TN2 Ball Guide 2010

TN2

Ball Guide 2010

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Ball Guide 2010 Editors

Michael Armstrong Aoife Crowley Karl McDonald David Molloy Verity Simpson

Contibutors

Aisling Deng Catriona Gray Kiera Healy Chris Kelly Dan Kennedy Ana Kinsella Jamie Leptien Conor McGee Eoin Rafferty Sophie Elizabeth Smith Alex Towers Stuart Winchester

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Upfront Memories Before The Ball Cocktails BreakingIn BallHistory FantasyAndReality TheUsualSuspects Dresses Tuxes

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Upfront Oh yes it’s ladies’ night...

Senator Ivana Bacik reminisces about her experiences of the Ball

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early every Trinity student has heard of Senator Ivana Bacik. As well as being elected Senator for the University of Dublin she is also the Reid Professor of Criminal Law, Criminology and Penology at Trinity College Dublin, (a position previously held by former President Mary Robinson and current President Mary McAleese). But she is probably best known for her landmark decision to hand out information on abortion to Trinity students during her tenure as President of the Student Union.

A self-described “radical new left-wing and feminist voice in the Seanad”, she also is still a practicing barrister (most recently defending same sex marriage). However as described here, her politically charged time studying law in Trinity were punctuated with a few (sometimes) memorable nights attending the Trinity Ball: The first Trinity Ball I attended was in my second year – May 1987.

I was an undergraduate in the Law School at the time, and had foolishly failed to go to the Ball the previous year. It’s a matter of lasting regret that I never saw Public Enemy, who played that year.

Although I was comforted by the experience of friends who had been to the Ball that year but in their Junior Fresh. naïveté had gone for a short nap in someone’s rooms at midnight – and then woke up again at 8am having missed the whole thing! I didn’t ever get to see the Smiths either - they had played a legendary headlining performance at the Ball the year before I started

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College. But I made sure not to miss another Ball for the rest of my College career – and got to see the Dubliners, the Las, Desmond Dekker and lots of others, although of course the bands were never really the main point of going. It was all about meeting friends all dressed up, seeing the College also dressed up for the occasion, the scintillating conversations, the fabulous drinking and dancing, and the general carnival atmosphere.

Probably the best Ball was my final year in 1989, when I had just been elected President of the Students’ Union – it was so good that I now can’t remember who headlined, but I do know that we had great fun and spent the morning after in Bewleys drinking enormous pots of coffee in an attempt to be able to face the daylight.

The year I spent as Student Union President was highly charged politically. Within a month of taking office, we were being threatened with prison simply for handing out SU guidebooks on campus. The guides in question contained information on abortion along with information on all sorts of other issues useful to students, and the SPUC (the Society for the Protection of Unborn Children) wanted to stop that information being pro-

vided anywhere in Ireland. Former President Mary Robinson defended us in court and we avoided being sent to jail, but the rest of the year was spent fighting court cases taken by the SPUC, as well as campaigning against increases in fees, and cuts in student services. So the Trinity Ball at the end of the year came as a welcome relief from political campaigning – but again it was so good that my memory of it is now very blurred.

Since becoming a lecturer in Trinity, I have attended a number of other Balls through the late 90s, and the experience is quite different. First of all, lecturers get to use the Senior Common Room bar, so we have nice toilets and ice in our gin and tonics! But despite these luxuries, as a staff member the Trinity Ball can never offer the same level of fun or excitement.

There is something so special about the first moment you walk under the Front Arch as a student on a Ball night, and see Front Square all lit up and sparkling in the night air – that’s very hard to beat.

Enjoy your evening!

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Upfront

Out to

indulge

Kiera Healy

F

or most of us, the night of the ball offers the chance to indulge in luxuries we otherwise wouldn’t dream of on a student budget. Given that we’re spending close to eighty euro on a ticket, why not go all out with a splurge beforehand, too? For one night a year, you can forget about Captain America’s or Eddie Rocket’s – it’s time to live it up.

If you’re after a luxurious start to the evening, the Westin on Westmoreland Street is always a popular choice.

Though not for the claustrophobic, its downstairs Mint Bar – formerly a bank vault – offers a wide array of cocktails (best get a good buzz going before succumbing to the plastic cups of lager that await inside the gates) and, if you want some of that all-important soakage, a selection of snacks that are quite a bit classier than your standard bar peanuts.

It may not be the cheapest option, but it’ll get your evening off to a great start.

You’re probably not after a heavy meal on a night like this, so it’s worth checking out restaurants that serve lighter fare. Head to The Port House on South William Street for some delicious tapas; these bite-sized Spanish portions hit just the right note. They’ll keep you from lurching toward the burger van as soon as you’re allowed into the ball, but they won’t weigh you down when you head for the dance tent. They’re ideal if, like many other ball-goers, you’re travelling in a pack: order a selection of tapas for you all to share, and you’ll have enough money left to get some decent wine, too.

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Another decent place to go for a lighter meal is Dawson Street’s Café en Seine. The horrendously tacky interior of this bar masks a surprisingly decent drinks menu, and some excellent platters of food. There’s a wide enough selection here to keep everyone happy, and to stave away those grease-cravings– at least for a few hours. The truly wellorganised will stay on Dawson Street but head for SamSara, where groups of 10 or more can order finger food platters in advance to enjoy with your pre-ball cocktails.

Alternatively, if you do fancy pushing the boat out for a proper three-course meal, there are plenty of options for the budget-free. On St Andrew Street, you can check out the Trocadero; for a real treat, have one of their delicious, dryaged steaks and wonder how you can bear to return to the Buttery on Monday.

For thrifty dining, get there very early and eat from the pre-theatre menu – three courses for €25 – then head for a bar to get ball-ready.

Of course, if it’s just drinks – and maybe a few chips – you’re after, then park yourself in the Nassau Street Porterhouse for a few hours before the doors open.

When it’s finally time to head in, you won’t have far to stagger, and it’s a prime spot for peoplewatching as the queues grow.

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Upfront

Staying in for a few

Conor McGee

Y

our pre-Ball activities are important and shouldn’t be left to chance. One of your friends is probably up for having everyone over beforehand. If not, you may have to take the initiative yourself. Here are some tips for making your pre-Ball party the perfect one.

Setting Proximity to Trinity isn’t particularly important, as everyone’s going to be getting a taxi anyway, but somewhere within a reasonable taxi-fare is recommended.

Have a reliable taxi number ready and be prepared to be the leader when the time comes to figure out the taxi situation. You will want the last taxi to leave by 11pm.

Balconies, fireplaces, crystal chandeliers – these are the natural accompaniments to a well-dressed gathering such as this. You may not have access to all/any of these. But you can improvise. Consider some candles, fancy ashtrays, or even elaborately laid out cigarettes, perhaps in some sort of fancy bowl.

For the Ladies The importance of dressing up for the ball goes without saying, but the trauma felt by lady ball-goers when something goes wrong with gown, make-up or shoes is no laughing matter. This is why you need to be prepared. Make sure you have every piece of make-up you can muster at hand before anyone arrives. If you don’t have any, ask a friend to bring a make-up bag.

Put the red wine and barbecue sauce away, they’re accidents waiting to happen, and if you’re really adventurous, buy a pack of those squidgy things girls put into ridiculously uncomfortable shoes. That’s white-knight material waiting to happen.

For the Men I have no idea how many times I’ve had to fix cuff-links or tie a bow-tie for a friend who inexplicably managed to get them on before showing up, and is now panicking as they’ve come undone. Cuff-links are pretty simple really, but having some knowledge of the various types can help, just in case.

Tying a bow-tie is more difficult. A few years ago I sat down for an hour with some YouTube videos and

BallGuide · 10

taught myself to do it perfectly, and you can too. Trust me, you’ll be a hero when the time comes, and you can brag about it all night, until that sweet, sweet moment on the way home when you can finally undo it and let it hang majestically around your neck. Ladies, we know you think it’s cocky and clichéd, but we don’t care.

Some black shoe polish should also be at hand.

Think Outside the Box Lady ball-goers will be wearing uncomfortable shoes, but they’re sure as hell not going to be walking around in bare feet before a ball. Which is why I came up with the perfect solution – slippers. Chances are there are some lying around anyway, but if not, suggest people bring their own and leave them there or even buy some and give them as gifts.

Digital cameras are great but having a disposable camera or two handy is more fun, and more importantly, pictures on a disposable camera can’t be deleted if they’re incriminating, which makes for some nice surprises when the film is developed.

Last but not Least People tend to enjoy the occasional alcoholic beverage on a night such as this, but do you really want a bunch of beautiful girls and boys swilling vodka from a bottle?

Make things a little more sophisticated by buying a couple of mixers and, more importantly, knowing what to do with them. Cocktails are infinitely classier than naggins and encourage people to drink at a healthier pace. Dan’s cocktail piece is a good place to start.

Food is tricky, and probably best avoided apart from some party food people can pick at – Marks & Spencer and Lidl are always a good place to start for these.

If you’re feeling really extravagant, champagne is the obvious over-expensive choice, but some cheap sparkling wine pretty much does the job as far as most people will be concerned. In fact, as far as most people are concerned, it’s indistinguishable, once its in a flute of course!

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Upfront

Cocktails: mix it up

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et’s face it, the Trinity Ball is a ludicrously expensive night. Between the clothes, food, drink, taxis and the price of the tickets themselves, it is going to cost you a pretty penny no matter what you do. Bearing that in mind, you might as well ditch the tried and tested six-pack of Bavaria or naggin of vodka and treat yourself to some quality cocktails for the inevitable pre-ball tipple. Should you be hosting a pre-ball party, it might make sense to buy some spirits as well as various mixing supplies. It pays to buy in bulk and if you can get your friends to chip in, it shouldn’t end up costing you much. The Celtic Whiskey Shop on Dawson Street have a large variety of good spirits at decent prices. Here are some ideas for simple, tasty drinks you can serve.

Tom Collins

Cosmopolitan

• • • • •

• • • •

2 parts Gin 1 part lemon juice 1 teaspoon sugar Slice of lemon Soda water to taste

The Tom Collins is one of the oldest cocktails on record, dating back to the 1870s. It has a light citrusy flavour that’s perfect for warm evenings and is at once both simple, and sophisticated.

Mojito • • • • •

4 parts White Rum 3 parts Lime Juice 2 teaspoons Sugar 3 sprigs of Mint Soda water to taste

2 parts Vodka 1 part Triple Sec 1 part Lime Juice 1 part Cranberry Juice

This drink owes its popularity largely to its prominent consumption on Sex and the City. Don’t let that put you off it, though, it’s actually delicious, though you might wish to steer clear of it if you’re not comfortable with your masculinity. Mix the ingredients in a shaker and strain into a martini glass.

For the full effect, try lightly singing an orange peel with a lighter and then squeezing it into the glass.

The Mojito is a relatively simple drink in terms of ingredients. Problems usually arise at home when people don’t properly grind the mint - this should be done relatively lightly so as not to tear the leaves. Grind them gently with sugar and juice to release the flavour before adding rum and soda water.

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BallGuide · 10

Upfront

Tequila Sunrise • 3 parts Tequila • 1 part Grenadine • 6 parts Orange Juice Though it’s mainly associated with shots in this country, there are actually a large number of cocktails you can make with Tequila. The Tequila Sunrise’s main attraction is its striking gradation of colors that are formed from the Grenadine slowly sinking to the bottom so it’s very important not to stir it.

glass, it’s a smooth and sweet cocktail with a hefty alcoholic kick (favoured, if you remember, by “The Dude” from The Big Lewbowski). Use cream if you’re having one or two, but milk if consuming any more- cream can get very heavy on the stomach in large amounts. Or, for something different, swap the milk or cream for cola for its counterpart, the Black Russian.

The Bond Martini, or the “Vesper” • 3 parts Gordon’s Gin • 1 part Vodka • 1/2 Lillet Blanc (or vemouth as a subsitute)

This is the famous Bond Martini, straight from the pages of Bond’s first appearance in Ian Fleming’s Casino Lillet is aperitif, The Trinity Ball is aRoyale. lot ofKina things toa French a lot of people. If which can be quite difficult to find (and changed you’ve already been, then you know that somehow on its recipe in 1986 so authetnicity is questionable), that magical night, things quiteToturn and so vermouth can benever used instead. makeout this as explace all thebeen, ingredients in aI’ll shaker ice pected. Ifclassic, you’ve never then trywith to enlighten and shake until ice-cold (you can tell when a frost you as much astopossible to just how little the night begins form on theas exterior of the shaker).

