers. We’d like to see cucumbers.”

Favourite mode of transport & your favourite transport story?

“Trains are the best. Especially old western steam engines - someone should write a convoluted concept album about trains.

Favourite transport story would be forgetting to put petrol in the car and getting stuck on the M23 until 4am on JP’s birthday.”

Radiator centre is newly introduced to our ears, what was the process of making the song?

“We wrote the song just before the pandemic - I used to walk past the RC most mornings on my way to work. When JP, Dan and Charlie lived together through lockdown, we started building the song around the harmonies.

Then Owen brought the song to life in the room with his whooping and tempo changes, and Eva’s harp was the dreamy magic we needed to finally finish the song!”

What’s your favourite colour?

“Fitzrovia Red - the best shade for a radiator.”

Can you swim? and/or ride a bike?

“We can all swim and ride bikes but some of us choose not to.”

What is the songwriting process like for Hutch?

“Luckily everyone in the band is rad shredder and songwriter so we all bring ideas in together and work them out in the room.”

What can we expect from you in the coming months/ years?

“Rad jams at hopefully lots more venues all around the known universe. The inevitable break up and then reunion and then capitalising on touring the first album over and over again until we eventually retire at 35.”