District's Guide to Dublin City: September 2018

September 2018

FREE

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Eyewear from €98 and free eye tests.

Drop by 30 Exchequer Street and say hi.

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@dalicork 4

CORK’s only dedicated electronic and alternative music VENUE The Former Pavillion, 13 Carey’s Lane, Cork art by @bjornism_

OPIUM

SEPTEMBER LINE UP TICKETS ON SALE NOW VIA EVENTBRITE

September 2018 At the end of last month a wave of yellow and white crashed on Dublin city, closing off main streets and quays and dividing opinion on whether the visit from the leader of the Catholic church was warranted.

An overdue international spotlight on the fantastic work by the staff at the Capuchin Day Centre in the North inner-city aside, the Pope’s trip to Ireland seemed out of sync with the current state of the country. Complaints about expensive and disruptive measures to accommodate the Pontiff were compounded when reports of paltry numbers at his Phoenix Park mass service were confirmed.

On the same day crowds gathered at the Garden of Remembrance for a #Stand4Truth march against the atrocities committed by the organisation Pope Francis represents. This protest took place just metres from North Frederick Street and a short walk from Summerhill, the locations of two other recent protests, these occupations fighting against the housing crisis in Ireland. In this issue photographer Jack Farrell joined the Summerhill protestors as they marched on and occupied The Custom House, plus Hannah O’Connell speaks with a representative from one of the numerous organisations involved.

It’s been a devastating year for the church’s grip on the country, and the last month or so has proven that Ireland is not only actively trying to separate church and state, but we’re also hungry for social change across the board.

– Eric Davidson, Editor 4

Editor // Eric Davidson Deputy Editor // Hannah O’Connell Operations Director // Craig Connolly Creative Director // James McGuirk Events Editor // Niamh Craven Food & Drink Editor // Caitriona Devery Photography // Ellius Grace, George Voronov, Jack Farrell, Faolán Carey, Hue Hale, Steven Beatsmith, Fabrice Bourgelle, Adam Hart, Gus Bennett Jr Words // Cóilí Collins, Anna Rodriguez, Ruth McGowan, Polly Dennison, Chris McNabb

Advertising // rachael.bailey@districtmagazine.ie

Website // districtmagazine.ie Issue 001-004 Creative Director // Johnny Brennan

Cover Photography // Thomas Chatt

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08 / Take Back the City 16 / Clairo & Rejjie Snow 20 / Hue Hale 24 / Perfect Day in Dublin 28 / Live Guide 36 / Damola 38 / James Earley on Cork Street 44 / A Guide to Dublin Fringe Festival 48 / Denise Nestor 50 / Boy Child 52 / Ross From Friends 58 / Tank & The Bangas 60 / House & Techno Guide 62 / KETTAMA 68 / O’Flynn 70 / Big Miz & Elliot Adamson 76 / Nabihah Iqbal 84 / Lil Portie 88 / Oysters 90 / Irish Artist Spotlight: Lucas Garvey 6

lagomerch.com

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Words: Hannah O’Connell / Photography: Jack Farrell

TAKE

8

BACK

THE

CITY

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T

here’s a housing crisis in Ireland.

We’ve got more people looking for homes than we have homes available, the properties that are on the market are more expensive than many can afford, people struggling to pay their bills are having their mortgages signed over to vulture funds and our homeless numbers are increasing by the month.

According to figures released by the Department of Housing in June we’re just short of 10,000 people without homes in the country. Daft put out a similarly damning report mid-August which shows a 13.4 per cent increase in the cost of rent in Dublin year on year, the average monthly rent in the capital now €274 higher than peak Celtic Tiger prices.

On August 7, seven groups came together to occupy seven vacant properties in north inner-city Dublin: Dublin Renters Union, North Dublin Bay Housing Crisis Community, Take Back Trinity, Blanchardstown Housing Action Committee, Migrants and Ethnic Minorities for Reproductive Justice, Brazilian Left Front and Dublin Central House Action (DCHA).

We spoke with Aaron Nolan, a representative for DCHA, about what’s been going on. As we’re now into September, and our conversation with Aaron happened during the third week of August, things will have progressed, but here’s an introduction, at least, to what Summerhill Occupation is all about.

In May, several tenants were evicted from a row of properties in Summerhill as safety concerns were raised by Dublin Fire Brigade. The properties are owned Pat O’Donnell & Co Ltd Retirement and Death Benefit Plan.

“Pat O’Donnell, he’s a multi-millionaire, he sponsors the Clare GAA team amongst other things. He housed 120 people across the seven properties,” Aaron told us. Up to 20 people had been living in each house with bunk beds set up in the bedrooms.

“He gave them 24-hours’ notice and evicted them. There were primarily Brazilians, students for the most part, and some of the most vulnerable people in society. Understandably it’s quite a bad thing to do.”

Since the evictions the properties lay empty despite the demand for housing in the city. In retaliation, the seven groups mentioned above decided to occupy 35 Summerhill Parade and laid out three demands.

“Number one, the property is owned by the slumlord Pat O’Donnell. He owns seven properties on the street, they’re all in a row.

We demand that they be brought into public ownership and made into, by compulsory purchase order from Dublin City Council, public housing for the community.

“The second demand is that all vacant land and properties be put under public ownership. There are 35,000 vacant buildings in Dublin City alone. We think that if they’re being unused they should be brought into public ownership to fix the crisis.

“Lastly, we want tenant security. We want rent to be relatable to your income. We’re saying that 20 per cent of your income is a start. We want a banning on any evictions and we think €300 is around about the starting point for renting a room.”

These demands were hand delivered by protesters to The Custom House, home to the Department for Housing, Planning and Local Government, on August 15.

Many wore Eoghan Murphy (Minister for Housing, Planning and Local Government) masks and the event was live streamed on Facebook.

While the occupiers were faced with legal issues during their time in Summerhill they had the backing of the local community.

“Just to be clear, we’re not squatting. This is a political occupation. There’s no one actually living in the place. We’re organised with a rota and people come and go throughout the day on a shift basis. Many of the people who are involved in that would be from the local community. We’re reliant on them to protect the property. We’re doing door knocking to let people know what’s going on. We haven’t been met with one, single negative reaction. They’re fully supportive, the whole community. They’re fully behind us.”

There are legal issues, however.

“We initially received a piece of paper essentially, not a legal document, about two days ago (August 14). It was duct taped onto each door of the properties owned by Pat O’Donnell and basically it was asking us to leave.”

On August 16 the issue was brought before the High Court and occupiers were ordered to vacate the property by 8am the next day.

We spoke to Aaron shortly after this news was announced. At the time he wasn’t sure what the group’s next move would be.

“This is not the beginning of the end, it’s more the end of the beginning. If we’re removed from the property, then we will occupy another property and we’ll continue to use direct action to raise awareness to what’s going on, because the state of Fine Gael; they have no political will. They have the tools available to them, but no political will to fix the housing crisis. A large proportion of them are landlords themselves. Their backers are landlords so they’re sticking to their group, but that’s not representative of the working class and most people. We will continue, and we will encourage and help other people who want to take similar action.”

Since then, the activists relocated to 34 North Frederick Street. Their three demands remain the same, but in addition they are now calling for Minister Eoghan Murphy to resign and for members of Dáil Eireann to bring forward a motion of no confidence in his position.

“Regardless of what happens with the current property we will continue to occupy houses to raise awareness and demand public housing,” Aaron told me during a quick update. “There’s a buffet of vacant buildings around Dublin city, up to 35,000, and we’re going to have a feast if we have to.” facebook.com/takebackthecitydublin

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“THERE’S A BUFFET OF VACANT BUILDINGS AROUND DUBLIN CITY…

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...WE’RE GOING TO HAVE A FEAST IF WE HAVE TO.”

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CLAIRO

I

n the space of a few years Massachusetts songwriter Clairo went from making music in her bedroom to racking up millions of listens online. She released her debut EP ‘diary 001’, which featured Rejjie Snow, earlier this year on FADER Label.

Ahead of her show on Sunday September 16 in The Academy we asked Clairo and Rejjie Snow to interview each other.

Here are their iMessages.

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R E J J I E S N O W

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Words: Eric Davidson / Photography & Creative Director: Hue Hale / 3D Artist: Rebecca Flynn

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目で触る TOUCH H with your E Y E S

ue Hale is an artist from Dublin, currently living in Berlin. He recently linked up with fellow Irish creator Rebecca Flynn for a project entitled ‘Touch with your Eyes’. The collaboration looks to explore the fetishisation and objectification of a body “placed in the public arena” through photography. ‘Touch with your Eyes’ also examines “the role of the viewer and the means in which they either passively or actively consume the image”.

Hue and Rebecca explain their process of combining film photography and “hyperreal” 3D renderings, plus Hue details why his work gravitates towards the dark recesses of life.

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MUA: Yasmin Archer / Model: Ramon Maia

“A BODY BELONGS TO THE PERSON

WHO

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RESIDES

WITHIN

I T.”

Can you pinpoint the moment when you realised you wanted to highlight the objectification and fetishisation of photography subjects?

Hue: With the prominence of social media accounts such as Instagram, Facebook, etc, I think I notice the objectification and fetishisation of photography subjects on a daily basis. If not my close friends, or acquaintances, there’s always a news story about a social figure/celebrity being harassed on social media by malignant individuals. I think it’s an omnipresent issue.

The point in which I decided to make a project based around online objectification, and the individuals who engage in it, was when I received a particularly sexually aggressive message that made me feel extremely violated. As time went on I could put up any sort of picture of myself, nude, fully-clothed or whatever, it didn’t matter, without fail I’d receive an uncomfortable comment or message in my inbox from a complete stranger. It made me question the content of my work and why I was uploading it in the first place.

The tentacles are incredibly intrusive at times, at other times they’re simply draped over the subject. Does this represent the varying levels of objectification?

Hue: I wanted to not just visually represent the harasser in the act of objectifying their victim, but also the effects on the victim’s psyche afterwards. These tentacles that are present but not invading the body represent the thoughts in the back of your mind that someone could use your images for their own sexual desires before you even decide to post an image on your social media.

Can you take me through the process of creating these pieces?

Hue: The images started with the concept of trying to visually represent the malignant individuals in question, and I was inspired by traditional tentacle erotica from Japan.

Tentacle erotica was used as a way of getting around the laws of drawing pornography that included a man and a woman having intercourse, instead of genitalia entering the victim’s body it was replaced with an octopus or squid’s tentacles, which was considered not pornography as the creature didn’t have genitalia. All of the images were shot on film in a little studio in Dublin. To push the theme of online harassment a bit further I sought out my friend and collaborator Rebecca Flynn to render the tentacles in 3D, and place them on the model after the photographs were taken.

Rebecca: Yeah, Hue gave me sketches to work off and I created the tentacles in Cinema 4D and then edited them into the original photos in Photoshop. It was a long laborious process, especially with the drippy slime and plastic to work around and just getting it all to look cohesive. So I’m really proud of how they came out.

The tentacles are described as ‘hyper-real’, reflecting social media’s grip on our reality. How can we amend our outlook on the world to ground us?

Hue: We now live in a digital age where a vast amount of interaction happens online, but in some cases I think people forget that there’s a real human behind the Instagram account and that there’s a real human in the images which are uploaded. There’s also a very good chance of them seeing a nasty comment being made which is sent directly to their eyes via a phone, this can significantly affect how a person sees themselves and how they interact with people in the future. I think there needs to be a little more awareness of how virtual undesirable behaviour can have substantial consequences in the real world.

Rebecca: The hyper-real thing is something I am fascinated with. Back in college I did my thesis on Vaporwave as a postmodern art movement and subculture, comparing it to Dada, Pop Art and punk. When I was researching I read a lot about the concept of hyper-reality. Marc Auger has a good book on non-places. Hyper-reality is an inability to distinguish a simulation from reality especially in a postmodern, technologically advanced society. So that ties in a lot with what Hue said. I also felt it ties in with the way we used a mix of film photography, an older medium where you’re capturing an image of a real, tangible thing, and then the 3D models made entirely inside my computer.

As for amending our outlook I don’t know. I think gross creeps will always exist and that sucks, but the only thing you can control is how you react to them. You can also control your privacy settings and block out those haters.

Hue, you said before that your work ‘deals with the darkness faced in the everyday’. Why are you drawn to that?

Hue: I think I’m drawn to making work about problems faced in everyday life because these issues are prevalent to me. I like to use photography to work through these problems, to resolve them in a way that I can look at differently in the future. If I can see these issues in a different light then maybe I can understand them better, work through

them and move on. I’m very interested in studying my body and mind as a way of grasping an understanding of who I am as a person. I’m also very interested in human behaviour, how we interact with each other and how we function by ourselves.

You’ve also mentioned before that you use your work to transform trauma into something positive. When did you realise you could do this and how beneficial has that been for you for personal and artistic growth?

Hue: While traditional methods of therapy are invaluable towards treating mental health issues, in my experience, working through personal demons using my artistic practice has been the most beneficial to my personal growth. Previously, I made a project called ‘He suffers with his nerves’ where I documented a two-year period when I was very depressed using selfportraiture. I still struggle with my mental health from time to time, but when I looked back on that particular project after completion I saw that I was a completely different person at the end, than the person who’s in the photos. It was around that time when I realised that phototherapy could be extremely beneficial to me. I’ve grown since and can deal with similar issues better now, ‘He suffers…’ serves as a reminder that I can be in the thick of it but eventually get back up and recover.

‘Touch with your Eyes’ was a very ambitious project for me. I shot it in a completely different way to how I usually photograph and I stepped outside my comfort zone technically and aesthetically.

This has been substantial in how I will approach my work in the future.

It was a first in terms of collaboration; I think I’ll be a lot more comfortable in reaching out to other artists to talk about collaboration in future. Without Rebecca who rendered the tentacles, Yasmin who did the special effects make-up and Ray who is the sitter in the photos, this project couldn’t have come alive in the way it has.

I think thematically the project has given me confidence to make work about issues which can be personal to me but can also apply to others in the same situation.

Now that ‘Touch with your Eyes’ is complete and out in the world some people have spoken to me about their own online harassment experiences. Hearing these stories combined with what I’ve discovered through making the project, I think I’ll react differently and effectively to any future online harassment. @huehale @t4ng3rin3sh4dow

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24 Words & Photography: Ellius Grace

PERFECT Saint Sister Band @saint_sister_

Last place you ate?

Urbanity in Smithfield.

Last pub you went to?

Lucky’s on Meath Street.

Favourite place to escape to?

Home.

Favourite place to go to in the sun?