Strain • 1 part Gin into a glass– which, for perfect authenticity, should will resemble your expectations, and why you’ll have • 1 part Vodka be a deep champagne goblet. And for those who fantastic night anyway.

• 1 part White Rum strive for excellence Bond claims that a vodka made • 1 part Tequila from grain rather than potatoes is always best. “I • 1 part Triple Sec So what isnever thehave Ballmore really thanall oneabout? drink before dinner,” • 3 parts Lime Juice says Bond, “but I do like that one to be large and • Coca-Cola to taste strong and very cold and very well-made.

I It’s about very your friends, right?

Everyone’s going to the hate small portions of anything, particularly when The Long Island Iced Tea requires such a so what ball, better will have to I’m get all of they taste bad.chance This drink’s myyou own invention. large number of different spirits that it’s going tofor patent it when I can think of a good name.”What them together one amazing night?

Indeed. really only a viable option if you’re going all first-timers realise is that by some strange twist o out for your cocktail party, or havefew already amassed a relatively respectable private bardynamics, you will be systematically separated group (something many students attempt, but few achieve). It packs an unbelievablefrom wallop,anyone you even thought you knew the second which is belied by its smooth taste,you so beget in• the 1 1/2gate. parts bourbon whiskey careful.

• 1/3 part sweet vermouth • Dash bitters • Cherry to garnish

Long Island Iced Tea

Manhattan

White Russian

• 2 parts Vodka • 1 part Kahlua or other coffee liquer • 1 part cream or milk The White Russian is a gentleman’s drink: built over ice in an old-fashioned bottom-heavy

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The classic Manhattan is served straight up in a cocktail (or martini) glass. To chill, the cocktail ingredients can be built over ice and then strained into the glass. Also, angostura bitters can be difficult to find here (apparently due to the great bitters shortage of ‘09) , but once obtained will last forever, and are an essential part of any well-stocked bar.

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Upfront

Over the wall or under the floor

A

Dan Kennedy couple months ago, a pair of Virginian social climbers caused a brief media-frenzy when it was revealed they managed to blag their way into a White House official dinner and meet President Obama himself. The incident led, simultaneously, to a variety of questions about the state of security surrounding the most powerful man in the world, and a renewed interest into the time-honoured practice of gatecrashing.

The Trinity Ball might not have the same level of security as an official White House function (yet), but it certainly has a long and venerable tradition of gatecrashing. People sneak in for the obvious reasons: they’re not Trinity students and couldn’t acquire a ticket or they simply couldn’t justify the prohibitive cost (which this year promises to leave you €78 poorer), but a large number seem to do it for the illicit thrill of sneaking in itself, or of “getting one over” on the organisers. The quintessential ball crashing story tend to run along the lines of “a friend of someone I knew got in a few years back by staying in an attic” or “hopping the fence” or occasionally “hiding under the floorboards”. Students and alumni love these stories and they’re an important part of Trinity lore. They celebrate the underdog’s victory over difficult odds by way of his (and it’s

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nearly always his) own cleverness, ingenuity or sheer brazenness.

There’s even an excellent narrative poem by Richard Marsh called “Over the Wall at the Trinity Ball” which is a “mostly factual account” of his own gatecrashing adventures back in 1978. With security getting tighter and tighter each year, however, the traditional gatecrashing options are looking more and more foolhardy, and hopping the wall these days is more like to get you swiftly ejected than immortalized in charming verse.

Unfortunately for those not in the know, most successful and seasoned ball crashers understandably keep their various tricks a closely guarded secret. “Part of the success of the operation depends on there being relatively few people in the loop about the various ways of doing it”, said one veteran. Even those who find decent hiding places are bound to spend hours trying to keep quiet in close and cramped environs, while everyone else is busy enjoying the pre-party. It’s also worth keeping in mind the well-known tale of the student who attempted to hide up a tree, and despite his rather obvious hiding place was scrupulously and tactfully ignored by security for several hours until minutes before the gates opened, at which point he was un ceremoniously escorted out.

Trinity security is understandably reluctant to comment on gatecrashing, so as not to encourage it. I did manage to speak with two students who had successfully sneaked in on different occasions.

The first had gone with the simplest imaginable method: he simply walked in.

“Not much to tell really, ” he told me, “It was more balls than anything else. I basically donned a tux and met up with some friends with tickets. Then, at the first check, I moved in a big group with them, put my hands out to both bouncers but gave both nothing. Then at the main gate, my friend gave them her ticket and I slid alongside her and in.”

This option has obvious drawbacks. It’s incredibly risky, and if it fails, you’re left standing outside the gates while your friends head inside. Hardly safer is the second student’s option: counterfeit a ticket.

“I just got the real ticket, scanned it, and printed it on a fancy printer.

The only difficulty was the shiny bit on the ticket, there was a chance the ticket checker would notice that it was missing, but I was pretty sure in the hurry no one would actually check the ticket properly.”

Those of you hoping to emulate these two are most likely going to be disappointed, as the organisers are taking measures to thwart counterfeiters and chancers, which means that this year, if you want a surefire way of getting in, you’re simply going to have to buy a ticket like everyone else.

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Trinity Publications AGM Do you want to be involved?

Trinity Publications Committee invites applications for the following positions on next yearâ&#x20AC;&#x2122;s Executive Committee:

Secretary Treasurer Publicity Officer Amenities Officer Alumni Officer

Alternatively, if you have a great idea for a new publication why not apply for funding and use of our facilities?

Our office provides all the facilities necessary for print production, from brand new iMacs to the normal office facilities youâ&#x20AC;&#x2122;ll need.

The deadline for all applications is Monday 8th March 2010 at 5pm.

The AGM will take place on the 16th March 2010 at 7.30pm in the Hist Conversation Room.

If you require more information or an application form please contact the Secretary, Grace Walsh at gwalsh2@tcd.ie www.trinitypublications.info

Upfront

Misplaced magical memories of the Ball We all know that U2 played the Ball, right? In between The Clash and The Enemy? The murky mythology of the ball seems not to be based in much fact.

Karl McDonald & Alex Towers

Photo illustration. Original photo by

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MartinMcKenna

T

he Trinity Ball, perhaps more so than any other festival in this country, has a special status as a night of mythic proportions.

Graduates will gladly regale listeners with stories of hiding in society lofts from early afternoon in order to gain entry for free, and tales of past performances by nowlegendary acts are plenty. However, part of the reason why the night tends to invite such hushed tones is because well nigh everyone is extraordinarily drunk. This, as well as the general human desire to make it seem like things were cooler “in my day”, has added a great deal of lamentable exaggeration to the folk memory of the Ball.

For example, it is commonly claimed that the likes of The Smiths, The Clash, The Buzzcocks and U2 have all at some point played the Trinity Ball. Unfortunately, in most cases these stories turn just out to be hazily embellished recollections without much actual proof. The Clash did play a gig in Trinity, but it wasn’t the Trinity Ball. Instead they did a show in the Exam Hall in October 1977 which, despite some woeful acoustics, apparently inspired a young Paul Hewson to take his band Feedback in a more punk direction. Photojournalist Aiden O’ Rourke remembers pushing his way up to the front to see Joe Strummer screaming into the microphone. “The sound was awful though” he remembers “as you’d expect in such a cavernous space, and the authorities decided it wouldn’t be used for such a concert again”.

The Smiths are another band that were long rumored to have played the ball. However, according to diehard fan Jason Collins (who runs the most comprehensive fansite), while the Smiths did play a good few Irish gigs they never graced the ball itself. Another enduring tale is that U2 played the ball back in their early heady days and that they’ll one day make some sort of triumphant “return”.

Again, despite some grapevine whispers of a 1979 gig, their manager Paul McGuinness maintains they’ve never played the event.

But happily, one of the best rumors of

BallGuide · 10

Upfront

all is one that seems to be true. In 1997, two students who were trying to sneak in through the Provost’s garden fell though a window and landed on top of singer David Gray, crushing him. Unfortunately, Gray, whose hits include “Please Forgive Me”, survived the incident with no major injuries and joined in with security in removing the two gatecrashing heroes.

There are plenty of these worthy, factually accurate tales to match the myths. One of the most memorable performances in Ball history came in 1988 when Public Enemy, having just released their politically charged classic “It Takes A Nation Of Millions To Hold Us Back”, took to the stage in their customary combat attire. Belligerent to the bone, they are reported to have totally misinterpreted the views of the average Ball attendee on the political situation in the North, with their insurrectionary shtick and encouragement to “Fight The Power” giving off mixed signals. The decidedly un-martial David McWilliams was in attendance, and told The Irish Times of his memory of “looking around at the well-heeled, middle class graduates and wondering, are we not the power?”

A different sort of rebel dominated proceedings in 2005 when Pete Doherty arrived on campus to perform with Babyshambles.

With his then-girlfriend Kate Moss and friends Shane MacGowan and Victoria Mary Clarke in tow, it is unsurprising that Doherty rose to the spirit of the occasion, at least in terms of alcohol consumption. Having met up in the bar of U2’s Clarence Hotel in Temple Bar for what

BallGuide · 10

was undoubtedly intended to be an innocuous catch-up session, the nation’s toothless, drunken uncle and his tabloid-harried protegé proceeded to get extraordinarily drunk in advance of Doherty’s headline performance in the early hours.

There are varying reports as to how the actual gig went, many

My guitarist got the fear mid-way through, he said I was looking at him funny and threw down his guitar and ran off eyewitnesses having been approaching Doherty levels of incapacitation themselves, but the general arc seems to have been that the ex-Libertine managed to stumble through the majority of the set before the guitarist decided he had had enough and left the stage.

Brian Christensen, a student of Medicinal Chemistry at the time, was in attendance. “He was very impressive, apart from being very drunk. Moss was 100% there, she stumbled onstage for five seconds and off again near the end.” “Bit of a disaster, that one,” Doherty himself later recalled. “My guitarist got the fear mid-way through, he said I was looking at him funny and threw

down his guitar and ran off”.

Partying too hard is an easy disaster to have at the Trinity Ball, but there was real tension in recent years when Ireland’s brightest hope The Immediate announced that they were breaking up after only one album while onstage in 2007.

Ronan Jackson of Crayonsmith played before them and passed them as they prepared to go on.

“They looked like they were going to a funeral,” he says. “Just before their last song, Conor [O’Brien, now of Villagers] mumbled, ‘eh, this’ll be our last performance’. I thought it was a weird thing to say, but didn’t pay much heed to it.”

The band’s keyboardist Barra Heavey, who wrote an article about the band’s split in the Day and Night supplement to the Irish Independent, recounts “officially and unceremoniously declaiming self-dissolution during the last waltz at the Trinity Ball the following night, my birthday.” Coming without advance warning, the final performance was by all accounts something of an anti-climax, with many non-Trinity fans disappointed that they hadn’t had a chance to attend. “That was probably one of the worst nights of my life,” Conor O’Brien recalls. “It kind of felt like hell on earth and cemented my hatred of spoiled rich kid pisshead students.”

There are dozens more stories that could be told here if there was space, and possibly thousands more lost in the mists of time and damaged brain cells, but one thing is certain: as long as there is a Ball in Trinity, there will be memories.

Whether or not they will be accurate is another story, so to speak.

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Upfront

Fantasy and reality Conor McGee

T

he Trinity Ball is a lot of things to a lot of people.

If you’ve already been, then you know that somehow on that magical night, things never quite turn out as expected. If you’ve never been, then I’ll try to enlighten you as much as possible as to just how little the night will resemble your expectations, and why you’ll have a fantastic night anyway.

So what is the Ball really all about?

It’s about your friends, right?

Everyone’s going to the ball, so what better chance will you have to get all of them together for one amazing night? Indeed. What few first-timers realise is that by some strange twist of group dynamics, you will be systematically separated from anyone you even thought you knew the second you get in the gate.

Nobody quite knows why this happens, but one suspects that the barrage of lights and sounds awaiting ball-goers inside somehow

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disorientate the average student enough to cause them to kind of wander off, dazed and well-dressed, into the throng ahead of them.

“No problem,” you think, “I’ll give someone a call.” Oh bless your heart…

Your phone is no good here. Even if you could get through to someone you wouldn’t have a chance of hearing them above the noise. But all is not lost. The same forces that seem to tear us apart as we enter are constantly working to make sure everyone runs into everyone they know as much as possible.

Yes you’ll see your friends again, but first you’ll probably see the friends you didn’t come with, and then some friends you haven’t seen in ages and even some friends who you used to be in first year with but who took a year out and are doing BESS now. What’s more, the Ball is one of the few occasions outside Pav Fridays in which mass Arts Block/ Hamilton cross-pollination takes place. So don’t sweat losing your

friends too much.

Besides, if you were spending all your night with your friends, you’d be distracted from another thing the Ball definitely isn’t about: true love.

There could be no more perfect an occasion for romance. The clothes, the music, the dazzling setting – it’s like something out of a film. There’s just one minor problem. Vomit.

Jeff Buckley played the Ball in 1992 and apparently, “had never seen so many people in gowns and tuxedos throwing up on themselves.” So when you see the girl of your dreams, or that guy from that class you had for a while, ask yourself the following questions.

Firstly, have you thrown up on yourself already or do you feel as though you might do so in the near future? Secondly, has he/she thrown up on themselves? And finally, is there anyone nearby who looks like they might be about to throw up on either of you?

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tain that there will be hundreds of stu-

tions in the first hour and 60% of all tick-

could only be expected to sell out.

Upfront

Some advice for the Ball from a man with experience

to May

nd

duate

offers re e

e in w yone demics.

If the answer to all these questions is ‘no’, then lucky you, you might just be one of the lucky few whose dreams of Ballnight love can come true. For everyone else, and that includes you, reader, console yourself with the thought that the rules of hooking-up are well and truly thrown out the window for the Trinity Ball. Spotted an ex? Screw it, it’s the Ball. Stalker finally caught up with you? Oh well, nobody will remember, and everybody’s lost their camera by now anyway.

Just don’t let your search for romance take away from what the Ball is really about. The music, of course.

You know those two bands you’re just about kind of interested in maybe checking out? You probably won’t see those. And you Hughes knowNiall those really awful one-hit wonders that everyone else is going to see ‘for the laugh’ but you’re too our mature Get your We’d like to use yearsfor? of experience dancing because one or Ball and shoes wisdomon, when it comes toway Trinity another you’ll be there when they take to provide you with a guide to makingthe it stage.through the longest, messiest night out of theline-up year. for the Trinity Ball has been, 11. The it is claimed some, mildly disappointing What toby Wear? in recent youfairly knowstraightforward what, it’s not This years mightbut seem that bad.

Do you reallyathink you’re going but there’s always few who don’t fully the whole black tie concept – evening to be get in any state to appreciate music by dress ladsanyway? and ball Do gowns the the end of for thethe night youfor really For theprobably gents we see recommend rentwantladies. to? You can them next ingthe your dinner jacket fromsoa relax large rental year in Olympia anyway, and company such as Black Tie. That way remember what the Ball is really (actually) when you lose your jacket you can just about. steal someone hand it of back as The Trinity Ball elses is theand wild west your your own. For the girls there is the dilemsocial life – a final bastion of lawlessness, ma of long dress with runners hidden vice and, most of all, adventure. underneath or shorter dress so you don’t Your Ball experience probably won’t get completely trampled on. come even close to what you expect it to What to Drink? be. But there’s a reason everyone goes Booze to Go is a popular choice who for cheap ‘for the of going once’ tonaggins go back andsake cheerful Buckfast andtends sneaky year after year and that’s(€6.45). because When of the it of Svenska Vodka special feeling of chaos and hedonism comes to sneaing your drink into the that ball only comes when you’re wearing formal area girls would do well to remember that wear,garters sucking on your hip-flask andfor prancwere actually invented this ing around on thefailing grass this thatain life, sole purpose, bitregular of masking tape around the prance leg to hold the booze one simply doesn’t around on. in place seems todress do thenice trick.and Forbe men, getThe girls get to ogled, tingguys drinkget in undetected is more of a chaland the to wear cool costumes. lenge.

I do remember a guy hid-a There’s more alcohol than you last canyear shake a shoulder ofof vodka a big at bagbest. of stick ing at, and the rule law isinshaky Doritos he was eating on the way in.

For Manners, etiquette and order in general are thoseaside of you know that somefor scholar or brushed by who the sense just one otherwise unpopular person who lives in night, all bets are off and the college is ours College, now is the time to grease the to make of what we want. And like any sowheels of friendship. Tell them how cool ciety without proper rules and boundaries, they’d be if they let you and 30 mates things have a tendency to get on the wild stash your drink in their house. side. Food?

Enjoy.

You’re probably going to be drinking for BallGuide about · 10 8-12 hours over the course of the night so it’s a good idea to get some food in at some stage. Try to do so before

17

Upfront

Who do you think you are?

Ana Kinsella Illustration by Sinead Mercier Any seasoned ball-goer and student will tell you that the vast majority of Trinity Ball attendees can be divided into a number of different categories depending on their dress, decorum and overall demeanor.

The first timer Dearbhla’s still getting used to Dublin, but the Ball’s been looming over her like a camogie final for weeks now. It’s a long-awaited opportunity to finally wear her Debs dress again, you see, and it’s worth the 78 euro plus expenses because apparently Mundy is rumoured to be making an appearance and the girls back home would actually die of jealously if she managed to get a picture with him.

What does she wear?

Long pink evening gown she wore to her Debs 8 months ago with the tallest heels she owns and the earrings she got from Mam and Dad for her 18th.

How long does it take her to prepare?

Dearbhla splashed out on a blow-dry at Peter Mark, but other than that Aisling is doing her make-up and fake tanning her back for her, she’s basically a pro.

Where does she pre-booze?

Halls, obviously, all the girls are getting ready together first.

Where will she end up?

Sent home in a taxi by midnight - if she makes it past the bouncers in the first place.

What does she drink?

Tesco Value Vodka with cranberry juice before, double vodka red bulls inside.

Most likely to be heard saying: “Owwwwww, my feet are killing me.”

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The veteran This is Lucy’s 4th ball, and she’s only in 3rd year. Well, she repeated 2nd year but anyway, the Ball’s just no big deal for her now.

She’s so over the whole formal dress and hair-and-makeup drama now.

Like, she’ll go, reluctantly, but it’ll never be as good as 2007.

Wearing: A floral romper from Topshop, gladiator sandals. The same thing she wore to the Pav last Friday, actually.

Preparation time?

10 minutes, maybe? Lucy’s done the whole makeup, nails and fake tan thing and she’s bored with it. The night’s such an anticlimax anyway, so why bother getting dressed up for it?

Where does she pre-booze?

She’s been invited to like, 5 different parties but doesn’t really care so long as she gets really drunk beforehand.

Where will she end-up?

An after-party in Rathmines with the same guy she ended up scoring last year.

What does she drink?

The naggin of gin she’s hidden stealthily in her knickers. That’s what the romper is for, obviously.

Most likely to be heard saying: “Can you believe those girls are wearing heels?

What a rookie mistake!”

BallGuide · 10

Upfront

The Princess

All Hannah wants is to get her photo taken for Image Magazine’s society pages. That’s why she’s spent so much money on this dress, not to mention the French Sole ballet flats, the highlights, make-up, nails and fake tan. No expense spared, this is the biggest event on Hannah’s social calendar, except for maybe the BESS ball.

What does she wear?

An Erdem dress ordered in specially

by Brown Thomas. This way she knows nobody will be wearing the same dress as her. It was ridiculously expensive, but that’s the price you pay if you want to look better than everybody else.

Preparation time?

Well, the diet started in March and the tan regime two weeks ago. The hair and makeup took all day and Hannah doesn’t even want to add up all the costs. Mum will be furious when she sees the Mastercard bill at the end of the month.

Where does she pre-booze?

The Champagne Bar in Ron Black’s, trying to catch the eye on the society photographer.

Where does she end up?

The boyf booked a room at the Merrion for the two of them, the darling, although Hannah really expects no less from her faithful boyfriend of five years.

What does she drink?

Not much. Alcohol makes her cheeks flush.

The raver Emily’s entire life is centred on having “the buzz”.

She does promotions for at least 3 club nights and has a wardrobe that’s almost exclusively neon. The Trinity Ball is nothing more than an opportunity for her to get completely off her face whilst wearing a slightly more formal dress than usual.

What does she wear?

A very short, very tight neon geometric Versace-esque number with really comfy flats for dancing all night.

Preparation time?

Not too long. Mostly spent dancing around the apartment to Gui Boratto with mascara wand in hand.

Where does she pre-booze?

The Bernard Shaw, where she preboozes most nights, regardless of how formal the dress-code is.

Where does she end up?

A rave in the Wicklow Mountains, where she eventually KOs at around 6pm the next day.

Most likely to be heard saying: “You’re great. You are so amazing. Hey, do you have any chewing gum? Seriously, I really do think you’re amazing.”

Most likely to be heard saying: “Is my hair okay? Let me see that photo you just took, like, right now.”

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19

Upfront

The gatecrasher Conor has been sitting in this tree in his tux for 4 hours now. He’s been drinking cans and has diligently filled an entire plastic bottle with pee during this time. So far, so good. Now, just another few hours to go until his friends - who all actually paid for tickets, the chumps - arrive through the gates and he can clamber down to join them. Provided, that is, that the security guards don’t spot him on their walkabouts. It may be uncomfortable, dangerous and tedious, but it sure beats paying €78 for a ticket.

What is he wearing?

Plain tux with hiking boots, ski socks, gloves and a camouflage hat, all from the Great Outdoors, totaling over the 78 euro his mates each paid for a ticket.

Preparation time?

Mostly spent scouring maps of the college and scoping out the best trees to hide in. Conor views this as a military operation and so treats it accordingly.

Where does he pre-booze?

In his tree, obviously.

Where do they end up?

Ideally, in the front row of the main tent with all his mates, but in reality, possibly turfed out by security before the acts even take the stage.

Cocktail of choice: Whatever can be strapped to his body, and preferably not beer, as Conor really doesn’t want to have to pee in a bottle again.

Most likely to be heard saying: “So how much did you night cost you? Yeah? That sucks.”

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The music aficionado Rob doesn’t go to the ball for the craic, or for the chance to get wasted on campus in a tuxedo, or for the collegiate tradition of it all.

He goes in order to see as many acts as possible and get the most value for the cost of his ticket, and no drunk girl in formal dress or messy mates attempting to fight or cocktail of alcohol and drugs is going to get in the way of that.

What does he wear?

Tuxedo with edgy musicthemed T-shirt underneath.

Preparation time?

The Ball isn’t about spending ages getting ready. It’s about the music.

Where do they prebooze?

Cans with a couple of mates, mostly discussing the musical itinerary for the night ahead.

Where do they end up?

Dashing from tent to tent in order to see as many acts as possible. You really don’t want to miss another Kate Moss-singing-with-Pete-Dohertytype moment just because you were queueing for the toilet or scoring some bird from your course.

Cocktail of choice: Sly naggin in his back pocket, but that’s just to avoid wasting precious time queueing for pints.

Most likely to be heard saying: “Who did you see last year? I really think the line-up was better in 2008.”

BallGuide · 10

Upfront

The lads Scottie, Hanno, Lynner and the boys are just gonna wreck the gaff this year. The line-up’s shite, they may as well. They did hear how Kellyer’s older brother managed to talk his way backstage last year, had the craic with Rob da Bank, took the piss out of The Script - might see if that’s a goer. Few souvenirs from the Ball to be had anyway - if they’re still able to see by 4am! At worst, there’ll be a few Freshers tottering around in heels (see “The first timer” above). Keeps your one from the marketing seminar that Beller scored at the Black and Red Ball guessing anyway. They can’t believe Mathews is bringing his bird - apparently he paid for her ticket as well. Majorly whipped.

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What do they wear?

Tux - not rented, decent label - with stains that prompt a few stories of the BESS ball in February - we’re talking absolute carnage here - as well as a few accessories they’ve pikeyed on the way in. Bow ties will be loosened by the time they hit the queue for the Nassau Street entrance.

Where do they pre-booze?

A serious pad out in Dalkey - no recession here. They’re getting the Dart in afterwards, put the shits up some commuters.

Preparation time?