Sutton Beach.

What’s one thing you see every day here?

Phoenix Park.

What would you like to see less of?

Vacant buildings and rent.

Best memory of the city?

Our first Dublin gig together in Whelan’s in 2015.

Best place for a Guinness?

The Cobblestone.

DAY 25

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IN

Fehdah

Musician @fehdahfoli

Last place you ate?

Duck (with my G Ellius).

Last pub you went to?

Izakaya.

Favourite place to escape to?

Sure you can’t go five metres without running into someone you know, there’s no escape in Dublin.

Favourite place to go to in the sun?

My own back garden, it’s a botanical oasis.

What’s one thing you see every day here?

Seagulls.

What would you like to see less of?

Fake Native American headdresses at festivals.

Best memory of the city?

The referendums, by a mile.

Best place for a Guinness?

The Cobblestone.

Southside seaside or Northside seaside?

I wouldn’t dare step foot in the freezing Irish waters, but I like the look of Clontarf and Sandymount beach.

DUBLIN 27

Live Guide

September 2018

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SCREAMING FEMALES

ICEAGE

SOCCER MOMMY

The American three-piece rock band create punk, alternative and indie music with distinct vocals from Marissa Paternoster.

For fans of: Pixies, Yeah Yeah Yeahs, Royal Blood Thursday September 6 The Grand Social €15

Copenhagen’s Iceage bring their delinquent take on punk music to Dublin following the release of their most recent album which features collaborations from Sky Ferreira and more.

For fans of: Parquet Courts, Sky Ferreira, The War On Drugs Friday September 7 The Workman’s Club €15

The young Nashville native has toured her authentic, emotional, bedroom indie music with Slowdive, Mitski and Paramore.

For fans of: Clairo, Preoccupations, Mitski Friday September 7 The Grand Social €13

FALSE HEADS

LUCIUS

SLOWTHAI

The East London punk rock band have gained the attention of legends like Iggy Pop, Josh Homme and more with their energetic sounds and stage presence.

For fans of: Queens Of The Stone Age, The Libertines, King Krule Friday September 7 Whelan’s €10

This four-piece indie rock band hailing from Brooklyn and fronted by a partnership between members Jess Wolfe and Holly Laessig are renowned for their vocals.

For fans of: Æ Mak, Warpaint, The Heathers Saturday September 8 St Patrick’s Cathedral €25

Slowthai encapsulates underground hip hop and makes it his own. One of the most exciting rappers to come out of the UK in recent years.

For fans of: Iamddb, Kojaque, The Streets Monday September 10 The Workman’s Club €16

DIONNE WARWICK

HEATHER NOVA

INCUBUS

The five-time Grammy award-winner was the original vocalist for the iconic song ‘I Say A Little Prayer’ and celebrates 50 years of her career with this headline tour.

For fans of: Ella Fitzgerald, Aretha Franklin, Whitney Houston Monday September 10 Vicar Street €72

Bermudian artist Heather Nova, named by many as pop’s greatest enigma, returns to Dublin with her alternative and indie rock style which incorporates spoken word.

For fans of: Sinead O’Connor, Sheryl Crow, Alanis Morissette Monday September 10 Whelan’s €22

Incubus return to Ireland with their highenergy rock sounds for their first gig here in over three years.

For fans of: Red Hot Chilli Peppers, Jimmy Eat World, Deftones Tuesday September 11 Bord Gáis Theatre €64

HILARY WOODS

A CERTAIN RATIO

We bring you back to the halcyon days of rap, while exploring the realm of Ireland’s underground hip hop culture as part of Dublin Fringe Festival.

For fans of: Kojaque, Rejjie Snow, Mango x MathMan Friday September 14 The Sewing Factory €15

The Dublin pianist and singer-songwriter composes delicate, deeply emotional and haunting pieces accompanied by her soft yet powerful vocals.

For fans of: Saint Sister, Hannah Reid, Daughter Friday September 14 The Sugar Club €18

Often described as a punk and funk hybrid, A Certain Ratio have influenced a range of iconic musicians with their avant-garde sound.

For fans of: Franz Ferdinand, Talking Heads, LCD Soundsystem Saturday September 15 The Sugar Club €27

BLACK JAM

CLAIRO

DANIEL O’SULLIVAN

Fried Plantains Collective is back for a sensational night of spoken word, hip hop, funk and African and Irish punk.

For fans of: Jafaris, Kojaque, SZA Saturday September 15 The Complex €10

American electro pop artist and vocalist Clairo first found exposure through YouTube and has since collaborated with Rejjie Snow, SG Lewis and more.

For fans of: Kali Uchis, Dana Williams, Mitski Sunday September 16 The Academy €17

The London-based producer creates realitydistorting electronic pop and rock. Support comes from Dublin producer and visual artist Paul Smyth.

For fans of: This Is Not This Heat, Villagers, Steve Moore Monday September 17 Bello Bar €11

TANK AND THE BANGAS

MELTYBRAINS?

Originating in New Orleans, this group have a flair for energetic performances and incorporating spoken word and rap into their funk, soul and gospel tracks.

For fans of: Anderson .Paak, The Internet, Lauryn Hill Tuesday September 18 The Sugar Club €27

As part of Dublin Fringe Festival Meltybrains?, known for their imaginative soundscape music and theatrical performances, will be teaming up with visual projection artists Algorithm.

For fans of: Bitch Falcon, Æ Mak, Rusangano Family Tuesday September 18 Abbey Theatre €18

13 Fade Street, Dublin 2 · +1 552 9960 Hensteethstore.com · @hensteethstore

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better l

ife

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Carly Palmour ‘The Flirt’

MANGO X MATHMAN

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TORY LANEZ

MULATU ASTATKE

Canadian rapper and Future, 50 Cent and Major Lazer collaborator brings his latest tour to the iconic Olympia Theatre.

For fans of: Bryson Tiller, Majid Jordan, PARTYNEXTDOOR Tuesday September 18 The Olympia Theatre, Dublin €35

Ethiopian musician Mulatu is one of the founding fathers of Ethio-jazz and has been sampled countless times by artists like Nas, Kanye West and more.

For fans of: Fela Kuti, Nas, Tony Allen Wednesday September 20 The Sugar Club €32

NICK MULVEY

WOWEEMBEEM

Once a member of the 2008 Mercury Prize nominated band Portico Quartet, Nick Mulvey has since gone solo perusing a Cubaninspired singer-songwriter career.

For fans of: Ben Howard, Dan Carey, Paolo Nutini Wednesday September 20 Whelan’s €25

Farah Elle will sing a one-off set in Arabic joined on the night by several DJs and musicians.

For fans of: Fehdah, Nabihah Iqbal, The Soul Jazz Orchestra Friday September 21 The Sugar Club €12

JIMOTHY LACOSTE

MITSKI

Timmy Gonzalez’ Jimothy Lacoste project has its tongue firmly in its cheek, while also producing forward-thinking and beautifully bizarre sounds.

For fans of: Kojey Radical, Slowthai, Rejjie Snow Green Room at The Academy Friday September 21 €13

Japanese-American singer-songwriter Mitski is known for her starkly observant lyrics which are usually accompanied by pulsing drum beats and guitar lines.

For fans of: Frankie Cosmos, Car Seat Headrest, Angel Olsen Saturday September 22 Tivoli Theatre €22

50 CENT

THE SCRATCH

50 Cent returns to Dublin for a headline show to celebrate the 15th Anniversary of his debut album Get Rich Or Die Tryin. G-Unit will join on support.

For fans of: Eminem, Biggie Smalls, Jay-Z Saturday September 22 3 Arena €71

The Dublin four-piece incorporate acoustic, traditional and metal sounds with triumphant melodies and grooves.

For fans of: Shame, Rory Gallagher, Bitch Falcon Saturday September 22 The Grand Social €15

VIVALDI’S FOUR SEASONS London Concertante, a UK-based chamber orchestra, will perform Vivaldi’s Four Seasons in one of Dublin’s most historical buildings, lit by candlelight.

For fans of: RTÉ Chamber Orchestra, Piazzolla, Adam Summerhill Saturday September 22 St Patrick’s Cathedral €45

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ARCTIC MONKEYS

JULIEN BAKER

AJO ARKESTRA

The indie rockers take over the 3Arena for two nights in celebration of their latest release ‘Tranquility Base Hotel & Casino’.

For fans of: Miles Kane, Elvis Costello, The Strokes Monday September 24/Tuesday September 25 3 Arena €66

Known for her intimate lyrics, the American vocalist and guitarist returns to Dublin to tour her new album which is said to have a louder sound.

For fans of: Forrister, Mitski, Frightened Rabbit Thursday September 27 Vicar Street €24

Ájo Arkestra are a nine-piece Afrofuturistic multicultural group of musicians from the four corners of the world, formerly known as Dublin Afrobeat Ensemble.

For fans of: Fehdah, BARQ, Sequence Friday September 28 The Bowery €7

VELCRO 98

WYVERN LINGO

JESSE JOHN HEFFERNAN

After an extensive run of gigs, Velcro 98 are currently in pre-production for their debut EP ‘A Thing for Ghosts’ but will take a break for this headline show.

For fans of: Paolo Nutini, Post Malone, Jamie T Friday September 28 The Sound House €10

The Bray trio have cultivated a unique sound for themselves through a combination of neo-R&B, soul and indie music accompanied by haunting vocals.

For fans of: AE Mak, Warpaint, Saint Sister Friday September 28 The Academy €23

Former member of hip hop group The Animators, the now solo singer-songwriter releases his debut album ‘Late Night Attention’ with a launch in The Sugar Club.

For fans of: Steve Lacey, Gavin Glass, Glen Hansard Friday September 28 The Sugar Club €12

REX ORANGE COUNTY

ÓLAFUR ARNALDS

VULFPECK

Emotionally-charged lyrics are a mainstay with Rex Orange County, leading him to be featured on albums with artists like Tyler, The Creator and more.

For fans of: Mac DeMarco, Steve Lacy, Boy Pablo Sunday September 30 Vicar Street €23

Award-winning artist, composer and musician Ólafur Arnalds goes on his first solo tour in three years with uniquely wired string quartets, piano loops and more.

For fans of: Kiasmos, Nils Frahm, Sigur Rós Monday October 1 National Concert Hall €27

Vulfpeck are an American group who are inspired by old ways and aim to bring funk back to the modern day.

For fans of: Thundercat, Tom Misch, Unknown Mortal Orchestra Monday October 1 The Olympia €43

LIZA ANNE

BAKAR

THEY MIGHT BE GIANTS

The American folk musician identifies and embraces dark themes in her music but makes them softer by adding indie influences.

For fans of: Mitski, Saint Sister, Saint Vincent Monday October 1 East Side Tavern €16

North London artist Bakar fuses hip hop beats with post punk. His sound is often described as a scrapbook of English music history.

For fans of: Octavian, Steve Lacy, King Krule Thursday October 4 The Academy €15

The American alternative rock band tour their new album bringing along well-known trumpet player known Curt Ramm, known for playing with Nile Rodgers and more.

For fans of: Pixies, Talking Heads, Violent Femmes Saturday October 6 Button Factory €38

Exhibition of the Month ZONE IN A4 Sounds on St Joseph’s Parade, just off Dorset Street, will play host to a new photography exhibition this month that will look to raise money for the Dublin Rape Crisis Centre.

Here’s what the organiser Vanessa Ifediora told us.

“The DRCC is a cause very dear and personal to me in terms of my own history and recovery, and as an essential service to Irish people, so I’m hoping to raise awareness of the show to have as many attendees as possible visit and donate what they can. It will be free entry with a donation box at the door.”

A4 Sounds September 27-30 vanessaifediora.com/zone-in

OUR GUIDE TO CULTURE NIGHT 2018

Words: Hannah O’Connell / Photography: Itziar Telletxea

FRIDAY SEPTEMBER 21

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Spitfire Bird

14 Henrietta Street

Black Church Print Studio

Comhlámh Ireland Says Welcome and RAMSI (Refugee and Migrant Solidarity Ireland) celebrate the life and culture of Ireland’s refugee communities.

Discover what tenement life was like through a short tour of this new museum.

4pm – 8pm 14 Henrietta Street, Dublin 1

Free guided tours and live printmaking demonstrations are running every half hour at this fine art print studio.

6pm – 10pm 4 Temple Bar, Dublin 2

Áras an Uachtaráin

DIAS Dunsink Observatory

The official presidential residence will open to the public giving us a unique opportunity to explore the iconic home after dark.

Check out the historic Grubb telescope, hear how this Dublin company became one of the greatest telescope makers in the world and, weather permitting, gaze at the stars.

6pm – 10:30pm 12 Parliament Street, Dublin 2

Gallery of Photography Ireland 14 artists will group exhibition Border’.

present a powerful titled ‘Reframing the

4pm – 9:30pm Meeting House Square, Temple Bar, Dublin 2

4pm – 9pm Phoenix Park, Dublin 8

7pm – 11pm Dunsink Lane, Castleknock, Dublin 15

Dublin Street Art Tour

Irish Film Institute

The Arts Council

Street artist Will St Leger will lead a 90-minute tour of Dublin’s street art.

A collection of Irish shorts dating back to 1940s will be on show.

5pm – 8pm Thunder Road Café, Fleet Street, Dublin 2

6pm – 8:30pm 6 Eustace Street, Temple Bar, Dublin 2

Over 1000 works of modern and contemporary Irish art collected since 1962 will be on display.

Flying Turtle Productions

LGBT+ Tour

Experience a 23-minute immersive live performance with actors in costume as 1940 Film Noir characters. You’ll need the password ‘SPEAK EASY’.

Activist Tonie Walsh leads a walking tour of queer Dublin, uncovering a hidden history.

5:30pm – 11pm Ireland Institute, 27 Pearse Street, Dublin 2

French Embassy in Ireland A giant video projection presented by French artists Scenocosme will be mapped onto the building. This will mark the world premiere of ‘Synergies’.

6:30pm – 11:30pm 66 Merrion Square, Dublin 2

Hugh Lane Gallery The gallery will put on a night of music, film screenings, workshops and tours.

5pm – 10pm Charlemont House, Parnell Square North, Dublin 1

5pm – 7pm Barnardo Square, Dame St, Dublin 2

National Concert Hall An evening of interactive music workshops and the chance to join a pop-up choir. No experience required.

5:30pm – 9pm 70 Merrion Square, Dublin 2

The Fumbally Stables Learn about sustainable food practices and how food and drink can affect our health and happiness.