Ostensibly short - just give the old tux a brush down and lash it on while cracking into the first can of the afternoon, you know yourself.

In reality, it takes time and effort to get the hair to those Jedward-like heights, while the designer stubble was weeks in the planning.

Cocktail of choice: Cans of Tuborg in the gaff, cheeky naggin for the journey in.

Where do they end up?

Most of them hit Zaytoon, but they have to leave Ruadhán passed out in the Provost’s garden.

Most likely to be heard saying: “Here, did you see the state of Ferdia? Threw up on this one from Law and still ended up scoring her fucking legend!”

21

Upfront

Tired of looking

Get a

hot

Annelise Berghenti

T

he Trinity Ball is the best chance to get wildly and inappropriately drunk on campus, dance to some of the best music around at the moment, and do it all wearing a fabulous dress that will make your classmates jealous and help you catch the eye of that hot guy in the Arts Block whose name you don’t know.

So, what to wear? The dress code is black tie, so you could go all out formal if you want, but for me the key to the Trinity Ball is looking glamourous. However, you want to remain comfortable enough that you can jump around in the dance tent, speed across the cobblestones and sit down on the grassy areas when it all gets a bit too much. Look through fashion blogs and websites like style.com or refinery29. com for inspiration on what to wear and how to wear it before hitting town ready to trawl every shop for the perfect dress.

From Marc Jacobs to Bottega Veneta the “underwear as outerwear trend” was huge on the catwalks this year.

Wearing your knickers over your tights might not be the most practical idea for day-to-day life, but the more wearable version of this trend takes the form of silky dresses that look a little like vintage nighties in beiges and creams.

Topshop do a slip dress in cream silk

22

BallGuide · 10

g a hot mess?

Upfront

ot dress that I think would look great with a pair of embellished sandals.

They also have a range of lingerieinspired lace sun-dresses in pastels – dress them up with loads of gold bangles and rings.

Maxi dresses have been semipopular for a while, but now they look set to finally take off. I love this trend, and want to find one for the Ball this year. I’ll be keeping my eye trained on the Maxi Dresses section on ASOS.com, waiting to snap up the perfect one (ASOS always pull through for me). Try H&M for this style as well, especially if you’re on a budget.

If you don’t mind running the risk of being one of twenty girls wearing the same dress (and to be honest, who has the time to care when you’re at the Ball?), Lipsy is always a safe bet for semi-formal floaty dresses in every colour of the rainbow from soft creams to jewel bright blues. Swamp in St Stephen’s Green is hit or miss, but they sometimes do excellent Lipsy knock-offs for half the price, leaving you more money to spend on champagne. It’s also worth having a look at their lacey or beaded little dresses at about forty quid a pop. Head to the Arnotts concession in Jervis Street Centre for a huge range of dresses in

BallGuide · 10

all different styles, similar to the Topshop Boutique range, but less expensive.

If you want to make sure you have a one of a kind dress, try Om Diva in George’s Arcade, which has a vintage section upstairs that recently had gorgeous floral dresses from the 1940s and 50s that would look great with ballet flats (always avoid heels unless you want to spend half the night sitting beside the puking guy, moaning about your feet). If you buy secondhand, make sure it fits perfectly by taking it to be altered.

I recommend Des Byrne’s, a little door near McDonalds on Grafton Street. If you want to spend a bit more money on something that will stand out, try the boutiques in Powerscourt Townhouse and The Westbury Mall – worth a look if even just for inspiration.

Of course, the most important thing to remember that your dress has to withstand a night of full-on debauchery. It’s always better to spend less money on a dress you feel fun in than splashing out on a restrictive ball-gown that will make you miserable.

23

Upfront

Tux Aet rna , Tu Alex Towers

T

he Tuxedo. We men should really count ourselves lucky that we have such a wonderful outfit. While girls launch themselves into impossible hunts for the gown that manages to be equally gorgeous, unique and affordable, we can sit back and relax, safe with the knowledge that male sartorial questions were answered long ago. And whereas girls live in fear of showing up wearing the same dress as some bitch that obviously copied her, we know, nay expect, that there will be hundreds of others dressed exactly the same way. But this doesn’t concern us.

Looking like another penguin in a massive huddle is exactly the point of the tuxedo. Though simple, the tuxedo’s understated elegance can make the most unfortunately featured man look like the lovechild of Don Draper and Sean Connery. But despite the tuxedos magical transformative abilities, there are still some minor issues that every man should consider before suiting up.

First off is the jacket. Though traditionally jet-black, some guys like to stand out from the other penguins and go for different colours. While risky, an unconventional choice like midnight blue can look quite dapper. But be warned you could very well end up looking like Dumb and Dumber.

The jacket itself can come either single or double-breasted, with the double-breasted ones typically having overlapping buttons. It comes

24

down to personal preference when choosing, but if you’re tall and thin the double-breasted is usually more flattering. Most jackets also come with a choice of one, two, three or four buttons.

The one and two button style is the more classic and usually looks smart, especially if you’re sporting a vest underneath. Alternatively the three and four button versions are a bit more fashionable and usually suit the medium to tall build, but don’t go well with vests. The lapels can either be the traditional peak, the sharp looking notch or the more rounded shawl with either silk or satin trim.

Again there’s no right answer when it comes to lapels. While George Clooney prefers the notch, so do waiters.

Secondly, the pants. You need to make sure your pants match the jacket, as any discrepancy in colour between the two will make you look homeless. As well as this the pants should come with a silk or satin band down the outer seam that matches the trim on the jacket.

Additionally cuffs on the trousers are to be avoided, as they will also make you look homeless.

The shirt is also of grave importance. Above all it should be white.

The front is usually unadorned, but some rental places will tell you a pleated shirt means you can still look formal when you take the jacket off. Ruffled shirts however went out of fashion with platform shoes

BallGuide · 10

Upfront

uxand Fleetwood Mac and a revival isn’t going to happen before April 16.

Further choices can be made over the tuxedo collar, which comes in multiple styles. The wing is the most traditional and looks good if you remember to tuck the wings behind the tie. However it can look a bit too pompous and stiff, and most people prefer the more comfortable plain fold down collar (but then again this is the Trinity Ball, not some UCD barn dance). For the more adventurous the bow tie-less Mandarin version is experiencing a bit of a come back, but might make you look like a priest. In general you should be all right whatever the style, as long as you can do up the top button.

The other accessories are selfexplanatory. The shoes need to be black and polished. A cummerbund or vest can lend you debonairness especially if they match your bow tie (but never wear both together).

If you want to enliven up your whole ensemble you could artfully protrude a colored handkerchief from your jacket pocket or invest in some flashy cufflinks. Top hats, canes and monocles also can add some much needed panache, but be prepared to be given a napkin with “Get Out of Jail Free” written on it at some point. Bow ties can also brighten up your ensemble as most places stock a rainbow of colours.

BallGuide · 10

ious Don’t undo it too early into the evening though – you’re not Dean Martin, he’s dead.

When it comes acquiring a tux, there are a number of options available to you. Here is a brief guide to some of those options. As a rule you will get much greater value from buying a quality tux early on in your college career than from renting one each time it is needed.

For those of you looking to invest in a quality tux, the Suit and Tux Warehouse on South Anne Street has a great range of tuxes and suits at reasonable prices. There is also the option to rent a suit from a number of stores around the city, be warned however, as they do charge extortionate fines on damaged and stained suits. In one particular rental place, their sixeuro damage waiver doesn’t cover “water” damage.

Finally we turn to the question of clip-on bow ties. Don’t worry, if you really want to wear a clip-on bow tie you can. There’s nothing wrong with it and it’s nothing to be ashamed of. In fact they are much easier to put on and most people won’t be able to tell you’re wearing one at all. There’s even the argument that the pre-tied ones have a crisp look that is hard to reproduce with the overly formal standard tie.

But if you do choose this option be sure to also remember your clipon mittens (it might get cold), your “do not give me scissors” sign and most important of all: First pants, then shoes.

How to tie your bow tie

Bravo! Now you have the knack, try it again so you’ll remember in case it comes loose!

25

Backstage Dizzee Rascal .................................. 28 Digitalism ......................................... 34 Uffie .................................................... 38 Mr Hudson ....................................... 42 Jape .................................................... 46 Mystery Jets .................................... 48 Example ........................................... 50 Fred Falke ...................................... 52 Jesse Rose ...................................... 54 Louis La Roche ............................ 56 Ou est le Swimming Pool ....... 58 Planet Parade ................................ 60

Late Arrivals: Delorentos, Darwin Deez, The Law

Fi

loo

s 28

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Backstage | Dizzee Rascal

Dizzee Rascal

by Verity Simpson

ix

up ok sharp L

et’s face it, The Trinity Ball has pulled it out of the bag this year. TN2 recently named Dizzee Rascal as one of our top five artists of the last decade, so we’re more than excited to be seeing him this year at one of the biggest social events in a Trinity student’s calender.

Quite what he’ll make of it all, I don’t know, but here’s hoping that in his next single we’ll be referenced – or is it given a ‘shout out’? You know, something about stumbling over vomit-spread cobbles in full formal dress?

Either, we should definitely be in for one hell of show. As I write, we’re

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Dizzee Rascal | Backstage

in the immediate aftermath of the 2010 Brit Awards, and YouTube is awash with what seems to have been the most touted and popular act of the night, Dizzee Rascal and Florence and the Machine’s collaboration on “You Got the Dirtee Love”.

Moreover, he walked away with the award for Best British Male, his first Brit, and the man himself echoed the thoughts of many when he opened his acceptance speech with the quip “it’s about time as well.”

Even better was his victory dance when his name was announced.

Dizzee Rascal is not man given to false modesty, and he is well aware of how deserving he is.

In an interview for The Observer, Dizzee claimed that “everything I do is for the music – I want to master it like Bruce Lee mastered martial arts.” And that’s what his life has always been about, it seems.

By all accounts, music was the one of the only lessons he managed not to get excluded from in school, and encouragement came from his teacher, music workshops and his mother.

Even footballer Danny Shittu helped him out, letting him use his decks, which Dizzee acknowledges by donning his old Queen’s Park Rangers jersey from time to time, despite being a devout West Ham fan.

So, the awards have stacked up, beginning with the Mercury Prize for his 2003 debut Boy In Da Corner, snatched from under the noses of indie behemoths such as Radiohead and Coldplay. Does he feel that he’s managed to master music, or is there more to do? At the tender age of 24 (which you must admit is incredibly depressing for those of use who think moving out of home by that age is an achievement), it would be a shame to think that he has already peaked. Maybe he’s at his zenith, but you can’t help but expect him to keep on surprising us with bigger

30

and better things. Already Soul II Soul legend Jazzie B has heralded our headliner as an inspiration, telling The Sun that “the history and legacy Dizzee is leaving in the music industry is immense.”

Don’t think he’ll rest on his laurels though, just because of his extraordinary success so far. He’s not just an artist, but co-owner of record label Dirtee Stank with manager Nick Cage, and counts artists such as Newham Generals and Smurfie Syco amongst his protégés. Dizzee told Westwood that he

The Party Starter: “Bonkers” - The best single of 2009, if you haven’t danced to this, you haven’t been out in a long, long time.

The Wee Hours “Dance Wiv Me” -Has the dual appeal of being madly catchy and actually about pulling - the perfect excuse.

The Anthem “Fix Up Look Sharp” - Perfect old school Dizzee, just the most distinctive MC around over a minimal beat.

believes he and Cage have made history for British music as a whole - “we’ve created a path for kids, we’re creating a future for them.” In some regards, and according to various media reports, Nick Cage took Dizzee Rascal under his wing. It’s believed that this caused London grime peer Wiley’s departure from Cage’s management, jealous that the new talent was preferred over him, though Cage was apparently more concerned with protecting Dizzee from others who were out to exploit him. It’s difficult to say whether or not Dizzee would be where he is today without the support of Cage; in an interview

with the Guardian late last year, he described how it all works. “Nick took me in as a kid. He could see that I was willing to go all out. So he went all out for me. We are family.

And he came and got me in Ayia Napa.”

We can hardly talk about Dizzee Rascal without talking about that near fatal event in Ayia Napa in 2003, where he was stabbed six times. Though this doesn’t seem to be the only trouble he’s been involved in. When asked if that near death experience had an effect on his outlook, he replied, “which near death experience? I’ve had a few - car crashes, plus a few other sticky or violent situations.”

He’s also garnered a bit of a reputation as an artist whose anger is reflected in his music, particularly his debut album.

“Sirens” from his third album Maths + English, is one of his favourites to perform live, but its subject matter reveals some of the experiences he went through growing up, and might illuminate some of the reasons for that anger. The lyrics include the lines, “now I’m hot tempered, feel like switching, can’t stand still, trigger finger itching, gotta stay calm, gotta keep ma cool, if I go jail I’ll be a damn fool”, perhaps reflecting on a common fate for Dizzee’s peers. In an interview he explains, “a lot of my friends were in and out of prison or in bad situations or whatever, and five minutes ago, I was the same.” Describing his involvement in a mugging in the second half of the track, he says “we was ruthless, causing agony in public, it was tragic, me and Aida lost the plot, acting like we were from hell.” In an interview with Radio 1’s Sara Cox, he was asked whether he felt guilty then, and if not, whether he feels guilty now about some of the stuff he got up to. “Definitely, and I know it’s seen as an excuse, but you do

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Backstage | Dizzee Rascal

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31

Dizzee Rascal | Backstage

“

Money,

models,

none of that’s It’s

important.

alright though,

innit?”

32

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Backstage | Dizzee Rascal

what you see. I don’t condone what I did when I was a youth, I just did it. We’re all human, sometimes we do things on impulse.” What would he say to his teenage self now? To look for the positive, focusing on the music. And that’s what he’s been doing. Since last year, he thinks he’s been making a different kind of music, mounting an assault on the pop world, and his greatest achievement has been overcoming his anger.

After all, his legacy will be his music, not his ire.

And it’s pretty clear in some ways just how his music has been changing. Obviously we’d never expect a complete departure from the kind of music he started out producing, it’s his primary passion. Dizzee’s youthful ambition was to be a drum ‘n’ bass DJ, and as that scene morphed into grime, he moved with it. He was a part of the Roll Deep collective along with Tinchy Stryder and Wiley, but like both of those artists, his creative curiosity meant that he soon evolved into something different. “There was no name for what I was making when I was making it. It came out the way it did cause of how open-minded I was about music.”

He’s toured with Red Hot Chili Peppers, The Prodigy, and his personal favourite, Jay-Z. He has collaborated with Calvin Harris, Arctic Monkeys and Chrome, as well as on the recent single release with Florence. It seems that he’s influenced by contemporary music outside the sphere we’d usually expect from an artist of his genre, but then again, he’s agreed that the categories you find created by the industry are little more than pigeon holes. Speaking to The Sun, he revealed that “I agreed with Jay-Z when he said there shouldn’t be a separate category for urban music.

It felt like a special award for ‘you blacks’”. If you’ve ever seen any live performances, whether in person or even via media modes, it’s easy to tell how much Dizzee enjoys what he’s doing. It’s infectious, and his fans quickly follow suit and feel the

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euphoria. But beware, try not to get carried away at the Ball and let those now empty naggin bottles fly towards Dizzee. The last person who tried that (with a deodorant stick, bizarrely) almost got a fist in the face, as Dizzee jumped off stage at his festival set in Australia to square up to the perpetrator. And talking of live performances, I personally will be sorely disappointed if Dizzee doesn’t bring Guthrie Govan with him. Who? I hear you say. Govan is a slide guitarist who has performed with Dizzee on both Later with Jools Holland and BBC Radio 1’s Live Lounge, but what makes this special is that he uses a guitar technique which makes “Bonkers” sound like a bizarre concoction of grime and country. It may sound a bit insane, but it’s well worth looking up. Dizzee’s right, as he sings in “Bonkers”, “there’s nothin’ crazy about me.”

There’s no harm in hubris when you

“

I don’t

hometowns. And if those U.S. fans don’t know what he’s talking about, “they can research it.” But being British, whatever that may be, is something which seems close to his heart. Why else would he agree to be grilled by Newsnight legend Jeremy Paxman? Discussing the success of Barack Obama, Dizzee attributed it to the influence of hip hop, and suggested that something similar might happen in Britain. Paxman asked if Dizzee felt himself to be British. “Of course I’m British man, you know me” was the response, and when the intrepid journalist suggested he run for office, “Mr. Rascal” agreed that it was a very good idea, “Dizzee Rascal for Prime Minister.” I wouldn’t put it past him, especially since he’s been named amongst the London Standard’s top 20 most influential people in the capital city.

Whatever Dizzee does next, our main concern is really what he does

condone

youth

what I did as a

sometimes you

on

act

impulse ”

can pull almost anything off.

In an interview with Jonathan Ross, he said that he likes to write about “sex or violence mainly.” I’d think that’s a bit tongue in cheek, and, in fact he’s said that “money, models, none of that’s new and none of it’s important either. It’s alright though, innit...”. In all seriousness though, there’s an obvious influence from his background. He raps about Bow, London and Britain, all of which he is as rightly proud of as his U.S. equivalents are of their own

at the Ball. He’s unpredictable to say the least, so we can expect one of the most memorable Ball acts ever. But what we can definitely assure you of is that this tent will be packed to bursting, so if you want to get anywhere near the front, be prepared to fight your way there.

And then be prepared to be thrown out if you’re over-zealous. But most importantly, remember that Dizzee’s got his priorities right; “ I just want to be responsible for giving everyone a good time.”

33

Digitalism | Backstage

The

Digital Digitalism

by Sophie Elizabeth Smith

F

rom a WWII bunker deep underground in Hamburg stemmed a German dance punk duo’s digital philosophy of distorted bass and monotone vocals, punctuated by an eternally undulating rhythm and self-described as being equally as indebted to the influence of The Stooges as Ministry of Sound. Yet it was decreed, “you limit your universe if you insist in staying too underground. We have bigger visions than that”. And so it was that Digitalism emerged from the darkness and obscurity to spread the word and lend their caustic blend of buffeting guitar lines and electro grime to the soundtracks of everything from video

34

Age

games to Masterchef.

Jens Moelle and Isi Tüfekçi met, in true High Fidelity fashion, in Underground Solution, a record store in their hometown where they both eventually began working.

Fittingly, film soundtracks make an appearance in their own musical top five, as they cite the scores of John Williams as an inspiration, along with the soundtrack of Last Ninja 2 on Commodore 64, U2’s Under A Blood Red Sky, “Rollin’ & Scratchin’”

by Daft Punk and Franz Ferdinand’s “Take Me Out”. With such an eclectic collection of influences, it comes as no surprise that, along with artists such as Soulwax, Justice and Simian Mobile Disco, Digitalism have in recent years been credited with breaking down the barriers between genres, significantly blurring the lines between electro and rock, house and indie. It is an action that can be traced back to when the owner of Underground Solutions was looking for a pair of DJs to

play at a party. Isi and Jens teamed up on the decks and their reputation soon began to precede them.

They note, “regular electronic club music became pretty boring in the early ‘00s, and that’s why we started including breaks and indie tracks next to hip hop and house or techno in our DJ sets. That whole mixture was exciting for us, and when we began working in the studio, we brought the sound of our sets into our production.”

Their debut album Idealism, released in 2007, demonstrated the ultimate fusion of their penchant for cinematic soundscapes and DJ background, a concoction of live drums, lilting loops and jagged dance-punk guitar riffs. The band itself asserts “we think very much in soundtracks. When you’re walking down the street and you have your iPod on, or when you’re driving somewhere, country roads, lying on the beach, or you’ve having the nicest starry summer night outside

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Backstage | Digitalism

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35

Digitalism | Backstage

“ You could to

say

move people in a we like

& body

way

on a terrace, that’s where we feel our music. Endorphins. But… we want to play our music in clubs too, so that’s why everything on our album sounds pretty loud and is danceable as well. You could say, we like to move people, in a mind and a body way.”

Whilst Digitalism admit that they prefer putting out their own music, they have nevertheless garnered a reputation for their prolific back catalogue of remixes as they became known for embellishing the “Digitalism signature” on an abundance of indie, electro, rock and pop tracks starting with a version of the White Stripes’ “Seven Nation Army” and including a cult re-edit of The Cure’s “Fire in Cairo” and reworkings of Tom Vek, Klaxons, Depeche Mode, Cut Copy and The Presets.

“Doing remixes was a lot of fun and very inspiring for us too, and we had great artists and bands to work with. Actually we’re good friends with some of them now. But whether you remix or compile CDs, the best thing is always to work with no boundaries around you, where you can be completely free in your creativity.”

As advocates, then, of unbounding creativity and freedom of expression, it seems inevitable that Digitalism should align themselves with Daft Punk, the electro duo con-

36

sidered so vital to the French house music that inspired Jens and Isi growing up. An outfit known for their promotion of the visual ele-

“

mind

The Essentials The Party Starter: “Zdarlight” - Opening with a satisfyingly Nintendo-esque intro, 2005’s Zdarlight was one of the first great post-Daft Punk dance tracks, and remains of their best.

The Wee Hours “Pogo” - If this song hasn’t found you in a club, on the radio or over the closing montage of a televised sporting event, you’re probably studying too hard.

The Anthem

ment “Idealistic” - The French may have of taken over the scene, but the true music, heart of electronica is German, using LED singing in accented English over a displays and repetitive beat, like this. robot masks during their live show, Digitalism accept that “there’s more demand for huge spectacles out there nowadays, and Daft Punk has definitely given

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Backstage | Digitalism

us all a good taste of how it could be done… there might be more room now for concepts like that”. In a era of music characterised by artists who develop creatively through constant reinvention, the pair suggest that “music cannot be different if you add other artistic layers around it, but it can certainly feel differ-

ent… There can never be development if you don’t make space for it. Whether it’s re-invention, evolution or starting a new creative cell.”

Evolution is a concept thoroughly familiar to a band that sees the importance in music embracing developing technology, having consented to their song “Zdarlight” being used on the tracklisting of an iPhone app, and relying heavily on a Macbook Pro for live

performances; “these days there’s a lot of new channels to present your music… tune into online radio, websites, even

BallGuide · 10

a video game or apps for phones and stumble across a really exciting song!” Nevertheless, Digitalism can simultaneously appreciate the value in eschewing modernity and scuffing the polish, and have a collection of antique synthesizers in their studio to prove it. Not simply content with being an electrocute duo with a slick production aesthetic, in a 2007 interview they were quoted as saying “lots come from a band background and discovered the possibilities that electronics provide nowadays.

With Digitalism it was the other way round, we come from an electronic club background and sought up a certain garage band attitude, a bit of silliness and punk”. Certainly, when Digitalism first began recording they used whatever instruments they could get their hands on, including the drum sets and guitars of the bands they shared a practice space with, something they think has contributed to a sound they deem to be “rough and edgy”.

Such an attitude has extended to their live performance as well, which they believe they have finally honed: “performing live was a totally new thing for us when we started to do so in 2005.

Now after all the touring, after almost 5 years, we turned into something like a band!”

37

38

freaky fly Uffie

by Catriona Gray 39

‘ Backstage | Uffie

U sound

I got

my my glass

I’m ready to

ffie seems to be one of those artists who people either love or hate – either way she provokes a pretty extreme reaction. I should probably admit right now that I’ve long belonged to the former category of shameless Uffie-love.

Perhaps it’s her music that won me over, maybe it’s her extreme Parisian coolness, or possibly even her style –more likely it’s a combination of all three.

Uffie is on the verge of releasing her long-awaited debut album, Sex Dreams and Denim Jeans, which still doesn’t have a definite date of release, but the first track, “MCs Can Kiss” has already gleefully splashed itself across the music blogs, despite the obligatory dose of bitter criticism that Uffie seems to get wherever she goes. That said, she doesn’t seem bothered, saying that “anyone who has the internet is well aware of my hate club! I just try to brush it off.”

To be honest, the real reason for the lovehate response to Uffie stems from how she broke into the music scene in the first place.

Most of you will probably be aware of the Parisian record label Ed Banger - with no less than Justice on their books, as well as SebastiAn and Mr Oizo. They’re also a notoriously cohesive bunch – artists on the Ed Banger label have a very close relationship with each other, remixing and supporting their labelmates. Uffie first appeared

and

fuck

40

as the girlfriend of Feadz, one of the Ed Banger artists, when she provided vocals for his track “Uffie and Me” back in the early part of 2005. She went on to record “Pop the Glock”, which was produced by Feadz, and in early 2006, she was signed to Ed Banger, after Busy P (DJ and ex-Daft Punk manager - he owns and runs the label) heard the track.