5pm – 9pm Fumbally Lane, Dublin 8

Women Who Made History

5pm – 10pm Earlsfort Terrace, Dublin 2

Celebrate 100 years of women’s right to vote in Ireland on a walking tour dedicated to some of the many Irish women who made history.

Science Gallery Dublin

7pm – 8:30pm Instituto Cervantes, Lincoln Place, Dublin 2

Adventure to deep space and deep sea with the gallery’s ‘Life At The Edges’ exhibition.

culturenight.ie

5pm – 10pm Trinity College Dublin, Pearse Street, Dublin 2

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36 Words: Eric Davidson / Photography: Steven Beatsmith

A

round four or five years ago a sonic wave crashed on Ireland’s music scene. Hip hop was about to go through a renaissance after over a decade or so of relative stagnation.

As soon as one Irish rapper or producer stuck their neck out and released music, it gave five more the confidence to do the same. The country became a breeding ground for voices in ‘urban’ genres. One artist that was atop that new swell was Damola.

In his first couple of years he performed at Electric Picnic, Other Voices and played a raft of headline slots. Then in 2017, after being named as a ‘future-maker’ by the Irish Independent, things went quiet for the Dubliner. He needed time to reassess his situation and step back from the scene that he’d been so involved in cultivating from a grassroots level.

“I went to London last year to do research.

I went around to different management companies, trying to see what the story was. In Ireland, the main resources are Diffusion Lab and Word Up Collective. Aside from those two, I don’t know anyone who does the management side of things. I went to the UK and there were loads.

“I’ll keep it 100 with you. I was going about things in the wrong way in the beginning. I was trying to get more gigs by hollering at promoters, but I should have been focusing on the material. That played a huge part in it all.”

The hip hop landscape in Ireland has changed since Damola started out. It’s now saturated with artists, Soundcloud spilling over with tracks recorded in bedrooms from Donegal to Drimnagh. He sees the benefits in this swelling community.

“I had a conversation with Adam Fogarty (MathMan) a couple of weeks ago about this. I bumped into him and I was talking about how I hadn’t released stuff in a while and that it does bother me sometimes.

You’re thinking about what the reception will be when you release music. But the scene is getting better here all the time, it’s getting better here every year so any new cat can pop up and utilise the new resources that are in place.

“Getting gigs was a big thing at the start. At one stage back when I started that looked impossible. Word Up definitely broke a lot of barriers, they connected with a lot of people.

A lot of artists’ first festival experience was through them.”

Damola learnt a lot from his time with spoken word and music crew Word Up Collective, but it was the healthy rivalries between the members of his now defunct

group Backshed Inc which pushed him to his limits. And not just creatively.

Sam Ojo, Ama, Ange MC and he were brutally honest with each other and never settled for anything less than 100 per cent.

However, the wheels of Backshed started to come off and now they’ve gone their separate ways.

“First of all, the structure wasn’t working,” Damola explains discussing the events which led to the breakup of the group. “You had four really good artists, but you didn’t have a system in place that made everything flow properly. We were trying to be a group and a management company at the same time. We just didn’t have the resources. From the outside people liked the way it looked, but internally it just wasn’t really working.

There were also some personal differences in the group, outside of music, so I think they finalised the break up.”

Damola went on to collaborate with artists as diverse as Jake Hurley (Local Boy) and Katie Laffan. He admits he finds it easier to dip his toes into collaboration rather than constantly working with the same people, the one exception being his relationship with his live band.

“Whenever it’s just me on a track, a track that I own, I’m extremely conscious of all the details. I’m so careful that it takes too long, going back, re-recordings, scrapping material, re-writing again… But whenever it’s someone else’s track I’m chill and I think that’s the better way to approach it.

“I’m an artist first, but I’m also an MC, so I have to make sure the band doesn’t take over completely. But it’s still important. My first ever gig was in The Grand Social in 2015 and it was with the band. The band gave me more confidence. I felt the need to go with more people. After the second gig my confidence rose though. Sonically, the band stuff is so different to the DJ set.

Personally, I like both for different reasons.

Whenever I’m performing with a band I feel like I’m creating. It gives me a similar feeling to when I’m in a studio. With the DJ stuff, my main focus is the energy and crowd interaction.”

Damola will next play live at Hard Working Class Heroes and he cites the festival’s decision to “embrace the hip hop scene” as an important indicator of where the genre is going in Ireland. Damola was a staple when the 2010s rap revolution kicked off on this island, now he’s ready to get back to the front line and this gig could just be the spark that reignites his career.

Damola plays Hard Working Class Heroes, September 27-29.

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38 Words: Eric Davidson / Photography: Ellius Grace

JAMES

I

n late 2017 the ribbon was cut at Dublin’s first new park in eight years. Situated in the storied Dublin 8, Weaver Park was built as part of the Liberties Greening Strategy, an initiative created to establish community areas and to improve current recreational locations.

The park has since been nominated for a European public space prize and has become a go-to for local families and those engaging in sub-culture. While the comment sections on national platforms were littered with the usual ignorant bile about vandalism and antisocial behaviour, the park has become an important place for Dublin’s skate community.

Just a stone’s throw away from the park is the base for another key element of the city’s cultural community, artist James Earley. His studio is located on Cork Street.

While Dublin City Council has been receiving deserved flack of late for ‘greywashing’ the city, they must be given some credit for their recent work with James.

Just a couple of months after launching his solo show ‘Things Fall Apart’, he was commissioned to transform the bowls of the skate park. His distinct style is influenced by his family history in stained glass window making, with his large-scale work on the Blooms Hotel in Temple Bar and various other pieces brightening up dozens of Dublin city corners.

We caught up with James to discuss his most recent work and why community is so important for a place like Cork Street.

EARLEY 39

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How did the project on Cork Street come about?

The project came about through Colin Farmer, who has been an active member of the Irish skating scene for many years. He lives on Cork Street and was instrumental in the planning of the skate park, working closely with Dublin City Council to bring the project to fruition. He got in touch earlier in the year and asked me if I would like to put a proposal forward to create an artwork for the space.

It’s very close to your studio, was it nice to work on something in your community?

Yes, creating a work within a space that’s used by so many people has been a very humbling and rewarding experience. I really can’t get over the response to the piece from the community, it has been overwhelmingly positive from everyone I’ve met through the project. I also visit the park regularly with my own two children, so there’ll be an added layer of excitement now when I bring them down.

In a city that’s seeing a lot of redevelopment in areas traditionally known for community, how do we preserve authenticity?

I’m not really sure what the right answer is.

Gentrification and rising house prices will always affect initially overlooked innercity spaces and, unfortunately, it ultimately beats the charm and character out of a lot of these traditional communities. City planning is key really, regulating developments can help as well as denoting key streets and properties as heritage areas with tight restrictions on their development.

This isn’t easily done in a moment when an economy is growing or booming after a recession. I do feel that things are happening at an alarming rate and that if there isn’t some kind of intervention irreparable changes will occur.

Your work is all over the city and further afield, but how much did you have to adapt to a project like this?

I hadn’t worked on a project of this nature before, well one that was so closely connected to a public space that was so actively used. As well as the wider local community, I was very mindful of the skating community when planning the piece and met up with them on a few occasions down at the space to talk through it. I wanted them to have ownership over the artwork and wanted to make sure that my intervention within their space was a positive addition and not an afterthought or, at worst, would hinder their use of the space. Luckily, this was far from the case!

There are marks on the pieces already from skateboards, how does it feel to see your work so integrated and ‘used’ in something like a skate park, as opposed to being perfectly preserved in a gallery?

I love it and was really looking forward to seeing it get bet up and broken in. It gives it character, charm and exactly what you said, it integrates the work into the skate park.

Artworks created in the studio are for gallery or tightly controlled internal environments, artworks in the public domain are open to the elements and by proxy are transient in their nature. I think there’s something very beautiful about the degradation of a public artwork like this piece and being overly precious about a work in a high traffic area, that ultimately isn’t your space to begin with, should be more than enough for any artist.

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PROBLEMS FEEL SMALLER WHEN YOU SHARE THEM Talking about your problems is proven to have a positive impact on how you feel.

Little things can make a big difference

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10 UNMISSABLE DUBLIN FRINGE EVENTS

BY FESTIVAL DIRECTOR RUTH MCGOWAN

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T

he 2018 edition of Dublin Fringe Festival is joyful, disruptive and fizzing with ideas. It’s a festival of firsts – each of the 80 events are brand new and happening in Dublin for the very first time this September. For independent artists, Fringe is a place where anything is possible and for adventurous audiences it’s a gateway to the freshest cultural experiences. We champion voices that defy the mainstream and celebrate invention and the alternative.

When I took up the role of Festival Director in January, my first job was to issue a curatorial call-out.

I invited artists from all over the country to play apothecary and prepare a festival of antidotes. Dreamers and doers, wordsmiths and radicals, crafters, grafters, pirates and bad bitches all answered that call. They are offering balms of beauty and wonder; distilling rage into action; brewing art from the inexpressible; soothing us with filthy laughs, the adrenaline of chance, the euphoria of limitless possibility. The festival we present this month is a manifestation of that rebellious collective consciousness, made with skill, sweat and a healthy sense of fun.

We’re making space for art in the city. This year’s festival will be literally unmissable with an interactive mobile sculpture roaming the streets for 16 days. There are 10 free shows from street art opera on Moore Street to live streaming three new audio projects on the Dublin Digital Radio airwaves.

We’re making space for mischief. Joy is an act of resistance, so we’re giving the statues of Dublin an avant-garde millinery makeover and we’ve got the keys to City Hall, with a show in the City Council chamber itself.

We’re making space for club nights and parties. Club culture is culture and Dublin after dark needs your attention. We’ve teamed up with the best independent talent in the city, including District Magazine, to make our presence felt with some major ragers. We’ve staked a claim on Hely’s Bar on Dame St for an exclusive take-over. We’ll be transforming it in to our very own Festival Club for 16 days making a place for artists and audiences to come together as a Fringe community.

We’re making space for the big conversations: a changed Ireland is working through a national to-do list and hundreds of valiant artists are offering fresh perspectives on conversations about the housing crisis, women vs the Irish state and the importance of artistic dissent. We have club nights that put the party in politics and some radical revisionist herstory with two sold-out performances of cult-hit ‘Peaches Christ Superstar’ on the Abbey stage.

I have compiled a list of just 10 of the unmissable shows you can check out at the festival this September. Fringe is about discovery, so I urge you to take a risk. Visit a venue you’ve never been to; pick an artform that you are curious about, but wouldn’t normally go see; take a punt on an artist you’ve never heard of and see them first at Fringe. The stage is set for an indelible edition of Dublin Fringe Festival. Make sure you can say you were there.

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Spitfire Bird Margaret O’Connor

The streets of Dublin / September 8-16 Acclaimed hat-maker Margaret O’Connor is taking her haute couture creations to the streets. In an act of street-art millinery, she is designing bespoke hats for the heads of some of Dublin’s icons. Drawing inspiration from the lives of the statues’ subjects, ‘Spitfire Bird’ will give some familiar landmarks a makeover, while spotlighting some statues you might never have noticed before.

?

Meltybrains

Abbey Theatre / September 18

Words: Ruth McGowan

For one night only, the experimental postrock art-band Meltybrains? join forces with visual projection artists Algorithm for a gig on the Abbey stage that must be seen to be believed.

Astronaut Joe Wright

The New Theatre / September 11-15 Inspired by the Apollo House takeover back in 2016, Joe Wright’s spoken-word performance follows a man on a mission to fix his rocket ship and make his way to the stars. A poetic meditation on the housing crisis gripping the city through the eyes of a lone astronaut on O’Connell Street.

Everything I Do One Two One Two

Project Arts Centre / September 7-15 A solo exploration of co-dependency via a live action album of original pop songs. This new performance work from sisters Zoe Ní Riordáin and Maud Lee hums with intention, invention and risk.

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I Am Dynamite!

Stop / Over

Curated by Roisin Agnew

On The Quays & Gary Duggan

The Complex / September 22-23

Chocolate Factory / September 10-23

A two-day creative symposium on the importance of artistic dissent. Celebrating the fact that we’re all free to disagree,​ over two days of conversation, comedy, performance and likely the odd row. Guests include Angela Nagle, Jessa Crispin, Kitty Holland, Seamas O’Reilly, Jesse Presley Jones,​Rob Mirolo and Algorithm.

A young Irish couple reunite for 24 hours in New York City. A new show by Gary Duggan in collaboration with director Nicola Murphy and New York City’s On The Quays. Partplay, part-installation with guest musicians every night, it’s an immersive theatre experience that will make you pine for lostloves and lost weekends.

Question Project

The Money

Mil M2

Seth Honnor / Kaleider

The streets of Dublin / September 8-23 Bringing questions and critique into public spaces, Chilean artists Mil M2’s ‘Question Project’ puts Dubliners in conversation with the town they call home by crowdsourcing questions from the city. This is the English language premiere of this interactive mobile sculpture project, moving daily throughout the city - by land and by water.

Cock Cock.. Who’s There?

Project Arts Centre / September 14-15 Fusing documentary film and live performance, Samira Elagoz’s (Finland/ Egypt) personal research project across three continents is an award-winning show about violence and intimacy. From online platforms to close encounters, she showcases gender relations in all their brutal and wonderful ambivalence in the aftermath of a sexual assault. Messy, tender and defiant, this is essential viewing.

Beat.

Smock Alley Theatre / September 10-15

City Hall / September 14-16 ‘The Money’ (UK) is a cross between a game and a theatrical performance. Choose to be either a Silent Witness or a Player. Silent Witnesses watch as Players must come to a unanimous decision about how to spend a pot of real cash. If the group agrees before the clock ticks down, the money is theirs to leave the venue with and spend. If not, it rolls over to the next show. Spend the money on whatever you like – just keep within the law.

A new rap musical following two young men whose views on women, drugs and each other collide and shatter over one wild Dublin weekender. This piece of theatre from Fionntán Larney and Dominic O’Brien promises a hell of a party with original music and light show.

Dublin Fringe Festival runs September 8-23 2018. All shows on sale at fringefest.com. #dublinfringe

At

Danny’s Hair Studio, 46 Cuala Road, Bray, Co. Wicklow

For Bookings: Tel. 087 371 0999

Bella.ami21@gmail.com

DENISE NESTOR

ON

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EXPLORING

BESTIARY

D

ublin-based illustrator Denise Nector’s work has appeared in publications including the New York Times, the Atlantic and the Guardian.

In 2014, in their first commission as a print and lifestyle store, Hen’s Teeth asked Denise to create a work of hip hop producer, rapper and Detroit native, J Dilla. The piece went on to be chosen by the artist’s family to use on his EP, ‘Give Em What They Want’.