The single “Pop the Glock” and its B-side “Ready to Uff”, produced by Mr Oizo, enjoyed considerable success. Lyrically, Uffie has never been particularly discreet: she tells us that

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Backstage | Uffie

her wrods are inspired by “life, youth, sex dreams, denim jeans”, which is apt considering her forthcoming album title. And she certainly hasn’t been shy of either self-promotion or mentioning her connection with Feadz. “I got a man and he goes by Feadz” was a refrain from “Pop the Glock”, whilst she pointed things out even more explicitly on “Ready to Uff”: “I’m that damn crazy brat, and I don’t give a fuck, I got my man, my sound, my glass and I’m ready to fuck…

I’m Uffie, of course.”

You can see why she’s encountered a few problems, really. Still, she’s released some genuinely good tracks, and Uffie has a very distinctive style – you can immediately identify her vocals, even through the most distorted of remixes. This style is reflective of the artist herself, who says “I’m a total punk at heart, who loves to bounce to hip-hop and sing pop songs in my underwear on my bed. I guess my music mashes it all into one.” Citing Missy Elliot, Pharell, Joy Division and Portishead amongst her influences, it’s no surprise that her music is mash up of epic proportions.

What particularly annoys me is that poor Uffie is currently being continually compared to Ke$ha – Uffie’s videos on YouTube are annotated with inane accusations that she is copying the white girl rapping style that Ke$ha “originated”. Whilst neither of them actually started it, you can’t call Uffie the imitator – she’s been releasing music for years, and “Pop the Glock” came out way back in 2006.

Her latest single, “MCs Can Kiss”, is every bit as excellently produced and lyrically taunting as her previous work.

This is what I absolutely love about Uffie – no one can deny that her songs are first rate, but they can’t help but get riled by the accompanying words.

If you want to spend an amusing hour

or so, read what they’re writing about “MCs Can Kiss” on the music blogs, it’s hilarious. The general consensus appears to be to give Mr Oizo the credit for producing it so nicely, but to lampoon her for her lyrics. They’re supposed to be ironic, for god’s sake. How obvious does she have to be?

And yet the blogosphere continues to buzz with criticism. Branded a fauxlita with minimal rapping skills masked by decent production and autotune, on the Drowned in Sound website, her lyrics, overtly sexual videos and photoshoots attract the most ire: “She just seems to say her name over and over and then say ‘fuck’. What a wastegash.”

Meanwhile, the Chicago scensters at Pitchfork, no strangers to online haterz themselves, have branded her “abhorrent”.

Uffie has hit back, saying, “The people who hate what I do say it’s because I don’t respect the elements or I don’t rap well or blah blah blah. I believe my fans are the people who get what I do. People can have issues with what I do, but they need to think of something new to say because I am not trying to be a rapper. I am just trying to say what I want in a style I want to… have fun and make fresh music.”

She’s revealed that “it’s been a dream of mine to rave in a fancy dress or have an amazing fancy The Party Starter: dress trash party...

“Tthhee Ppaarrttyy” - A Justice I think this is my collab about partying properly. costume opportunity!” so we can The Wee Hours expect something “Pop The Glock” - Laid back typically outrarobot hipster rap at its most geous. If you don’t decadent. Listen to Uffie rap like her, that’s about drinking champagne great, don’t come. and generally being cool.

All the more space in the tent for me.

The Anthem

The Essentials

“Hot Chick” - Hot mess anthem over a warped beat.

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41

Mr Hudson | Backstage

Mr

Super Nova

Mr Hudson by Michael Armstrong

E

xpectations are a funny thing. If Mr Hudson had played the Ball two years ago, one would’ve expected an energetic, if somewhat unremarkable performance from a man at the helm of a pretty typical British indie pop band. But since going solo from his band The Library, Benjamin Hudson McIldowie’s career has taken a bizarre and wholly unique turn, leading to the release of an album executive-produced by the indomitable Kanye West, and a world tour riding on the success of

42

a hit R‘n’B single that features Mr West himself. For a man who used to sing for his supper at a pizza restaurant in Soho, things certainly appear to be on the up.

But how did the unusual pairing of a Birmingham-born, Oxfordeducated singer-songwriter with the self-anointed savior of modern music come about? Mr Hudson is the first to admit that they come from very different backgrounds, in both life and music. “We’ve kind of got very different sounds.

But the thing is, deep down he probably wants to be a singersongwriter from London and deep

down I want to be a rapper from Chicago. We kind of complement each other. I helped on 808s & Heartbreak and he helped produce my album. Obviously I’d heard his stuff, I’ve been a big fan over the years, and then when he heard the first [Mr Hudson and the Library] album, A Tale Of Two Cities, he just got in touch and ended up signing me to GOOD Music. It’s crazy, it’s like Charlie and the Chocolate Factory shit, and I accidentally got the golden ticket.”

The album they made, Straight No Chaser, is a clear departure from Hudson’s original style.

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Backstage | Mr Hudson

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43

Backstage | Mr Hudson

44

healthy to change. I wouldn’t want to just make the same record again; I’m not one of those artists that’s just going to repeat the same formula. I hope people can grow with me. My plan as the years go by is to just keep doing different things. I’d hate to be bored, you know? And I’d hate to bore anyone.”

This most recent experiment has certainly been a success, both commercially and artistically. Perhaps one reason behind this is the similar themes both he and West are choosing to write about at this point in their respective careers. But while Mr Hudson seems a natural fit for bitterly honest songs about how modern relationships can be impossible, even undesirable, West’s shift in focus for his 2008 album 808s & Heartbreak was a controversial move. Dropping nearly all of his signature vocal style to sing with the help of Auto-Tune, Kanye asked Mr Hudson for advice with how to pull off an equally audacious genre-swap of his own. “My whole approach with working on Kanye’s album was to take on board what he said at the beginning, which was that he wanted people that were going to help, not just impose their own ideas. You need to get into his headspace, which took me quite a while.

I felt like I was like a consultant, but the one tune that I sort of put my stamp on was “Street Lights” that I co-wrote with him, and coproduced. But that was kind of late on, once my confidence was up, because you can’t just arrive off of a plane and bowl in, you know?”

Mr Hudson’s experiences across the Atlantic informed his own views on where he sees his career going in the future, and West’s views on the heights he could reach are ambitious to say the least. “The music now should be straight to the point, I’m just going for the jugular you know?

It’s letting people know that there’s that little bit

of ambition there, having worked over in America, I’ve learned that it’s okay to be hungry. [Kanye] said to me, you know, wake up, you can do this, you can be massive if you want. I think as an Englishman, we don’t tend to be as conspicuously ambitious, but the way he got me to approach the second album was to make music that was going to fill those big arenas. He said I’m going to be the next Frank Sinatra, but then he does love exaggerating!”

Indeed part of the fascination with Mr Hudson is how such a down-to-earth person, with a background similar to many Trinity students, interacts with global superstars such as Kanye West, and most recently Jay-Z, who asked Hudson to provide guest vocals for “Young Forever”, the closing song to the third installment of his phenomenally successful Blueprint trilogy. When asked about the differences between the two hip hop moguls, Hudson is complimentary, but remarkably honest about Kanye’s divisive public persona.

“A lot of the time we know more what Kanye thinks, because he’s more in the media, and Jay-Z most

“ I’d hate to get

&

bored I’d hate

to

bore

anyone

“

Swapping reggae influences for songs with radio-friendly beats and stadium-sized choruses, the lead single “Supernova” perfectly captures Mr Hudson’s new direction: rising electronic strings herald an insanely catchy hook, before driving, heavily-produced drums kick in and everybody’s favourite award show guest takes over the vocal duties.

But while some may see what he has done as selling out by pandering to the most ubiquitous trends in modern pop music, for Mr Hudson his new sound is simply one of many genres he would like to try his hand at. “I think it’s

of the time is a bit more discreet, if that’s the right word. But I don’t think you get to that position with-

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Backstage | Mr Hudson

“

It’s

crazy,

&

it’s like

Charlie the chocolate

and

I

accidentally

got

the

factory golden

out being a good guy, and they’re both gentlemen. For Kanye, budget is not an issue, and he’s his own boss, we can just do what we want.

But I’m always trying to get him to do the cheap-as-chips fun things, like when we were in Amsterdam I was like ‘let’s go for a bike ride’. That was funny, riding through Amsterdam in the rain, me leading the way, with Kanye behind me rapping on his bicycle.”

Thankfully, being able to count such massive stars among his friends has not warped his sense of perspective, and he still keeps in touch with his former bandmates.

“Robin the bass player has gone off to Hollywood to write TV programs which is brilliant, TJ the piano player is going off to do his own thing, he’s DJing and producing. No one’s burning any bridges but we’re all doing our own thing, but the idea of The Library has dissolved a bit. It’s more like a collective now than a strict solid band.”

The only problem for Mr Hudson seems to be how to escape from being inextricably tied to the bigger acts he’s worked with so far, and previous interviews have revealed that the tendency for some only to talk about his career in relation to Kanye West’s is a sore point for the rising star. “It’s a big spotlight to be in, but the challenge for me is not

BallGuide · 10

ticket

“

shit,

just to be Kanye’s pet Englishman, as Q magazine put it. I need to step out of that and be Mr Hudson. Hopefully the whole hip-hip part of my life will become just part of the story.”

It remains to be seen whether Mr Hudson can fulfill his potential and define himself as an artist in his own right, but one thing that is certain is that come April 16, he will be committed to putting on a memorable performance.

“Getting on stage is the biggest buzz there is really. When you’re in the eye of the storm, The Pa rty Sta you can’t really feel the presrter: “Super nova” sure; you don’t really notice it.

- A refr earnes esh tp I just try and focus on putting you do iece of pop m ingly n’t beli eve us, usic, and if word f on a good show. It’s funny, take K or it. H an e sings working with Kanye, Jay-Z, a verse ye’s . all these people, once you’ve The W ee Hou got their approval you just think rs “Forev er You ng maybe I’m going to be okay and don’t p rove an ” - Famous fr iends artist’s they ca maybe there’s no point getting w n meet o ’t hurt. Hudso orth... but stressed about this.” n this s n and H umme r single ov The pressure is still, how. ever, always there. In an interThe An t view designed to introduce “White hem L and de ies” - A song a America to Mr Hudson, Kanye ce b what p ption, that so out regret claimed that Hudson had the eople in unds li k the fut ability to be a bigger artist ure wo the 1980s tho e uld be u ght like. than West himself, equal in cultural relevance to the likes of Sting, Jim Morrison, Tina Turner or Michael Jackson.

Kanye certainly expects great things.

And so do we.

The Essent ial

s

45

Jape | Backstage

Japes of Wrath

Jape

by Karl McDonald 46

BallGuide 路 10

Backstage | Jape

S

ure international superstars are all well and good, but there is nothing quite like a hometown hero.

Richie Egan, aka Jape, is as close as Dublin may ever come to a living totem and, having been around here for the past few years rather than swanning around Brooklyn or Dalston, he knows exactly what to expect from this year’s Ball.

“A few years ago I actually played three gigs at the Trinity Ball, with Jape and the Redneck Manifesto, and with David Kitt as well. It was a bit mad and we ended up staying up all night drinking, as you do. One thing led to another and we ended up in Slattery’s the next afternoon.”

A familiar story.

“So the guy from Humanzi is there, he comes over and introduces himself to me, and says he’s a big fan.

He thought I was Damien Rice.”

Egan is decidedly not Damien Rice. With the energy and meticulousness of dance music, but the good old singalong choruses of the rock tradition, Jape’s music touches on nostalgia, young love and drug use, channelling all those hazy emotions without a weepily strummed chord in sight.

His most recent album, 2008’s Ritual, earned the Irish equivalent of universal critical acclaim, winning both the Choice Music Prize and the Nialler9 Readers’ Poll. “It’s always great to release an album and have it be received like that, but it’s weird.

By the time you release an album, you feel like you’ve already let go of the songs. So by the time all that was happening, a while after Ritual came out, I was already thinking about the next thing.”