In her latest series, Denise’s work was inspired by medieval ‘Bestiaries’ – illuminated texts which acted as guidebooks to all creatures real and imaginary. They featured descriptions and information based in allegory, rather than fact, and the animals were used to teach lessons about morality. Mythical creatures such as unicorns and dragons often sit alongside real world beasts.

Polly Dennison spoke with Denise who filled her in on this new project.

Let’s start at the beginning, what’s your background?

When did you start illustration work?

your

I’ve been drawing since I was very little, and even though I didn’t study illustration at college I always kept drawing on the side, even when I was working full time. For some reason I never felt it was possible to make a living from my drawing, so I never considered studying art or illustration.

But I don’t regret studying graphic design, as I think it helped steer me to where I am now, and it has informed my work in some ways.

I think my biggest break came when I was commissioned by The New York Times to do an illustration of Winston Churchill. That was great exposure and it led to more work for other magazines. It all took off from there, really. I gradually cut down on my hours working as a graphic designer, so I could focus more on illustration, and eventually I came to realise that I could actually make a career out of it full time.

Was there anyone in your life who inspired you to pursue a creative career?

I didn’t really know anyone who had a creative career when I was growing up. My parents were both creative in different ways and my extended family were too, but none of them had really made it their career. But my art teacher encouraged me to apply to art college, he was very supportive, and I remember one conversation I had with him where it all clicked, and I realised it was what I wanted to pursue.

What inspires you and how do you approach a new project or series?

I’m inspired by all sorts of things. I’ve always had a habit of writing down a line from a book I’m reading if it sparks an idea, or a line

Was there a point at which you decided to ‘make the jump’ into freelance life?

I had gotten to the point where I wasn’t feeling at all fulfilled in my design job, I wasn’t getting any creative work and I really felt undervalued. I don’t know if there was a specific moment that made me take the leap, but I made the decision quite quickly in the end. I suppose I had been building up to it for quite a while. It was a scary thing to do, but it was the best decision I could have made. It’s been so fulfilling to work for myself and to do work that feels worthwhile to me.

What does an average work day look like for you?

I always start my day with a coffee in bed while I read the news. Then I get up a little after 8am, shower and have breakfast, and then it’s pretty much straight to work. It really depends on what project I have going at the time. If I’m at the beginning of a project I spend a lot of time researching, reading or scribbling ideas. Sometimes sitting at my desk is not the right place for ideas to emerge so if I need to get some clarity on an idea I often just go out for a walk and mull it over.

If I’m at a later stage of a project where it’s just about getting the drawing done, then I pretty much stick to 9-5 hours, unless I’m really in the zone and then I can keep going until a lot later. I try to make sure I get some downtime though. It’s really only when there’s a tight deadline that I find myself working late into the night.

Do you listen to music while you work? If so, what’s on your playlist?

At the moment I’m been listening to PJ Harvey a lot. She has always been one of those artists that I go back to if I’m trying to get into a specific headspace for my work. I love everything she’s done but ‘Let England Shake’ is my favourite album of hers.

Being freelance from home can challenges, do it?

I love working from home. I can see why it’s not for everyone, but I enjoy my own company and I feel I can really focus on my work when I’m alone. I spent years working in a studio with a great group of people who were like a second family to me. Sometimes I miss that being a part of my work day, but I live just down the road from my old job, so we still meet for lunch when we can, which is nice.

One thing I’ve noticed is that when you’re working from home it’s important to make time to socialise, just to get that balance in your daily life. You take it for granted when you go to work with other people every day.

You’re known for your illustrations of the natural world. What has inspired this focus?

I grew up on a farm in Mayo, so I’ve always been surrounded by nature. My experience growing up in the countryside is, in a way, the core of what inspires my work, even now.

My parents were both really into nature, so from a young age it’s been part of my life. I remember my dad could easily identify any bird call and my mother could name any plant in our garden by its latin name.

I always took that for granted when I was younger but looking back it was pretty amazing considering they were self-taught.

I definitely inherited my love of nature from them and it always finds its way into my work. It’s a pool of inspiration that I can keep coming back to. Since my parents passed away I think my work has been inspired by them as much as by nature, it’s all become intertwined. It’s nice to be able to weave all those layers of meaning into my work. It pays tribute to them in some way.

When you’re not illustrating, how do you like to spend your time?

When I have the time, I read. I recently read Zadie Smith’s ‘Swing Time’ and loved it, and now I’m reading ‘The Tenant of Wildfell Hall’. I try to make every second book I read a classic. Other than that, I like to go to the cinema, or go for dinner with friends.

You’re based in Dublin now, and given people in the creative field often move from Ireland, what keeps you here?

Words: Polly Dennison / Illustrations: Denise Nestor

I studied Visual Communications in IADT Dún Laoghaire and did my degree there in Interactive Media. I worked as a graphic designer for over 10 years, up until last year when I decided to leave my job and focus solely on illustration and art.

from a song or poem – I’m quite a magpie in that sense. Sometimes it can be more random. My partner is a historian and she often passes on things she comes across in her research that she thinks might interest me. She actually bought me the bestiary book that inspired my print collection for Hen’s Teeth.

Some sources of inspiration are harder to pinpoint, it’s as if some ideas just appear from thin air, but I know they’re coming from a deeper source. There’s a quote by Robert Pirsig that sums it up nicely, ‘Ideas are like little furry creatures coming out of the undergrowth and you’ve got to be nice to the first one’. I can really, really relate to that. Forming an idea can feel like a delicate process, you have to be patient with it and understand where it’s coming from.

I’ve never really felt the need to move away from Ireland. In terms of my work, the majority of my clients are based in the US, New York especially, so I’ve found it doesn’t really matter where I’m based.

It’s only recently that I’ve started to get work from within Ireland. I’ve travelled a bit and I moved to Canada for a while, but I’ve never really found anywhere that I’m happier to settle than in Ireland. I really like Dublin as a city, I think it’s a great place to live.

Denise Nestor’s ‘Bestiary’ series is available at Hen’s Teeth, in store and online. hensteethstore.com

and working have their you enjoy

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Words: Eric Davidson / Photography: Adam Hart

60 seconds with the creators of

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‘‘I

walked home that night in the same spirits I left the boys, highs and lows and middle grounds of uncertainty.

The Lagos sky at 7pm was the blue of a thunderstorm at sea, but I barely noticed it.

Even I sometimes get bored with the beauty around me.”

As part of Dublin Fringe Festival 2018 two of the city’s most prominent young voices in poetry, Felispeaks (Felicia Olusanya) and Dagogo Hart, will take over The New Theatre for a spoken word play.

‘Boy Child’ tells the coming of age story of a man in today’s society. With Deirdre Molloy on the directorial reins and a roster of talented actors, the play explores gender roles and “the unravelling of the masculine in relation to the feminine”.

We caught up with Feli and Dagogo for a brief conversation about the project

Did you both share common ideas about the issues the play raises?

Feli: I found that we shared common ideas about the realities of masculinity, but I learned much more about how the modern male figure evolves to be more feminist or more accommodating of their female counterparts in a patriarchal society.

Dagogo: Yes and no. I mean we’re both progressives and open-minded, but I think writing this play together has helped us understand each other’s gender a lot more.

Why do you feel spoken word is such a powerful vehicle to express the issues you’d like to highlight?

Dagogo: Well asides from being a writer and a performer, I’d also like to believe I’m an activist and I’m using my talents as a spoken word artist to highlight issues I care about and that inherently makes it my most powerful tool.

Feli: I use spoken word to highlight issues because that’s where the power in my voice lies… Where my truth lies. That’s where I am most comfortable challenging the society I live in.

Why is it important for you to use your art to highlight issues in society?

Dagogo: Right from time that’s been the purpose of most forms of art, to be the people’s voice. That’s why it’s an expression, an expression of how we feel and these feelings are very common amongst a lot of people. Be it gender, race, class.

Do you feel any vulnerability when you’re being so open and raw?

Dagogo: Of course, a lot of the time you’re drawing from personal experiences to write and perform these pieces and it’s hard not to feel vulnerable.

‘Boy Child’ previews in The New Theatre on September 12 and runs until September 15.

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Words: Cóilí Collins / Photography: Fabrice Bourgelle

T

52

his could be another interview with Ross from Friends about how he’s not just a lo-fi house artist, but it’s not.

The man behind the infamous name is, at this stage, much more than a handful of popular YouTube uploads. Since his initial emergence via OOUKFunkyOO, we’ve seen his threepronged live show (which features live guitar and keys) go everywhere from Panorama Bar to the BBC. He released a breathtaking eighttrack EP on rising label Magicwire and has ditched the tag of an internet fad and become a real life musician, not the sole product of sleepless nights and a laptop.

His most recent announcement, an EP forthcoming on Flying Lotus’ Brainfeeder label, marks his rise from the underground to the fringes of pop culture. While brandishing the term ‘pop’ on one of the most obscure labels in existence is a bit of a stretch, Brainfeeder dwarfs most electronic-only labels in terms of mainstream significance when you consider the multitude of acts that have graced the label.

It took a Rolling Stone acknowledgement of DJ Seinfeld for him to be recognised as a legitimate artist rather than just another lo-fi guy, while Mall Grab’s absolute denial of being in any way related to the online scene that he arguably popularised was what orchestrated his separation from the rest of the bunch. It’s difficult to pinpoint the moment that sprung Ross From Friends towards widespread approval. It’s been a long journey that in the end took him from lo-fi to FlyLo.

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“THEY LITERALLY TOLD ME TO JUST ‘MAKE THE PROJECT THAT I WANTED TO MAKE’... EVER SINCE I’VE BEEN DOING EXACTLY THAT. NOT THINKING ABOUT ‘WILL THIS MUSIC WORK IN A CLUB?’ OR ‘IS IT TOO WEIRD?’.”

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“The Brainfeeder thing has actually been in the works since around August 2016; Flying Lotus got in touch with me over Twitter saying that he liked my tunes and pretty quickly afterwards he asked me to do an album on his record label. I’ve basically been trying my absolute best to not tell everyone I meet. Obviously it’s mental to be complimented by such a legend like FlyLo and to put something out on such an interesting label like Brainfeeder.”

Ross From Friends’ music has never been the archetypal definition of ‘house’ and there’s nothing archetypal about the music released via Brainfeeder.

Flying Lotus himself is the definition of unpredictability, having five albums to his name, as well as a mixtape under a secret alias, not to mention his extensive work in film; most recently directing and scoring one of the most controversial pictures of last year, ‘Kuso’.

A forward-thinking home like Brainfeeder for RFF’s music seems like something that should’ve happened a long time ago.

“Their whole approach is just to let an artist completely fulfil their creative vision; they literally told me to just ‘make the project that I wanted to make’. It felt like such a comforting thing to hear. So ever since, I’ve been doing exactly that. Not thinking about ‘will this music work in a club?’ or ‘is it too weird?’.”

The whole Ross From Friends brand and project is one that was born through club culture. ‘Talk To Me You’ll Understand’ is, without a doubt, his defining track and one that most definitely found its home within the confines of underground clubs worldwide.

Still, it and the rest of his back catalogue haven’t been conventional four to the floor house bangers. Moving to Brainfeeder reinforces the well-roundedness of his music and the uniqueness of his live show, but it doesn’t spell the end of his revered DJ sets.

“There is definitely still a place for DJing.

I really enjoy DJing, there are certain things you can convey with a DJ set that aren’t possible with a live set and vice versa.

I’m probably not too concerned about the balance of those two things and how it might come across, but sometimes if I feel like I haven’t DJd for a while, I’ll try to push for that side a little more. It helps to mix it up a bit.”

Support hasn’t dwindled from clubland, with one of the genre’s leading names, Bicep, enrolling RFF for the Belfast duo’s album tour alongside Hammer.

“That’s been just great. It has really allowed a broader fanbase access the music,” he explains.

The Londoner’s journey somewhat mirrors that of Bicep’s; gaining traction online and then building a reputation as a formidable live act, which then led to an album. An LP from the producer hasn’t reached us yet, but it’s only a matter of time.

“The kind of people who maybe wouldn’t be into what we do would find themselves enjoying it. As for the Bicep boys, we’ve found ourselves goofing around, swapping ideas for live show gear, which has been really inspiring.”

Electronic music fans are probably the pickiest when it comes to what they consider ‘underground’. There’s a certain pressure to remain strictly underground when making new tracks and playing live, as if there’s an invisible line between underground and mainstream that you can’t cross.

His dive away from strictly house music is still ‘cool’ in the eyes of his fans, as was his original rise to fame. Dance music fans often carry a ‘with us or against us’ attitude, and I wonder if he felt that would hurt his following if he began making non-electronic centered career moves.

“There definitely is a certain pressure, I think, especially within dance musicians and DJ culture. It’s nice to work with a label like Brainfeeder where there really is an ‘anything goes’ mindset. It’s refreshing to be a part of that, and I think it has pushed me as a producer to make something that I’d never normally make. I’m very excited for y’all to hear it!”

Being associated with the lo-fi movement has been a label that has proven far more difficult to shake than any other umbrella label in house music. That particular sound was harmed by both the media’s interpretation (The Guardian, FACT Mag) and by the number of copycat artists that arrived in such a short space of time, resulting in its reputation being tarnished. Even before Flying Lotus and Bicep’s co-signs, Ross From Friends had proven he was more than a bunch of distorted drums, emerging from repetitive lineups to prominent festival bills.

“I’m not sure if it’s fully shaken. I’m sure I’ll always have some tie to it in one way or another, it’s a pretty easy device for journalists to use when defining the music. I love a lot of the music still, but unfortunately quite a large part of it has become fairly saturated and lacks the originality that made me love that style in the first place. In regards to the copycat nature, I’ve tried to ignore any of the negative connotations.

“For seven years I’ve been doing Ross From Friends and I’m really happy with where the project’s going. Obviously it’s flattering if others have been inspired by that, but if that’s not where their inspiration comes from then that’s cool too.”

Having played in Panorama Bar, XOYO, on BBC Radio 1, as well as supporting Little Dragon and a lot more, becoming a household name rather than just an underground favourite doesn’t necessarily seem like an unattainable goal for the Londoner anymore. “When I think of household names I think of like Simon Cowell or Dale Winton or something,” he says, laughing off any possible comparisons.

The producer is at that stage where he’s highly-rated among his contemporaries and is on the verge of catching the greater public’s attention given the variation of his accomplishments to date.

“I can definitely feel that things have changed, especially with recording a live set at Maida Vale for BBC Radio 1 and playing at Panorama Bar, they both happened in the same week and felt like such huge milestones. It was really overwhelming actually.

“It has happened pretty slowly so it’s felt like a really natural growth. I really enjoy it at the moment. Especially meeting people who like what I do, that’s always really nice to hear. If it’s negative spotlight that obviously doesn’t feel that nice, but I haven’t had to deal with too much of that.”

Despite being one of the more musicallyinclined electronic artists out there, he still maintains a tongue-in-cheek outlook to his position as an artist. If that wasn’t obvious via the semi-satirical ode to David Schwimmer, a quick flick through his Facebook and Instagram will see continuous displays of self-deprecation; using his own records as champagne coasters or photoshopping himself and the band outside Berghain.

“Yeah I reckon what I really like at the moment is just having a bit of a laugh. I know that other artists like having a laugh too but sometimes that doesn’t really come across when they present themselves as an artist.

A lot of bands and producers are focused on coming across as cool and serious, when in reality that’s not what they’re actually like.

The self-deprecating bit is just a part of my humour, I’ve always found that kind of thing really funny.

“I really don’t do that much outside of music, it takes over everything I do ,in a positive way of course. I like going to the pub and I like skateboarding, but I haven’t done either of the things as much for a while.

When we were in New Zealand, the owners of the club we were playing in Wellington had a mini ramp in the backstage room and he brought us skateboards. I feel like that needs to happen a lot more.”

A brief observation of most DJs or electronic music producers’ Instagrams will find a collection of posts referring to the stresses of their never ending travelling schedules. Rushes to airports, long waiting times between flights and commutes between stations, hotels and venues makes an artist’s life feel like it’s always in the hands of a timetable and obviously infringes on creativity, but also on life outside of producing and gigging. It’s no different in the case of the ‘Bootman’ producer, even if he is on the road with two of his best mates.

“I’d be lying if I said it hasn’t been tough, not seeing friends and my girlfriend as much, but honestly I can’t really believe that I’m allowed to do this. Just travel with two of my best friends, getting the opportunity to hear loads of music from around the world and see all of these places that I’d never have gone to if it weren’t for this.

“I could imagine it’d get lonely if I was playing solo a lot more of the time, but I’m absolutely honoured to be able to share this with two of my best friends.”

Having come from seemingly nowhere, Ross From Friends’ rise is now one of the most unique ascensions in electronic music. Longevity is something of a grey area among all house and techno artists but his branching out to Brainfeeder sows the seeds of a legacy that may last as long as ‘Friends’ itself.

Ross From Friends plays Button Factory on September 21.

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and the

Words: Anna Rodriguez / Photography: Gus Bennett Jr

S

ince stepping into the New Orleans music scene in 2011, Tank and the Bangas have earned themselves a place in the international spotlight. After winning NPR Music’s Tiny Desk Concert contest in 2017, the group went from playing gigs on the local Big Easy circuit to touring the globe and performing at some of the world’s largest festivals.

Despite their rise to stardom, the group has stayed true to their roots, continuing to blend soul, funk, R&B and hip hop in the same captivating and inventive way that they have from the very beginning.

They’re set to return to The Sugar Club this month, so we caught up with Tarriona ‘Tank’ Ball to discuss the group’s origins, life since the Tiny Desk Concert contest and the importance of storytelling.

Your roots are in New Orleans.

What do you like about the city’s music scene and community of artists?

What I like about it is the fact that it’s constant. It never stops, but what’s really special is the underground scene going on. It’s full of dope spots, good food, great music and vibed out people.

How have things changed for you as a group since winning NPR’s Tiny Desk Concert contest?

What’s been the biggest surprise?

It’s been pretty life-altering. We’re touring more than we ever have and the fans know all the music. That’s very exciting. It’s a big surprise for them to know all the Bangas’ names!

‘Smoke.Netflix.Chill’ was the first song you’ve released with a major record label.

What was that experience like for you and how did it differ from indie releases?

It was Coachella on 4/20, a day that I’ll never forget. Everything that could go wrong and right did on this day and we were releasing a song that made us feel good every time we heard it. It was ol’ skool and organic with so many people from New Orleans on it. It was like our little brother or sister.

Your this best most

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new album is coming later year. What has been the part about making it? The challenging?

The best part is hearing new sounds we’ve created together. To hear it walk out of your head and start living a life on its own is so amazing to see. The most challenging is finding the time! Tour life is crazy.

You’ve said before that you like the sound and energy of playing outside and at festivals. What festival has been your favourite to play and what makes the festival experience so special to you?

Whoa, that’s really hard. Too hard! I loved too many to name. It’s really the people there, the kindness of the staff and the food that makes the difference! We’ve had some fests treat us like artists and some like crap, and that’s the difference.

How do your roots in spoken word and poetry inform the way you write lyrics and perform?

It makes me more aware of the condition of people and their very hearts. In slam you get to connect in such a short time it almost becomes an emergency that you have to get this poem across so quickly, honestly and directly. Such a conscious art!

You have a great organic chemistry when performing. How do you go about cultivating that?

Just being the person that I want to see perform. I want to see someone who loves what they do.

Your songs have a strong storytelling element to them.

What kinds of stories do you think are important to tell in today’s world?

Spiritual ones. Emotional ones. I want them to talk about life.

What kinds of stories do you aim to tell through your music?

The kinds of stories with truth in them. The ones that touch the parts of yourself that you’re too afraid to look at the most. The stories that make you look at yourself or someone that you care about differently.

The kind of music that makes you better as a person. Or laugh for being so darn dumb.

Tank and the Bangas play The Sugar Club on September 18.

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House and Techno Guide

September 2018

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PAUL VAN DYK

KOLLEKTIVE TURMSTRASSE SCHWEFELGELB

Known as one of the first true ‘Superstar DJs’, the German selector and producer returns to Ireland with musical tastes ranging from trance to house and beyond.

For fans of: Carl Cox, Eric Prydz, John Digweed Friday September 7 Button Factory €25

The German house and techno duo make their Irish debut with music that sparks energy on the dancefloor and acts as food for thought.

For fans of: Solomun, David August, Stephan Bodzin Friday September 7 District 8 €20

This duo take a different approach to techno with a live vocalist and a powerful analogue aspect to their shows. DarkTrax, Tau Ceti and Santos Reevs will support.

For fans of: I Hate Models, Phase Fatale, Ross From Friends Friday September 7 The Sound House €12.50

VOGUE BALL

PERC

VARIANCE DAY EVENT

The House of Dicks and Dykes are throwing a party with Eve DJs and Club Comfort’s Roo Honeychild on music duties. Alexis McQueen will host.

For fans of: Eclair Fifi, Arca, Big Freedia Saturday September 8 Fibber Magees €10/€15

Considered a key figure in the global techno scene, Perc puts a unique twist on the beloved genre. On support are Mode_1 and FracTAL. For fans of: Paula Temple, Dax J, Adam X Saturday September 8 39/40 €11

Variance Presents have curated a diverse line up of local electronic artists including Handsome Paddy, Jish and String & Bates.

For fans of: Bobofunk, Tommy Holohan, KETTAMA Saturday September 8 Bello Bar €11

BELLAIRE

O’FLYNN

LOODS & SALARY BOY

Illicit will be showcasing the reputed Housem YouTube channel with hip hop-influenced French DJ and producer Bellaire, along with Dublin’s George Feely.

For fans of: Baltra, Mark Laird, Subjoi Saturday September 8 Button Factory €12

The launch of new club night Notions sees O’Flynn of Ninja Tune play a headline slot in one of Dublin’s most intimate and storied basements.

For fans of: Four Tet, Bonobo, HAAi Thursday September 13 Wigwam €8

Steel City Dance Discs affiliates Loods and Salary Boy, both known for their raw house sounds, will be going B2B in the Arran Quay venue.

For fans of: Mall Grab, Denis Sulta, Demuja Friday September 14 39/40

SONNY FODERA

NABIHAH IQBAL

TODD TERRY

A name that has risen to the top of the house circuit in recent years, Sonny Fodera returns to Dublin with his Solotoko headline tour.

For fans of: Green Velvet, Solardo, CamelPhat Friday September 14 District 8 €25

District and Dublin Fringe Festival have handpicked our favourite selectors and A/V artists for an event you won’t often find in Dublin. Guests on the night include NTS and Ninja Tune artist Nabihah Iqbal, Club Comfort and Niamh Craven.

For fans of: Peach, Andrew Weatherall, DJ Seinfeld Saturday September 15 The Sewing Factory €15

One of the most celebrated figures in dance music returns to Ireland with support from Kelly Anne Byrne, Marcus O’Laoire and Adult Store.

For fans of: Armand Van Helden, David Morales, John Digweed Saturday September 15 Opium IRO €12

FIO’N’JIO

BRAME & HAMO

DJ HAUS

The gentlemen behind Dublin’s progressive Pear label will take to the decks for the launch of Distortion’s autumn series.

For fans of: George Earnest, DC FLSMan, R. Kitt Saturday September 15 Wigwam

Sligo’s finest Brame & Hamo return to Irish shores for a massive headline show. They’ll once again take over District 8, this time with Sally C and Cromby.

For fans of: Mall Grab, Boots & Kats, Marquis Hawkes Saturday September 15 District 8 €18

Unknown To The Unknown label honcho and Rinse FM regular DJ Haus returns to Ireland with Human Error DJs on support.

For fans of: Shadow Child, DJ Boring, KiNK Saturday September 15 Button Factory

ROSS FROM FRIENDS(LIVE) LEN FAKI

ELLIOT ADAMSON B2B BIG MIZ

The lo-fi house producer turned Brainfeeder signee brings his recent album on a live tour to Dublin following a cancellation at this year’s Forbidden Fruit.

For fans of: DJ Boring, Demuja, Folamour Friday September 21 Button Factory €19

One of techno’s biggest names and CLR label head Chris Liebing returns to Dublin for a slot at District 8. Support comes from residents Moduse.

For fans of: Adam Beyer, Sven Vath, Len Faki Friday September 21 District 8 €18

BRADLEY ZERO

RAHANN

PEARSON SOUND

The Rhythm Section boss and BBC Radio 1 DJ returns to Dublin with Belfast’s finest Brién of Soft Boy Records on warm up duties.

For fans of: Hunee, Optimo, Nabihah Iqbal Saturday September 22 Wigwam €10

Telephones are back this month and they’ve booked their favourite DJ, Rahann, an electro house connoisseur from Chicago. Papa Lou on support.

For fans of: Felix Da Housecat, Joey Negro, Jayda G Saturday September 22 Tengu €6

To celebrate their third birthday, Pear are bringing Hessle Audio and Rinse FM artist Pearson Sound to the city. Nev Jio & Fio Fa, Cáit and Aoife O’Neill will support.

For fans of: Objekt, Joy O, Floating Points Friday September 28 Yamamori Tengu €10

JAMES LAVELLE

BABA STILTZ

LENA WILLIKENS

Mo’ Wax label head James Lavelle will play a DJ set under his UNKLE moniker. Expect a night of trip hop and breaks.

For fans of: DJ Krush, DJ Shadow, Unkle Saturday September 29 The Sugar Club €15

Sweden’s multi-talented Baba Stiltz is known for his genre-blending music, jumping from deep house to R&B influences and everything in between.

For fans of: Kornél Kovács, Axel Boman, Tornado Wallace Saturday September 29 Wigwam

Unpredictable selector, NTS radio host, producer and remixer Lena Willikens returns to Ireland for an intimate set in Pygmalion.

For fans of: UMFANG, Call Super, Phase Fatale Saturday September 29 Pygmalion €5/€10

DAITHÍ

LANE 8

DJ BORING

Known for producing live electronic music inspired by Irish culture and music, Daithí uses an electric fiddle and a lateral approach to house, techno and other genres to set himself apart.

For fans of: Ross From Friends, The xx, Moderat Saturday September 29 The Purty Kitchen €15

The American deep house and electronica producer brings his tour to Dublin with emphasis on connecting the audience with the music. Using phones will be discouraged.

For fans of: Eric Prydz, Andrew Bayer, Dusky Thursday October 4 39/40 €15

Australian-raised and London-based lo-fi house producer DJ Boring makes his Irish return with support from Toast DJs. For fans of: Demuja, DJ Seinfeld, Mall Grab Thursday October 4 Wah Wah Wah Club €8

Two of the freshest names in electronic music will be going B2B in the Francis Street venue with support from Human Error DJs. For fans of: Shanti Celeste, Mall Grab, Eclair Fifi Friday September 21 District 8 €15

I HATE MODELS The Frenchman is returning to the capital.

Supporting are Sam Greenwood, Jake Nolan and Moduse. A huge night for techno in the capital. Expect a sell-out.

For fans of: Chaos in the CBD, Dax J, Rebekah Friday October 5 District 8 €17

HOTHOUSE The HotHouse crew take over The Shaw from 5pm with Jus Damien, Reveller, PrYmary Colours and more taking the musical reins until midnight.

For fans of: Essaie Pas, Hot Chip, Chic Friday October 5 The Bernard Shaw

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62 Words: Cóilí Collins / Photography: Faolán Carey

M

ost artists’ rapid ascensions from zero to hero usually revolve around one single moment that shoots them from relative obscurity to the tip of everyone’s tongue. While KETTAMA didn’t take long to move out of obscurity, it took more than a couple of watershed moments for the world to take notice of the frighteningly consistent house music sensation.

‘RAW CUTS’, which premiered through Four Four Magazine, turned heads initially and earned a healthy number of plays in house parties and clubs in Ireland. While that still didn’t prompt promoters to put their money where their mouth was, a threedate tour of China then began to legitimise his tough house sound. A near sold out gig in Hangar followed with visible support from Mall Grab acting as the afterburners for a career that was beginning to spiral upwards after multiple undeserved false starts.

Fast forward to the present and we’re now looking at arguably the fastest rising name in global house music. KETTAMA is the spearhead of an Irish house music crusade with his debut ‘Bucklyn Bridge’ EP topping the Juno house charts and ultimately selling out all physical copies, all while earning cosigns from a star-studded crew of DJs and fans across the board. Having once been an overlooked outsider, in a country that remains rather Dublin-centric, he now holds his own future firmly in the palm of his hand, with a legion of die hard fans elevating his value from show to show.

Whether intentional or not, Galway city undeniably runs through every word he utters with the same small town mentality both hindering and adding to his desire for success. Somewhat fittingly, a balmy night amidst the calm surroundings of Spiddal pier backdrops the first of many interviews for the complicatedly humble rising star.