Still though, being the critics’ darling well-nigh guarantees

The Essentials

an audience for whatever comes The Party Starter: next, and the “Floating” - “We took our first pills when the next Jape album music was shit/I said fuck dancing all night is already highly but that’s just what we did.” Nuff said. anticipated. “To The Wee Hours: be honest, I prefer “I Was A Man” - An unapologetic stomper, not to have that. made for the type of dancing that’s more about fist-pumping than fancy footwork.

Don’t get me wrong or anything, I’m glad The Anthem: that people like the “Phil Lynott” - Richie Egan’s ode to album and want to hear Crumlin’s (other) all-time great. Learn it what I’m going to do next. and sing it arm in arm with total strangers.

But I’d prefer just working for myself. Because that’s who you write music for at the end of the Stradbally. Not day.” that they’re not still in the set, but “I’m a nerd when it comes to Egan is excited about moving forequipment and experiward. “We’ll have some new songs menting with differready. I think you have to change or ent sounds. That’s it becomes a nostalgic thing. We’ll my passion in definitely be ready for the Ball.” life really, just “The Trinity Ball is always mad. plugging one My wife actually graduated from thing into there a few years ago, so I’ve been another thing a few times. I’ve played a couple of and seeing times as well, and it’s good when what hapyou’re taking it easy on yourself, pens.” just watching the carnage unfold Studio preciaround you. One time I played, there sion, and even were people in tuxedos stage-diving, experimentation which was pretty deadly.” with gaudy tropes of If the carnage takes a turn for the modern music such as chipworse, Richie Egan is no stranger to munk vocoder, is a big part of what being pelted with rotten fruit. The makes up Jape’s sound, but his live video to “Floating”, directed by presence is undeniable and almost design duo M&E and DADDY, largely legendary. Trinity News has seen consisted of Egan being pelted with him perform with equal levels of technicolour fruit for the duration of energy and aplomb in front of one the song. Painful, surely? “Actually, hundred people at a venue with a Superquinn gave us like a van-load ten o’clock curfew, and in front of of rotten fruit, which was good for 1,500 headlining the Foggy Notwo reasons. Firstly, it was already tions festival at Vicar Street, but the rotten, so we weren’t using anything definitive Jape performance came at someone could have eaten. SecondElectric Picnic. ly it was quite soft. The only thing “Electric Picnic was the last live that hurt was the director throwing show for Ritual really, and we had an apple full-force at my Adam’s it nailed. It was actually one more apple. That winded me a bit, but I’m show than I wanted to do really, but tough.”

I said I’d do it because it was ElecRotten apples won’t be necessary tric Picnic, you know.” The Ritual if Jape is anywhere near as good as anthems - “I Was A Man”, “Chrisusual. Tuxedoed-stage-divers, on topher and Anthony” and “Strike the other hand, could make for a Me Down” among them - received memorable night. their Viking funeral in that tent in

“” watching the

carnage

unfold

around

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me

47

Mystery Jets | Backstage

An

Y

ou’ve got to admire the eccentricity of Mystery Jets.

They hail from a place near Twickenham on the River Thames called Eel Pie Island, where they garnered a reputation for holding huge parties dubbed “The White Cross Revival”, giving breakthrough slots to Jamie T and Good Shoes. Also, in a British scene where indie bands made up of

48

young men are, let’s face it, pretty difficult to tell apart, Mystery Jets display a refreshing disregard for what’s hot and what’s not. For example, their first record Making Dens drew heavily on the lead singer Blaine Harrison’s dad’s 1970s prog rock collection. And while you’d imagine this sentence has all the uncoolness one band can handle, they even go so far as to include that same dad in their line-up. Since those early days, the band has dropped Henry Harrison from their live show, but he

remains an integral part of the songwriting and production process. The band has said recently that the dad-factor was overshadowing the band itself, and it was time they had a chance to prove themselves out on their own.

It may also have been of personal importance to Blaine: not many teenagers have the conundrum of not being able to rebel because your father is as much into the drugs and rock ‘n’ roll as you are. As Blaine succinctly put it in a 2007 interview, “Shit, if I can fuck girls and take drugs in front of my Dad, where are the boundaries?” When you’re 21 and your Dad is grabbing all the headlines for your band, maybe that

BallGuide · 10

Backstage | Mystery Jets

air

of Mystery Mystery Jets

by Jamie Leptien becomes the boundary in

itself.

Which is where the band’s breakthrough album, 21 comes in. 21 is a coming-of-age album of perfectly written pop songs all about young, romantic, unrequited, giddy love.

His fellow band members have mocked leader Blaine in the past for introducing every song played live as “a love song”, yet these certainly are love songs in the classical pop tradition. “Young Love”, the band’s first single from 21 and arguably their best song to date, tells the story of a couple who meet in “one night of love”, inexplicably get separated in a kind of modern day Cinderella moment and search in vain for each other the next day. Stylistically, the band had moved into full throttle 80s revival mode, effortlessly recalling the era’s peaks of jangling guitar-pop a la The Cure and

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The Smiths. Seemingly overnight, the “prog rock pirates” have morphed into “daddy-ditching 80s revivalists”, which says a lot about the band’s movement towards a songwriting style influenced by the likes of Roxette and Duran Duran. The album’s unlikely producer was London electro shaman Erol Alkan, who refined the more expansive psychedelics of Making Dens into the tighter, higherimpact glimmer of 21. A new, “more widescreen album” is due for release in April, and has been described as 21’s “older, bolder brother”. The anticipation is building that the album will see them further nail down their somewhat elusive identity. As singer Blaine once told an interviewer, “the more people try and put us in boxes, the bigger the pile of boxes gets.”

Add to the mix the youthful energy of their live show and a penchant for irreverence and you sense Mystery Jets will understand quite well the joys of being a student, raving drunkenly in fine dress attire.

The Essentials The Party Starter: “Two Doors Down” Quintessentially twee love song about falling for a nice girl who practices drums late at night.

The Wee Hours “Young Love” - With some assistance from the wonderful Laura Marling, Mystery Jets sing about looking for lost love. Aww.

The Anthem “Half In Love With Elizabeth” An homage to The Cure with an insidiously memorable chorus.

More than a touch sinister, too.

49

Example | Backstage

Example

by Chris Kelly

Dublin Calling

D

espite being born Elliot Gleave, this West London musician performs under his stage name, Example (a name derived from his initials). Describing the West London music scene as being virtually barren (Grime originating in East London; UK Garage and Dubstep emerging in South London), Example grew up listening to acts from the other side of the Atlantic. Specifically inspired

by New York acts like A Tribe Called Quest and Slick Rick, he admits that

50

early on he was influenced mainly “by what the other kids in school were listening to.” Today, he still sees himself somewhat as a musical outsider, commenting, “I don’t really fit in at all… I’m like totally my own thing”. Regardless, Example has recently been achieving some significant mainstream success.

Although his second album, Won’t Go Quietly, hasn’t been released yet, the title track and second single has quickly become a club hit, reaching #1 on the UK Dance Chart, #6 on the UK Singles Chart and #36 on the Irish Singles Chart. The

song, in what can be regarded as indicative of his new sound, blends elements of dance, pop and rap while Example both sings and raps over the track. And although the music video shows Example with a backing band, he insists that the album is “pretty much all synths and programmed drums”.

NME has called Example’s sound “dysfunctional electropop”, a term he “quite likes,” even though he wouldn’t ever use it himself. In describing his new album, Example says he wanted to make “something you could stick on at a house party

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Backstage | Example and not turn off”. Rave music is how he describes it. Yet the songs are dynamic; some tracks have huge choruses that he likens to the Killers while others maintain that classic UK sound more akin to Dizzee Rascal. Rapping on the album is admittedly not the emphasis of Example’s music: “I don’t rap much on the tracks, I got an eight-bar verse here and an eight-bar verse there.

It’s not like a Jay-Z song where it’s like three massive rap verses.”

Example began rapping after realising his limited athletic ability coupled with a fear of being bullied.

“I wasn’t good at football. I couldn’t play any sports. I didn’t want to get beat up, so I just started rapping.”

Luckily for him, he discovered at a young age that rhyming words together came easily, and this talent developed throughout his teenage years. He began MCing at university and through this work, met and began to work with producer Rusher.

He has more recently worked with the likes of Calvin Harris and Chase & Status, big producers in their respective genres: electropop and drum and bass.

Example’s debut album, What We Made, was released in 2007 on Mike Skinner’s now defunct

“fit in

I don’t really

at

all,

I’m like,

totally my own

thing ”

The Beats label, which he followed up with his 2008 mixtape, What We Almost Made. Featuring artists such as Tinchy Stryder and Scroobius Pip, this mixtape set the standard

for the changes Example wanted to make to his sound. The result of his genre-swapping was two great singles for his soon-to-be-released sophomore effort: the afformentioned “Won’t Go Quietly” and the insanely catchy “Watch the Sun Come Up” — an electropop ballad with a hook that just sticks in your head.

Although he has only played Dublin once, when providing support for Lily Allen at the O2, Example is excited to play the Trinity Ball, aware of its status as Europe’s largest private party. He mentioned that a friend of his, a Trinity alumus, once referred to the Trinity Ball as the best night of her life, effectively hyping the night to a perhaps unfair level. Example believes his music to be “perfect for playing big university balls” and, if you enjoy your music upbeat and dancey, then you will as well.

The Essentia ls

The Par

ty S

tarter: “Won’t G o Quietl y” - Aggr energeti essively cd one-nigh ance track abou ta t stand w ith no re grets.

The Wee

H

ours “One Nig ht” - Exa m The Son g From T ple raps over he Ad W Bouncy ith The Balls.

The Ant h

“Watch T em he Sun C ome Up” Dreamy piano on top of Ca Harris-s lvin tyle elec tro.

BallGuide · 10

51 51

Fred Falke | Backstage

Shades of Grey H Fred Falke by Conor McGee

52

aving begun his career in music as a bassist, Fred Falke soon discovered a love for electronic music and decided his talents could be put to better use in the studio.

He is probably best known for his collaborations with fellow French house producer Alan Braxe, on whose Vulture label he released his first record “Intro” in 2000. The two would continue to work together until parting ways in 2008, ending a prolific relationship which yielded numerous underground hits on the French house scene during its heyday.

Falke has since started working on his own, resulting in last year’s Music For My Friends and other releases on German DJ Kris Menace’s French-based Work It Baby label, convincingly stepping out from and developing upon previous collaborations with close friend Menace.

The past year has seen a string of well-received releases and a successful tour of Australia. He has recently remixed tracks from a diverse selection of acts ranging from Will Young and Robbie Williams to The Whitest Boy Alive, Grizzly Bear and U2, as well as fellow Trinity Ball act Example whose single “Watch the Sun Come Up” he remixed last year. Falke’s

BallGuide · 10

Backstage | Fred Falke

The Essentials The Party Starter: “Wait For Love” - Epic and emotive in equal measures.

The Wee Hours “Two Weeks” - 80s synths take Grizzly Bear to new heights.

The Anthem “Golden Cage” - A bona fide anthem; truly euphoric.

remix of the single plays upon the most dramatic elements of the song, adding his signature beats to make an already decent song truly anthemic.

Falke’s origins as a bass player are clear in his focus on ‘big’ basslines and his use of bass guitar in his stage act. Dubbed by some as an “electronic bassist”, he cites The Who’s John Entwistle (who “always plays the right note at the right time, and makes the songs so big”) and legendary R’ n B bassist Gary King (“I love his sound and every bassline he recorded is just magic to my ears, he is the best”) as key influences in how he approaches his electronic

BallGuide · 10

work.

This in part led to the 2008 release of the Defender project with Alan Braxe and Savage on which Savage took up guitar playing duties, with Falke returning to his first love, the bass.

His most obvious influence, however, clearly comes from Daft Punk, to which he owes much of his sampling style and choice of rhythm lines.

“I like many kinds of music. Hiphop, pop, dance, rock - whatever makes me grind and dance is cool!” he explains, “I think the mix of the genres is what makes music go further, to the next step.”

This blend of influences has begun to distinguish his solo work from his work with Braxe, but the ex-Stardust member’s impression on Falke is still clear. While he is

definitely at home dealing with house - French house in particular he seems just as comfortable dealing with rock, pop and rap music as he is electronica. This makes his remixes much more accessible to those outside of the dance scene.