The location still geographically within the western county, but away from all the noise, a position KETTAMA himself would like to remain in for a long as possible.

The waves hit the rocks, near to the car we’re sat in, over and over as if they were looking to drag them back towards the sea, cheesily acting as a metaphor for KETTAMA’s career right now; an unknown and unpredictably valuable commodity in the insular scene that is electronic music in Ireland, with everyone looking for just a graze of his Midas touch.

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While it’s sort of tricky to pinpoint what exactly has made him such a hot property, aside from his seemingly endless catalogue of club-built house, the west of Ireland’s premiere city unintentionally played a part in his eyes.

“I think it was better living in Galway. If I was in Dublin knocking on people’s doors looking for gigs from day one it would’ve been different. Coming from Galway, it was a lot different because I was this new person that wasn’t there all the time that made house compared to everyone else. I think that definitely played a part.”

Invading the Dublin scene didn’t come as easily as one would expect. Despite having already held a weekly residency as part of the VSN collective and getting the nod from online outlets such as Moskalus on his early productions, the KETTAMA fever that is now at epidemic levels wasn’t really on the radar at that point. That lack of attention, whether he realised or not, gave rise to one of the most impressive back catalogues any producer at this stage of their career would be likely to possess.

“I was just making tracks for my own sake and not for anyone else’s. For a while I was coming to the club almost every week with about four tracks to test out. Once you get a reaction to a track that you really liked too, it’s sick, that’s sort of what prompted the whole thing. For a year after that I went sick making tracks and eventually ended up coming up with the EP that was released on Homage.”

Having helped spur on his desire to make good club music, his residency at that point was much more techno-driven, an influence that pervades his upbeat, but undeniably tough, brand of house music.

“Techno is fucking impossible to make,” he says as he leans forward in the driver’s seat grinning. “I always wanted to make those hard kicks; I wanted to make gabber-y stuff and whatever way I got into making tracks it was around when lo-fi house was a trend.

Once I started making those [lo-fi] tracks I started enjoying it more, then I started enjoying playing house much more and it was such a natural move towards it, rather than a sudden switch. I enjoyed making and listening to house tracks, even though techno was the dominant sound in the clubs at the time.”

With all this taking place within the space of year and a half or so, his retrospective nature does seem extreme, but the Irish clubbing landscape has flipped on its head.

With promotions such as Techno & Cans continuously pushing the more aggressive sounds, along with a number of other collectives, the island was dominated by music that went hand in hand with the no holds barred crowds that attended it.

Today, we’re seeing District 8 host a sold out ‘Yurt City’, an all house and disco festival.

Before Hangar was brought to its knees it was giving the country’s top house talents headline slots and Galway’s Electric Garden & Theatre revealed an almost entirely

house-orientated line up for their upcoming season of gigs.

While he stresses that he doesn’t take credit for the change of tide, the undeniable popularity of KETTAMA’s music most definitely caused a stir, with his debut headline gig in the now rubble that once was Hangar acting as the catalyst to it all.

“I can’t even really remember what that gig was like. When I started making tracks I always just wanted to play in Hangar that was it, no other goals, just that.”

Tapping the steering wheel, eyes wide and exhaling, he unwinds on the stresses of being in his enviable, but unique position.

“That initial reaction to it freaked me out though, before that I didn’t really know if I was that big and I’m not sure if the promoter did either. It gave me a lot more confidence in terms of playing, but I still get freaked out in terms of all the support I get. I find it hard to deal with. You just have to find some way to deal with it; people asking you to take pictures and all that.

“You end up looking through Facebook and all your shit so much more and noticing all these small comments people might say that, aren’t too nice. There are so many nice ones saying this guy’s gonna be huge and that but you end up thinking about the nitty gritty comments by some people trying to make a name for themselves.”

To many of his fans the man behind ‘BODY’, ‘KILT’ and the string of expertly sampled hits is the symbol of the Irish party spirit and while he’s definitely not one to shy away from a party, he’s still a rather quiet individual at heart. This makes the social media obligations of a DJ in 2018 a much more daunting task.

“I was watching a video that Boiler Room uploaded with three people discussing social media and stuff like that and it really opened my eyes to it all. I do feel like it’s as if you’re two different people [online and in real life]. Not necessarily two different people... But you’re expected to be this massively extroverted person; it’s still you but it’s much more exaggerated.”

With his tone dipping into more measured and serious territory, he continues.

“On my own Facebook profile there isn’t a mention of KETTAMA anymore because I’m sure people are sick of hearing about it, but on my artist page I’m enthusiastic about releases and gigs, which is understandable.

It was a weird change for me.

“At the start it felt like a pressure. [Coming from Galway] starting an artist page was tough because I was afraid of what people would think, but after a while there are so many people that say they really like my tracks and getting behind me so I don’t really care anymore.”

The same pressure exists when he sits down to make the tracks that have got him to where he is today, however knowing that his own ability has gotten him this far, it keeps him confident.

“When I first started making tunes, up until the past few months, not that many people

65

were listening to them, apart from having some notoriety in Ireland, but it was still nothing huge. I was making so much shit and I didn’t care and I think that’s where my sound came from, just messing with stuff as well as being into grittier stuff like rap and more old school sounds.

“From fucking about and having no eyes on me I was making stuff every day, making stuff that sounded completely different to the day before; piano house one day and the next some bass-y hard track. That’s where I formed it, that’s where I go back to, that harder style. There are more eyes on me now than there were before and that converts to pressure to a degree. But when you’re making tracks there’s a point where you’re not looking at your phone or Facebook and you end up spending a solid four hours on a track and that’s when you really make them; when you forget about anything else and it comes so naturally to you.”

Going forward however, like any artist, the question remains - What comes next from him in relation to his sound?

Having championed a distinguishable and easily-palatable house formula, moving on from that will not only be difficult for him, but for his followers too.

“There are people saying, ‘Every track this guy puts out is a banger’, but what if I don’t want to make solely bangers? I have so many tracks that are still banging and will bang in a club but they’re not certified ‘hits’, they’re that bit more ambient. I have them and I like making them because you can’t continue to keep making the same massive house tracks. If you keep doing that the same people will get bored of you and you’ll get bored of it yourself. I want to be able to expand my sound and I am, but hopefully people are open to it.”

As his status within the electronic community has grown on a global scale, he has managed to build relationships with some of his contemporaries that have emerged in similar fashions. Having DJ Seinfeld, Baltra and more just a message away is a privilege that not a whole lot of people earn for themselves this early along in their careers.

“It’s sick, it’s ridiculous how close and open some people are. They’re so accessible to message whenever. It’s easy to send them stuff and they’re so nice after you’ve met them once or twice. They’ve more or less been in the same position I find myself in now.”

He quickly alternates between leaning against the slightly open window, to tapping his keys off the steering wheel as the questions veer from the music to the industry. It’s clear that ‘the game’ and politics that go along with success aren’t his favourite topic, yet he places all of his belief in the value of undeniably good music.

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“I always thought [that level of success] was so out of reach but realistically it’s not, which is so sick. Everyone’s ridiculously nice and everyone wants everyone to do well and once they hear good music that’s it,” he says, recounting the time he apprehensively handed Mall Grab a USB full of unreleased tracks after supporting him at a Galway gig almost a year ago.

Videos of the Aussie rinsing the thenunreleased ‘BODY’ quickly surfaced time and time again online and from there the world took notice of what KETTAMA really had to offer.

“I got very lucky in terms of the string of events that happened to me. If Mall Grab hadn’t started playing my tracks I don’t think people would’ve fucked with me as much.

You don’t need it [a major artist’s approval], but it definitely helps. It helped me so much and it still does with Patrick Topping and Baltra and so many other people openly supporting me.”

His jet black Volkswagen Golf that we’re stationed in acts as a barrier from any spillover from the Atlantic ocean, but that same barrier won’t always be there in the music industry, something he has visibly come to terms with.

“It seems that now is a big moment,” he admits, reflecting for a minute at the delicate position his career has found itself in. “There’s a pressure there and I definitely feel it, sometimes I’m not sure whether to send tracks to this label or that label or take this show or not to. It’s unknown territory for me.”

Again he hesitates when the unwelcome but unavoidable notion of the future comes into question.

Despite that apprehension, one part of his vision is clear, he’s proud of where he comes from.

“I want to put on for Ireland,” he affirms.

“On every track there’s someone commenting about the fact that I’m Irish but at the same time I’m like, ‘Sham, is all that on my shoulders?’.”

In somewhat similar fashion to Conor McGregor’s rapid ascent, KETTAMA is turning the world’s attention onto what he and the young producers of Ireland currently have to offer, just as The Notorious one did back when he and SBG gym burst onto the UFC scene a few years ago.

While the Galwegian’s music packs the same punch as a left hook from the Crumlin native, his business savvy is still developing. A Mayweather-esque super show mightn’t be around the corner just yet, but his patience will have him prepared for the big stages when they inevitably come calling.

KETTAMA plays Project, Waterford on September 12, Bossa Nova Civic Club, NYC on September 14 and Boxed Off Festival, Fairyhouse Racecourse on September 29.

“YOU’RE EXPECTED TO BE THIS MASSIVELY EXTROVERTED PERSON...

IT’S STILL YOU BUT IT’S MUCH MORE EXAGGERATED.”

Words: Chris McNabb / Photography: Seb Hesletine

O’FLYNN

O’FLYNN

68

T

he diversity of the music coming from London in recent years has confirmed the city’s status as one of the world’s largest melting pots. Hessle Audio and Timedance are putting out jungle-influenced kinetic techno. Jazz, soul and funk inspired house music is coming via Rhythm Section, while Night Slugs are releasing a fusion of American club music and grime. One London producer tapping into this collection of sounds is O’Flynn, whose unique brand of house and electronica takes influences from across the globe.

After rattling the scene with his debut 2015 single ‘Tyrion / Desmond’s Empire’ on Blip Discs, O’Flynn has since become a producer that matches the eclectic tastes of England’s captial. He’s landed a deal with Ninja Tune as a result and has an album on the way. One of his more recent singles, ‘Tru Dancing’, was originally released as a free download but took on a life of its own, becoming one of the most played tracks of the summer - and a bonafide anthem in Hangar’s Discobar (RIP).

Described by Boiler Room as ‘one of dance music’s most prosperous newcomers’, his tracks are dynamite on the dancefloor and have already appeared in the sets of heavyweights like Four Tet, James Blake, Gilles Peterson, Denis Sulta, Bonobo and Pearson Sound.

Ahead of his headline slot at the launch of new Dublin clubnight Notions we caught up with O’Flynn to talk about his influences, the relationship between sampling and appropriation, his upcoming full-length and more.

It’s been close to a year since your last release, ‘Pluto’s Beating Heart / Eleven’.

What have you been up to in that time? Is it true you’re working on an album?

I’ve spent the last two years working on an album, which is still not finished, but it’s starting to take shape. I’ve also been focusing on some new 12 inches and a flip side to ‘Tru Dancing’, so there are lots of new bits to come out soon.

As someone whose debut release only came in 2015, and having only previously released on Blip Discs, making the jump to Ninja Tune must have been surprising. How did that feel when you got the offer?

Releasing on Ninja Tune was a great feeling as I was a massive fan of the label in my late teens - they were one of the labels that got me into electronic music. The album ‘Ninja Tune XX’ came out when I was at college and was a compilation that introduced me to loads of amazing artists and tunes. I still go back to that album to reference tracks sometimes.

You’ve accomplished a whole lot in a very short space of time. What do you think was the most important factor in your success?

I think I was very lucky with my first release ‘Tyrion /Desmond’s Empire’. I didn’t really expect that release to do anything because I was completely unknown at that stage and it was just released by my friend Tom, who runs Blip Discs. But Tom managed to get it to Four Tet, Gilles Peterson and a bunch of other DJs. When it started getting played by the likes of them that changed my career very quickly. I think there is a lot more to achieve though, there are still lots of clubs I want to play and I’m looking into starting a live show and at some point. I’d like to start a label and a night as well.

You’ve played gigs across the globe, from Uganda to Japan.

What’s it like playing in these countries?

I love playing abroad and am incredibly lucky to have the opportunity to go and do it. It’s really cool meeting people who you have so many things in common with across the world. Europe is always great, I recently played in Belgium at an abandoned go kart track in the woods. Uganda was really special. At Nyege Nyege Festival I played on a stage which overlooked the river Nile at sunrise.

What’s currently inspiring you in the studio and in your DJ sets?

With production I would say it’s more sit down and grind until you create something good. But sometimes I listen to mixes while playing FIFA. Eventually I will hear a track I really like and I will stop playing FIFA and start trying to make a track better than I just heard because I won’t like the fact that I’ve heard someone else’s tune that I prefer to my own. So I’ll spend the rest of the day trying to better them, but that rarely works!

With DJing I would say it’s watching other DJs. A few months ago Hunee played after me on the same stage. I was really ill with the flu at the time, but I made myself stay so I could watch him. I just sat behind for two hours pretty mesmerised by the set. After that I really told myself I needed to dig much harder for records in the future if I was going to be on his level.

Your music has a lot of African influences and sampling. I can tell you are respectful of the culture and don’t just cherrypick the easily digestible bits, but the question of appropriation will arise. How do you answer it, and is it something you’re conscious about when making music?

This topic has come up with me before and it’s an interesting one which could be debated all day. Sampling has always been a bit of a grey area in music, ever since the early days of hip hop. There have always been varied opinions on it, some people look at it negatively and say it’s exploiting the original artist or stealing their music. Others would look at it as I do and say it’s using sounds and inspiration from other cultures

and times to create something new and fresh. Whatever people say, chances are that some of their favourite tunes are heavily using samples even if they don’t realise it.

There is an incredible wealth and range of musical styles from across the world which is an amazing thing to have access to, and to not take influence or sample sounds from other cultures and countries would be really strange and a waste for me.

About a year ago I went to Uganda for three weeks with Tom Blip and Spooky J on a Blip Discs project to record musicians and play the Nyege Nyege and Bayimba festivals. Out there we were actually part of the recording process thanks to David Tinning at Santuri Safari and recently Blip Discs put out a record by Mubashira Mataali Group. Since then we have been playing it in clubs and have brought music to the UK which would otherwise not have been heard by people. That project would not have happened if we didn’t start off sampling records from Africa. Now Spooky J and my friend Pete Jones have spent the best part of a year in Uganda and has formed a band called Nihiloxica who have released on the Nyege Nyege Tapes, which by the way has some banging releases on it, and now tour around Europe.

Sampling has also massively improved my music production. For example, even if you had the money you couldn’t walk into a studio in London and record the drums I sampled in ‘Tyrion’, you wouldn’t get anywhere close to the sound because recreating all the conditions and using all the equipment they had to get that sound would be impossible. I think sampling adds so much texture and depth to tracks that MIDI doesn’t offer, it’s integral to making sure we keep up the highest standards of music production and if you occasionally offend someone who has nothing to do with the original recording or that culture and is taking it upon themselves to be offended on someone else’s behalf, then I would say it’s worth it.

Are there any artists that you feel deserve a bit more attention at the moment?

I think there are a lot of artists who deserve more attention. I find so many festivals and even some club nights have the same line up, it’s like there are always reserved slots for the same few every year and, while some are certainly justified, I think it makes it much harder for upcoming artists to break through and leaves it a little stale. Although, there are certainly promoters doing their bit to push out artists who are new and unknown and that’s a really important thing for the industry.

I’m currently really enjoying music by Loft, PEEV, Al Zanders, Roza Terenzi, Happa, Keita Sano, Mor Elian, HAAi, Ekhe, Nihiloxica, Slickback, WEN and Jules Venturini.

O’Flynn plays Notions’ launch party in Wigwam on September 13.

69

Words: Niamh Craven / Photography: sweeneypix & Eleanor Weitzer

BIG MIZ

ELLIOT

ADAMSON

71

W

hen news came last month from District 8 that ‘two of the freshest names in electronic music’ were coming to the Francis Street venue for a three-hour B2B, the interest of the collective club consciousness of Dublin was piqued.

A plethora of names were brandished around on social media before it was announced that the pair would be Big Miz and Elliot Adamson, two of the UK’s most promising and fast-rising house stars.

After Big Miz sold out Button Factory with support from Ireland’s house mainstay KETTAMA, it was only a matter of time until he was invited back. Similarly, Elliot Adamson’s set in the intimate confines of Wah Wah Club a few months ago warranted him a step up for his next gig in the capital.

As well as a relentless tour schedule and a much-loved Boiler Room appearance, Glasgow’s Big Miz has released on Dixon Avenue Basement Jams. Elliot Adamson on the other hand, has had co-signs from artists as prolific as Eats Everything and Skream on top of an equally hectic few years on the road.

As they’ll go B2B this month, we thought it we’d the guys to interview each other.

Miz: What was your first experience of being in a nightclub?

Elliot: Bloody hell, makes me feel old because I can barely remember it now, but I think my first time in a nightclub was when I went to see Boddika and Joy Orbison in Newcastle at a club called World Headquarters with the local shopkeeper. I was about 16, 17.

Miz: It wasn’t the first, but one of the more significant ones was Theo Parrish in La Cheetah in Glasgow for me. It must have been about four years ago now, was the wildest night I’ve ever been to and I’ve never seen anyone DJ with such passion.

Elliot: Favourite recently?

gig

you’ve

played

Miz: I had an absolute belter when I was in Beijing a couple of months back at Dada.

Great little club and the Chinese crowd are ready to party!

Elliot: That’s sick! I haven’t been over there yet but keep hearing wicked things. My favourite gig recently was probably my favourite one in a while actually; I played all night long in my hometown Newcastle and it went really well. I was proper nervous before, in case no one turned up or I forgot how to DJ, but luckily it went really well. The next show there is a corker too!

Miz: What’s your favourite track at the moment?

72

Elliot: Can I go for two? My most-played at the moment is probably ‘MZ’ by Sascha Funke on Turbo, it does things to me and I absolutely rinse it. Then my mate Ste Roberts has been putting out some really really nice stuff on his own imprint STE which is probably my favourite new music.

He sent me a bunch the other day and had to upgrade the hotel WiFi to download them.

No regrets.

Miz: I’m gonna go with Hubie Davison’s ‘Embers’. What’ve you got coming up in the near future?

Elliot: I’m launching my first proper label in September! Super excited about that, it’s actually my fifth label, really. I keep designing them, putting release schedules together, getting masters and artwork made, logos, the works, and never actually pressing the button on them. So this is my first actual official one. It’s called IDEA, and I’m really happy with it.

Miz: After a relatively quiet summer I have shows pretty much every weekend. Got lots in the UK including Lost Village and Warehouse Project, which I’m looking forward to. I also have a few overseas shows in places like Budapest and Romania, which I’m excited for. Music-wise I have another record coming out on DABJ and hopefully another on a new label about to be launched by the legend that is Eclair Fifi. Got a few remixes that I have finished that I’m excited to get out too.

Elliot: [Laughs] Good rule of thumb is that the maddest time in Ireland is usually your last! Last time I was over on the first night of a tour I fell off a bed trying to put a sock over a smoke detector and kind of launched myself across the room and People’s Elbowed the floor. We didn’t even have any cigarettes. Huge shout out to Charlie and Amy from Bedlam for getting my arm in a sling and waiting about 30 hours at A&E with me - legends. Wouldn’t be shocked if next time takes the cake though!

Big Miz & Elliot Adamson play B2B at District 8 on September 22.

Elliot: What’s been the maddest time you’ve had in Ireland?

Miz: Last time I played at Shine I went back to an afters with Kristian Woods under some sketchy shutters. I was there into the morning. Kristian left his MacBook out on the street and ended up getting the police phoned to the hotel, etc. Not the best behaved I have been.

73

The Sugar Club

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Guide to Dublin City Stockists

Erica Cody

by George Voronov

Abbey Hostel All City Record Store Babooshka The Back Page Bang Bang Barnacles Hostel Bedford Stuy/High Rollers Beards & Barnets Bison Bar Blackwax Record Store Blind Eye Barbers The Bowery, Rathmines Crackbird Crowbar Cut & Sew, Temple Bar Cut & Sew, Wellington Quay The Dean Hotel East Side Tavern Filmbase Frame Garage Bar Gallery of Photography Generator Hostel Good Food Store The Grand Social Hens Teeth Honest to Goodness Idlewild The Ink Factory Jameson, Bow Street The Juicery Kaph The Library Project Lighthouse Cinema Little Museum of Ireland Muji Mulligan & Haines

MVP National Leprechaun Museum NCAD Nine Crows The Olympia Theatre Oxmantown Proper Order Coffee Co. Pygmalion Rebirth of Cool The Record Spot/R.A.G.E Sam’s Barbers, Dame Lane Shoe Lane Spindizzy Records The Sugar Club Tara Building Tola Vintage Tower Records Tramline Trench Barber Trinity College Tropical Popical Two Boys Brew Two Pups UCD Urban Health, Ranelagh Vintage Factory Smithfield Vintage Store George’s Arcade The Workman’s Club Zaytoon 1 Zaytoon 2 + receptions and waiting rooms across the city.

If you’d like to stock District Magazine’s Guide to Dublin City contact rachael.bailey@districtmagazine.ie.

76 Words: Hannah Oâ&#x20AC;&#x2122;Connell / Photography: Thomas Chatt

NABIHAH IQBAL ‘‘I

can’t imagine a world without music, really, or having a life where I couldn’t listen to it. For me it’s sustenance, it’s as important as food or water. I know that sounds cheesy, but it’s so true. It’s sustenance for the soul. There are feelings I get from music that I don’t really get from anything else in my life.”

Nabihah Iqbal’s love for music is infectious. As her soothing tones emanate from the phone she transports me across the globe with tales of ancient religions and learnings of unusual instruments and the sounds of different cultures.

In addition to DJing, performing and producing music, she has a bi-weekly radio show on NTS. Every other Tuesday you can tune in to listen to her play and discuss a fascinating collection of songs from around the world. Past shows include an Egyptian special, a show entirely focused on South African jazz, or if 80s Japanese releases are your thing, she’s got you covered.

“You’ve got to be open and receptive all the time,” she explains on the topic of discovering new artists.

“There’s no one way of doing it. Sometimes I’ll literally just hear a track and Shazam it or when I go record shopping I spend a lot of time in all the stores going through records trying to find some new music. Sometimes it’s through YouTube. Sometimes it’s music that friends are playing for me or sharing with me.”

She recently shouted out on her Facebook page for people to share their sounds with her and got a great response.

“I was inundated,” she tells me enthusiastically. “The reason why I like doing that is because you’re hearing bedroom producers, people who don’t really have any other way for their music to get heard and you wouldn’t necessarily just come across it that easily. There’s so much good stuff out there.”

77

Between 2009 and 2017 Nabihah was making music and organising parties under the moniker Throwing Shade. She put out several releases under the pseudonym and stuck with it until last year when she decided it was time for a transition to her given name; Nabihah, meaning intelligent in Arabic, and Iqbal, the Persian word for luck.

“People still come up to me and instead of saying, ‘Oh, you’re Nabihah’, they’ll be like, ‘Throwing Shade!’ – that’s not my name anymore! But I know the reason they’re doing it. They’re afraid to say my name wrong. The whole point of me switching to my real name is to try to get it normalised and for a different name not to be a big deal.

“I’m glad I’ve done it,” she continues. “But it was a hard decision to make. The response has mainly been overwhelmingly positive.

We’ll just have to see. It feels weird to see my real name on flyers and stuff now, but it’s good and you’ve got to represent.”

Nabihah was born in 1980s London to parents who emigrated to the UK from Pakistan. Oasis and Michael Jackson spundtracked her formative years. Then puberty hit and with it came a new-found love for punk and metal. In her late teens she got into The Cure, Joy Division, Sigur Rós and Radiohead. Leaving school, she embarked on an interesting educational journey, now boasting a degree in History and Ethnomusicology, a degree in Law and a masters in South African History.

“I think studying ethnomusicology was really important because it broadened my horizons and it made me think about music in different ways. It’s not just listening to music for music sake but thinking more about the depth and the power of music and what it’s capable of, how people interact with it and trying to figure out what it means.

Those are the sort of things that I’m thinking about when I’m making music.

“One of the main things I learned was that beyond the West, music means a lot of different things to people in different cultures. It has a much more prominent role, whether it’s healing or celebration, invoking spirits or religion.”

78

79

“WHY DO WE

WANT TO LIVE?

WHAT DRIVES

HUMANS? IS THERE

A SHARED COMMON

EXPERIENCE?” 80

81

In December Nabihah put out her debut full-length, ‘Weighing of the Heart’, via Ninja Tune. It’s an 11-track record full of hazy vocals, synths and undeniable 80s pop influences. Easy listening at its most interesting. The title is a reference to an ancient Egyptian ritual where the hearts of the dead are weighed against a feather.

If the heart proved to be lighter than that of the feather, the deceased had led a virtuous life. For further reading please see spell 125 in Book of the Dead.

“I’m very interested in a lot of the ancient belief systems,” she answers. “When you look at the ancient religions, whether it’s from ancient Egypt, the Samarians, or the Mayans, even South American and Mexican stuff, these sort of belief systems, there are two really important things for me in all of those. One is, since humans are in equilibrium with nature, and nature is really respected, it’s all about balance and interchangeability and the other is that there’s no hierarchy between the male and female genders. Whereas with all modernday religions, I find, it’s basically religion for men by men and women are hardly referred to at all and if they are, for example, Virgin Mary, she’s only a figurehead because she’s a virgin. That’s the importance of her.

“It’s the same in other religions where there are all these rules for women, like how to act and how to be and what to look like, and I just don’t agree with that because I feel like nobody should really tell anybody else what they should look like or what they should wear.”

Nabihah tackles big questions on ‘Weighing of the Heart’ - “Why do we want to live? What drives humans? Is there a shared common experience? Like our lives, me in London, you in Dublin, would be so different to a kid in Yemen, but we’re all here on this planet we’re all just trying to do our thing” – but it never feels overwhelming.

It welcomes you to listen again and again and slips in as the backdrop to whatever activity you happen to be doing at the time, while still demanding your attention. A near perfect juxtaposition.

When beginning a new track, her go-to instruments are the guitar or synth, but she also loves her sitar and has experience working with classical Thai music, Middle Eastern ensemble and gamelan, Indonesian percussion. Vocals usually come towards the end of the process as she doesn’t just rely on lyrics to convey her desired message, that’s the job of her instruments too.

“I’m trying to make music that people will have an emotional response to, that’s really my main aim. That’s what I think about when I’m making music and I think I’ve succeeded because I’ve been getting pretty crazy stories from people listening to my record all around the world saying it makes them cry and think about stuff they haven’t thought about for ages.

“The main thing I want to do is create music which evokes that emotional response, whether it’s good or bad. I just don’t want music that someone listens to and then forgets about two minutes later. I feel that happens a lot. Obviously, everyone’s tastes are different and there will be people who listen to my music who don’t like it, but for the people who could like it, I just want it to trigger some sort of connection with them.

Whatever that is.”

This September Nabihah will make her Irish debut with a DJ set in The Sewing Factory as part of Dublin Fringe Festival.

Those in attendance are in for a night filled with sounds from across the globe, tied together seamlessly by the eclectic selector.

“Whenever I DJ I just want to make everybody dance. My musical taste is really broad and that is definitely reflected in my DJ sets. I try and play a lot of different things and mix them together in an unexpected way… I just try to get everybody on a journey of feeling good on a dance floor, because that’s what the role of a DJ is.

“Hopefully it will be a fun night. I think it will be because there’s so much cool music from Dublin and there’s loads of people that I’ve been in touch with over the last couple of years, different DJs and producers, and I can’t wait to meet them!”

Nabihah Iqbal plays a District Magazine x Dublin Fringe Festival party at The Sewing Factory on September 15.

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Words: Caitriona Devery / Photography: George Voronov

ORT P L IE I L

84

O

ME

E

C

M O SH

How Nick Reynoldsâ&#x20AC;&#x2122; multi-cultural cuisine is here to stay.

85

“Everything is an echo of what came 86

before.”

N

ick Reynolds must have a thing for cities by the sea. He grew up in Sandymount, Dublin, spent six years living in Argentina’s main port Buenos Aires, and is now back in Dublin drawing on his Jamaican granny’s hometown of Port Antonio as inspiration for his Caribbean food project Lil Portie. He muses that we’re all “drawn to places that have echoes of the places we’ve been before”. Perhaps there’s an alluring openness about cities on the coast, an energy that comes from a connection with the world beyond. As Nick puts it, living in a port city “is like having three walls”.

Lil Portie started in March, when Nick was settling back into Dublin life after some tumultuous professional experiences abroad. He started doing cosy pop ups in places like TwoFifty Square in Rathmines and Camden Bites and Brews, Nick taking over the kitchen to do Facebook-promoted food evenings with set menus featuring “zesty and spicy flavours from West Indian kitchens and cooking styles from the Caribbean coasts”. I sampled some of the delicious flavours at the Camden Street location, and was wowed by a style of cooking that is hard to find in the capital.

The menu we had included sublime jerk ribs and chicken wings; jerk being a style of cooking native to Jamaica where meat is rubbed with a blend of spices that usually includes allspice and scotch bonnet peppers. We had plantain, a ubiquitous starchy vegetable used in many different ways in the Caribbean, saltfish fritters were savoury fried bites that we devoured in seconds and the sides showed up in the form of classic rice and peas, some golden jerk corn and an amazing lime pepper slaw.

These are flavours of sunshine and white beaches, a superb fit for the summer we’ve just had, but ones that would also warm your heart on cold winter nights. To wash it all down we tried a few divinely tropicaltasting cocktails.

Nick was born in Ireland, but his maternal grandmother, who lives in London, was born in Jamaica. His Irish father met his mother in London, but sadly she passed away when Nick was 10. He has a close relationship with his grandmother who, through her own kitchen, inspired his love of Caribbean cooking.

“She cooks the same food, every time I get there: rice and peas, the coleslaw, jerk chicken.”

Before his move to Buenos Aires Nick took a holiday there and after three days had his mind set on a relocation. He loved cooking when he was younger but it was his time

spent in the Argentinian capital that laid the groundwork for Lil Portie. He divided his years there between cooking, running pop ups and organising events. He says the city is “very much a place for creatives”.

“Outside Buenos Aires there aren’t too many Spanish-speaking big cities. Buenos Aires has 15 million people. Education is free. You have this huge mix of young people from all over Latin America.”

There’s a strong connection between Ireland and Argentina. Eamon Bulfin, the man who raised the Irish flag over the GPO on Easter Monday, 1916, was born there.

Similarly in other parts of Latin America and the Caribbean, Nick says when you start reading the history you realise “the effect the Irish have had on that part of the world”.

The lilting inflection of Jamaica, Nick says, “is like a Cork accent, because they came from Cork and Waterford and Wexford”.

There were huge waves of Irish immigrants that came over as soldiers and servants to the West Indies.

Nick’s early forays into professional cooking in Buenos Aires involved English or Irish-style roast dinners with soul and jazz music on Sunday evenings. It took off in a big way. He and a friend did that for about two years and then an opportunity arose to get involved with a luxurious members’ club opening in a huge mansion in the city. Nick was to look after the kitchen. Unfortunately what started as a dream, ended with a “very slow crash and burn”.

“Like being tied to a chair, no, more like a radiator, and having everything slowly fall apart.”

Crazy hours, unstable workmates and general chaos led to the implosion of the members’ club. Nick says, “It got to a stage where I was consuming my own soul. I was sleeping 20 hours a week”. Having had his dream life, seeing the situation spiral out of control was a real shock.

“I was doing exactly what I wanted to be doing in my life, my events company had been really successful, I was running this mansion, had my own apartment in Buenos Aires.”

As the members’ club fell apart, the physical and mental toll was too high. He made the decision to back out and move home Dublin but he looks back on the experience positively.

“I know how far I can truly fall. I know it’s not too far and I can get back up again.”

The plans for Lil Portie came together soon after Nick returned. He has always taken inspiration from his granny’s recipes, her hot sauce is legendary, and shows me a typical Jamaican home cookbook he borrowed from her.

“She loves food, I mean all Jamaicans do, all West Indies. Anytime I’d leave her house I’d be leaving with four or five litres of hot sauce. I’d bring it to Argentina, to Ireland. It’s really good for using as a base for sauce. I’ll use it to cook up a mother sauce.”

Nick has deliberately kept his style open, broadly channelling Caribbean, West Indies and Jamaican cooking. He’s not afraid to take inspiration from other countries, particularly Latin American and happily experiments with Irish ingredients.

Jamaican and West Indies food embodies a history of migration and with each wave of immigration new spices, ingredients and styles of cooking come in. There are indigenous influences, Irish, French, Spanish, English, Portuguese, Chinese, each bringing their own twists. I ponder if our Irish history of, until recently at least, predominantly outward migration, makes our food a little dull. Nick’s sanguine response is, “You’re not going to find something that you have every day exotic.”

He’s certainly not a purist, and when I ask him about this he tells me about a recent ancestry test he took and its interesting results.

“I came back a mix of Irish, Nigerian, Sierra Leonean, Kenyan, Spanish, Italian, Latvian and Indian. When I started putting it all together, what’s the easiest story I can tell? Everything is an echo of what came before.”

It’s an interpretive view of culture that nothing is really fixed and there’s always a pre-history. Nick points out that one of the most ‘Irish’ dishes, fish and chips, came over with the Italians in the 1950s. He’s interested in bringing in foods from West Africa, Colombia and other Latin American countries. One of his favourite ingredients is okra, and he recalls to me a fascinating story he heard.

“It came over with slaves, they hid seeds in their ears”, although he can’t confirm.

Following the success of Lil Portie popups Nick has negotiated a more permanent arrangement with TwoFifty Square. A fully functioning restaurant is set to open three nights a week starting sometime in September then heading towards Christmas he’ll do private parties. Jerk Turkey – sounds like a plan. He’s also lined up to do the African and Arabic Culture night with Woweembeem at Sugar Club on September 21.

“I’m thinking straight away a jerk lamb kofta or a Jamaican couscous.” lilportie.com

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‘‘H

e was a bold man that first ate an oyster,” Jonathan Swift once said.

“Or woman,” Diarmuid Kelly gently corrects my inadvertent sexism.

Diarmuid runs Kelly’s Oysters with his brother Michael, following on in their father’s footsteps in Kilcolgan, Galway. He’s a font of wisdom on all things oyster and a good man to know if you are a fan of the shelled bivalve. His family have been farming native oysters for over 60 years and they cultivate the non-native Gigas species.

September marks the start of the native oyster season, when breeding season ends and they are at their best. Oyster fans go crazy for the indigenous Irish flat oyster, Ostrea Edulis, around this time of year. The Clarinbridge Oyster Festival in Galway started in the 1950s to celebrate this annual event. Back then, Diarmuid Kelly says, oysters enjoyed some popularity but were mainly seen as food for the well-off. It seems oysters must have status anxiety, as at times they have been an everyday food, and other times a luxury.

So, who ate the first oyster?

Niall Sabongi, owner of seafood wholesale company Seafood Ireland, unpretentious seafood restaurants Klaw, Poké, and the Seafood Café says, “Oysters are fundamentally in our DNA. Archaeology shows us that Mesolithic settlers survived on oysters”.

Diarmuid Kelly says these 4000-year-old oyster middens, or dumps, reveal that our ancestors smoked and ate large quantities of the delicacy.

Oysters are a food that on first try requires you to suspend typical eating protocols and send something raw, slippery and quivering down your neck. However, my guess is, once you try one you won’t go back. The first time I ate an oyster felt like jumping into the cold ocean or doing a shot of a strong spirit.

It was an intensely present experience where I could think of nothing only the strange deliciousness of something I had, just moments before, thought too weird to eat. That was my oyster epiphany and I’m now a fully signed up convert.

When you talk to people about oysters one thing quickly becomes very clear people get totally obsessed with them. I chatted to Declan McManus from legendary Howth seafood restaurants King Sitric and East Café Bar. He says, “one of our regular customers is a man in his 80’s who comes in once or twice a week, has three oysters and a glass of wine. He says his only regret is that he didn’t discover oysters sooner in life”.

Sabongi says one of their regulars comes from “the barbers across the road, Bedford Stuy. These young lads are Dublin-born, never had an oyster in their life, and he is literally in every day having his two oysters, because it’s a zinc hit”.

In addition to the addictive taste, oysters are superfood wonderkids. Nutritionist Jelena Iljuhhina explained to me that oysters are like a nutrient shot – full of minerals, vitamins and omega-3 fatty acids. They are rich in high-quality lean protein. Zinc puts a pep in your step and the omega-3 is great for glowing skin as well as other less sexy things like preventing heart disease. Oysters are a very sustainable food product with little impact on the environment. Jelena tells me that there are even debates about whether oysters could be considered vegan because they lack a central nervous system and do not feel pain.

Everyone I spoke to agrees that that Ireland’s oysters are amongst the finest in the world.

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Declan McManus says, “Of course I am biased but nothing compares to Ireland for fish and shellfish”. There are many species around the world, but only two live in our waters. As with squirrels and Japanese knotweed, a little xenophobia here is acceptable; most people openly declare their preference for the indigenous variety. The native flat oyster is a wild temperamental beauty which is only edible September to April (think months with an ‘r’ in their name).

About 35 years ago, due to a shortage, the frilly-shelled Pacific Gigas oyster was introduced to our waters. This is now Ireland’s most common as it is easy to grow in managed underwater ‘beds’.

Oyster farming is different to what we might normally consider farming. Even the more cultivated Gigas or Rock oysters are not ‘fed’ but take their food from the natural waters of the sea. Both types feed on the plankton in the ocean so they absorb and manifest the characteristics of the waters around them. In wine and food this is called terroir, for the sea it’s called merroir. Diarmuid Kelly says the Kelly oysters generally take on flavours of “limestone from the Burren, sandstone from Connemara and freshwater tastes from the Fields of Athenry”. Maybe they should let Gerry Adams know about that last one for his new cookbook.

Eating oysters is one food hurdle, preparing them is another thing altogether.

The process of getting them ready to eat is called shucking. If you’d like to learn, both King Sitric and Sabongi’s Klaw restaurants do shucking masterclasses. Declan reassured me that so far there have been no accidental stabbings.

Both Niall and Declan are keen to create an atmosphere where people are not intimidated by seafood or trying things they’re new to. Learning to shuck oysters means you can buy your own and Declan recommends looking “for those that are closed”.

“If you can pick them up, take the heaviest. And don’t buy out of a water tank.”

Nutritionist Jelena says she has converted many of her friends after learning to shuck and she regularly buys boxes of oysters for parties and picnics.

For hardcore oyster fanatics, the only way to eat them is naked, straight out of the ocean. If you must, common additions are lemon juice, tabasco, or a mignonette of red wine vinegar and finely chopped shallots. A dry white wine such as a Picpoul is a friendly accompaniment, and famously in Ireland Guinness makes for a great accompaniment. I tried some lovely Kelly oysters with pink Dingle Gin recently. At the end of the day, oysters have such a strong presence that very little is needed.

There are lots of producers but not all of them sell to the Irish market, with many exporting. In some cases Irish oysters are ‘finished’ in French oyster beds and passed off as French, denying their true Irish origins.

“Although we sell the largest selection of Irish oysters all under one roof, it’s a slow battle to convince oyster farmers to sell to us rather than export,” Sabongi tells me.

“I’m currently plaguing farmers up and down the west coast to divert some of their sales from the French and Asian market to us. So this is a call out – if you’re a good oyster farmer, we want your oysters!”

5 places to pop your oyster cherry: DIY Oysters

King Sitric was opened in Howth by Aidan and Joan McManus in 1971. It’s more casual East Café Bar sister spot opened six years ago. They sell loads of oysters which everyone knows is gateway shellfish for lobster, another of their specialities. You don’t need to book East Café Bar, so rock up, sit by the sea, and indulge your taste for its bounty. There are lots of delicious crab, prawn and other seafood options too.

Mostly they use Kelly’s of Galway for their oysters which they serve Bloody Mary or Rockefeller style (cooked with garlic butter).

And the do shucking classes.

If you learn how to shuck, buying boxes of oysters from fishmongers is a super cheap way to get your mollusc on at home. Fallon & Byrne, or Kish Fish in the city, or Beshoff’s fishmongers in Howth offer a much cheaper, DIY way to enjoy oysters. Look out for famous oyster producers on the Atlantic including Kelly’s (both native and rock), Dooncastle, the Burren’s Flaggy Shore, Achill oysters and on the other side of the island the less salty Carlingford and Harty’s of Waterford.

Jelena says you should expect to pay around €1 per oyster, although she recommends the Oriental Emporium supermarket beside Jervis Luas stop who sell smaller, salty and rich oysters for 70c each.

kingsitric.ie

Klaw, Klaw Poké & Seafood Café

Words: Caitriona Devery

East Café Bar/King Sitric

Niall Sabongi’s trio of restaurants on Capel Street and in Temple Bar have been threatening “to slap the posh out of seafood” since they opened. There are no airs or graces here just stylish, modern seafood influenced by ocean city food trends like ‘Crabshack’ dining and the buzzing dollar oyster bars of New York, alongside nostalgic dishes that evoke childhood memories.

They do an epic oyster happy hour with a range of different types, and they can be served naked, dressed or torched. I highly recommend sharing the chef’s choice and some prosecco with a friend. klaw.ie

Matt The Thresher This place is renowned for Guinness and oysters, a uniquely Irish taste combination.

A seafood restaurant with a bar, it’s a fairly casual dining experience, although it’s not super cheap. They sell the sweeter, almost nutty, Carlingford oysters as well as the more briny and bracing Galway variety.

Fresh catch of the day, a luxurious seafood platter and a comforting fish pie also feature on the menu. A good spot if you’ve got a visitor in town. mattthethresher.ie

Oyster Bar at the Shelbourne So, if you win the lottery or come into some family money, quaffing oysters at the Shelbourne whilst drinking champagne is really what you want to be at. It’s oldschool luxury and probably a million miles away from what most of us do on a Friday night, but it is a classic place to eat oysters in Dublin. They have an oyster festival in September with a fancy tasting menu which includes Kelly’s native oysters. shelbournedining.ie

COFFEE VIBRATIONS 7 Tara Street, Dublin 2 Monday – Friday 6:30am – 6:30pm

Saturday

8:00am – 6:00pm

Irish Artist Spotlight:

LUCAS GARVEY

L

ucas Garveyâ&#x20AC;&#x2122;s output is a mixture between experimental typographic work, design thinking for social betterment, documentation and image making. Generally deriving from a conceptual background, but at times he leaves scope to make purely visual and expressive works.

Previously building platforms for other creatives to bare their talents, forming systems to assist people with personal development, organising events and creating research documents on current societal issues, he says his primary driving force originates from personal exploration and a desire to benefit society.

Currently based in Berlin, he is focusing on developing skills and creative practises working on multiple projects with the observation of his immediate environment bringing him inspiration for additional strands of interest.

Wanting to develop and expand his primary interest, Garvey hopes to further his studies by applying to a masters in Social Design in Design Academy Eindhoven in 2020. lucasjgarvey.com @moukgi

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