His music has been described by some message board commenters as “like a good, wise and comforting friend from the past”, while another claims that “every time I hear a Fred Falke remix or song I have to shake my ass!” The highest of praise for a man whose job it is to make people dance.

This, combined with his tendency to actively involve his own bass playing into his live act, has made him a popular choice at house venues internationally and a natural pick for this year’s Trinity Ball. His set will probably be geared towards the more chilled out end of the spectrum music-wise while retaining a sense of energy that will hopefully keep everyone moving, albeit in mildly sedate fashion. “I love the excitement of playing live because it is very on edge. It can go wrong at any moment, but at the same time it can go so right and become amazing!”

53

Jesse Rose | Backstage

A Rose by any other name

T

he phrase most frequently associated with British DJ and producer Jesse Rose is one he coined himself: fidget house. By Rose’s own definition fidget house is a subgenre of house music defined by “snatched vocal snippets, pitchbent dirty basslines and rave-style synth stabs over glitchy 4/4 beats.”

Though this may not make a lot of sense to the uninitiated his MySpace page does offer an alternate description that even the most fresh-faced house aficionado can understand: “Take It & Twist It.” In other words, taking existing musical bits and bobs, slowing them down or speeding them up and the dropping them strategically over original beats. Jesse Rose’s particular brand of house, which will be thumping through the hot and heavy dance-tent this Trinity Ball, started “as a joke, which has now gone a little too far.” This is far from a bad thing though, because really, it’s a great joke to be in on.

Rose’s solo debut, What Do You Do If You Don’t was so much fun in fact that the BBC declared him the savior of dance, saying that his debut had given “house music a much-needed injection of fresh.”

This “injection of fresh” builds from the overlapping vocal and rhythmic samples that Rose weaves in and out of drum heavy beats.

His top-selling song for example, is a track titled “Well Now” takes Howlin’ Wolf’s 1966 Blue’s classic “Down in the Bottom,” revs it up and then drops it onto a kit-heavy bottom line. The whole process creates a song that both pricks up

54

your ears and gets your feet moving.

It’s doesn’t sacrifice complexity for momentum and in doing so it blurs many of the lines which we use to define music.

Though for all of these lofty assessments Jesse Rose is still a house DJ and more than anything he likes to get people moving. Thus while some of his peers like Claude VonStroke are busy developing songs that are more experimental, Jesse remains determined to get people dancing and having fun, and he’s

“

I just

open

up the

&

vaults see what

works ”

not one bit ashamed. For instance, when I asked Jesse how he finds his samples, he replied “I just open up the vaults and see what works.

Sometimes I have ideas in mind, other times I just chuck samples in and see what happens. It’s always a laugh though and everything should be taken with a pinch of salt.”

That is not to say that Jesse Rose is only having fun and not breaking new ground. He’s just doing it his own way. Take the other

breakthrough song off his debut album, “Touch My Horn”. Whether it’s splitting your eardrums on the dance-floor or making conversation difficult at your friend’s house, it’s impossible not to move to it.

Though he claims in interviews that his dependence on other samples to create his music takes away from his own originality, there is no denying that his music generates reactions that are entirely Rose’s own.

This talent, which he has been showing off since he started behind the turntables at 14 in Bristol, has not gone unappreciated. A few years ago his friend and fellow producer Switch brought in Rose to help with the production of Arular, MIA’s first album. Rose is now collaborating with other popular dance-acts.

His most recent involvement was with the Grammy-nominated Hot Chip.

Jesse Rose remains evasive concerning any new albums. It took him almost fifteen years before he produced his first album and he seems to be in no rush to put out another. Besides, he’s busy enough as it is. In addition to a residency at the Berlin club Panorama, he bounces between London and the U.S. multiple times a month to play shows, even performing at SXSW. Finally, when I asked him what the sort of music he will be spinning for us on the 16th, he couldn’t help but get descriptive once-again, “I’m feeling a little tropical with all this snow around, that sound kind of warms me up.” So for all those who are worried about the chill of the earlier Ball, never fear. Jesse Rose has got it under control.

BallGuide · 10

Backstage | Jesse Rose

Jesse Rose by Stuart Winchester

The Essentials The Party Starter: “Touch My Horn” - Very infectious: always use protection.

The Wee Hours “Well Now” - Even the blues, in deft enough hands, can be made fun.

The Anthem “Ready For The Floor” - Hot Chip a step harder for the club floor.

BallGuide · 10

55

Louis La Roche | Backstage

Ferme la

W

hile it may seem like a cliché, the Internet age really has made it possible for anyone with the talent and time to make a record at home, stick it on MySpace, create a web-based buzz and end up playing gigs in some of the biggest clubs in the UK, Europe and America. And that’s exactly what happened to DJ and producer Louis La Roche (whose Frenchsounding stage name obscures his identity as a nineteen-year-old London music nut called Brett Ewels).

He currently has three EPs out, the most recent of which, Super Soaker, was released to much acclaim in the blogosphere this January. When we caught up with him a couple of days ago, La Roche was just out of the studio where he had been hard at work on his new album, provisionally titled I Delete

The Essentials The Party Starter: “On The Floor” - High octane future disco , brimming with energy.

The Wee Hours “Love” - If Daft Punk really were human after all, they’d sound like this.

The Anthem “Peach” - The sound of an 80s cop in a convertible muscle car. Awesome.

56

Roche

Myself. “I was a bedroom producer until 2008”, he told us, when asked how he first started making music, “That year I released a free EP via my MySpace and it got me noticed.

Since then I’ve perfected my sound and released two EPs on Ever After Records.”

His debut track, “Love” did the rounds on various house music blogs and file-sharing networks a while back and was variously mislabelled as the work of such esteemed producers as Erol Alkan, Hot Chip’s Joe Goddard or Thomas Bangalter, one half of seminal French house/pop duo Daft Punk. All of which are some fairly impressive comparisons for someone who, at the time, couldn’t even buy a drink in the clubs he’s now playing. Despite everyone’s inevitable surprise that anyone so young could make tracks that seem like the work of a scene veteran, La Roche sees his modest years as a plus.

“I definitely am grateful that age is on my side. This year has been amazing so far and it’s only just begun. I’m taking my time on my album and I don’t have any plans to stop there.”

And it certainly has been quite a year, with tracks from La Roche featuring on compilations from Ministry of Sound, Annie Mac Presents, Modular and Neon as well as on an episode of Channel 4’s teen drama Skins, which has, in recent years, become a bit of a veritable hit maker in its

own right. Indeed, La Roche’s profile looks set to only rise, as he continues to tour and work on his album, which, he told us, features a variety of collaborators from some of the biggest names in the genre, including vocalist Yann Destal of Modjo.

The long awaited album is sure to cause a stir when it’s released some time this year.

When asked to characterise his sound, La Roche succinctly described it as “a mixture of the 90s French house sound with a modern electro twist.

Think Daft Punk meets Mr Oizo,” but admits h i s in-

Louis La Roche

by Dan Kennedy BallGuide · 10

Backstage | Louis La Roche fluences consist of “everything from Stevie Wonder to Cassius.” That said, La Roche’s tracks are proof that the best music is always more than just the sum of its parts. He’s managed to condense the finer parts of disco, Motown, soul, nineties house music and modern electro into feelgood club anthems filled with obscure hooks from long forgotten records, often ones he’s literally found lying around in his parents’ dusty record collections. A confirmed opponent of the long and meandering style that sometimes characterises house, La Roche prefers to get all his ideas in on suc-

BallGuide · 10

cint three and a half minute tracks, which makes him the perfect person to bring the sounds of nineties dance to the attention deficient iPod generation.

La Roche’s output varies from traditional straight up French Touch tracks like “Prick-Stick” and “Be Brave”, to remixes of classic disco tracks like “Sunshine Hotel”, to more obviously electro-influenced tracks like “Warning (Mass Murder)” and his recent, infectious remix of the late, great

Michael Jackson’s iconic hit single “Thriller”.

When asked what this year’s ballgoers could expect to hear at his set, La Roche answered with an unusual level of straightforwardness and candour: “house, disco and electro.

Some will be originals of my own and some will be my remixes including Basement Jaxx, Don Diablo and Ocelot.” If that sounds like your cup of tea, be sure to head along to the Dance Tent on the night and check him out.

57

Ou est le Swimming Pool | Backstage

Dive

Right

In O

Ou est le Swimming Pool

by Aisling Deng 58

u est le Swimming Pool conjures up sensations of deliciously whimsical Neopolitan flavours, soft-focus David Hockney paintings with just enough retrospective nostalgia, and an off-kilter minted effervescent long-island ice tea aftertaste that would aesthetically please even the chic-kitsch yet discerning palate of

BallGuide 路 10

Backstage | Ou est le Swimming Pool Sofia Coppola. That is to say the question. But Ou est le Swimming Pool, the band, are a whole different kettle of fish. Far from the rose-tinted indie of French band The Teenagers, they reside on the other side of the indie spectrum. The British trio consist of Andele Peligroso Pericosima, Affa da and Fernando Percival III. With a Har Mar Superstar-drunkenly-mistaken-for-Alice Dellal-look and a threateningly cool dash of raw grime straight out of La Haine about them you could, all naïveté aside, be convinced of the authenticity of these personas. But in the unlikeliest of probabilities, much unmasking reveals that behind the porn star moustaches and RUN DMC Adidas get ups lie the mortals: Charles Haddon, Joseph Hutchinson and Caan Capan. Hailing from the streets of London, there’s a strong sense of identity imbued in their sound. “I love it, but Camden’s pretty shit,” offers Joe before Caan interrupts, “being surrounded by all these crack heads and gunshots does inspire you to get in the studio and write, so I suppose Camden does influence our music!” Haddon quips in that musically “the influence comes from what happens, personally, in that setting.” The band got together when Haddon met Hutchinson and Capan, who went to school together, and “imposed on their life and home about three years ago. After a year or so, we borrowed some synths of a producer we know for a laugh and accidently made some music.”

But how did they come up with the name? According to Charles, it originated from when they went on ”a mountain trek in Africa a few years ago. Caan, Joseph and myself set off from different sides of the Ou Est Swam Mountains on a race to the summit. The journey was long and arduous, but after two long weeks all three of us made it to the top at the exact same time. Only to find a swimming pool up there with none other than Jay-Z sat in it, champagne in hand. We joined him and his

BallGuide · 10

‘groupies’ and he said that we would be stupid not to use the name Ou Est Le Swimming Pool. So, how can you argue with that?t” Listening to their music you can easily discern their audaciously energetic dynamic, highly reminiscent of The Beastie Boys in their heyday. Music comparisons often elicit tetchiness, from the glam-rock greats such as David Bowie and TRex to present day eccentric electrooutfits like Daft Punk, MSTRKRFT,

“

Be

stupid

& fun

have

as

much

as

possible

”

new people will listen to you. When fans of Passion Pit, Duran Duran, etc see that we ‘sound like them’, they are more likely to listen to us.” Haddon elucidates that their defining difference is that they can see and concede similarities with bands, “we are a male band making some reasonably high pitched, electro music.

Whereas with the 80s stuff, it is even more simple. We just happen to use the same instruments they did.

Everything we use is from the 80s, so that is why it sounds the way it does.” Songs such as “Dance the Way I Feel” and “The Key” coax you in with a welcoming unpretentious nature that you can’t help but buy into the hype and hoopla that their infectious beats rankle up.

“At the end of the day our music is essentially just pop music so we manage to side step most of these sacrifices. We just like big beats and really big vocals. The key is to making it really simple. Which is why “Dance The Way I Feel” works so well for us. It sums up everything you need to know about that song in five short words.”

But what about the ball? As seasoned party animals they illuminate a few golden lynchpin nuggets of wisdom which are easily forgotten in the obscuring furor of misbehaving huff’n’puff static taffeta dresses, limp-eared bowties and haywire signaled phones: “be stupid and have as much fun as possible... Go hard or go home.” Amen.

MGMT and Justice. To a certain extent the same can be said of Ou est le Swimming Pool. Magazines such as Revu draw links between the band and Empire of the Sun and Passion Pit while other parallels hail back to the likes of Duran Duran and Depeche Mode. But for Ou est le Swimming Pool, it’s water off a ducks back. They don’t shy away with false modesty or bite back with The Pa rty Sta bruising pride.

“Jacks rter: on’s La st Stan p For them, being ositivit d” y over drving “I Will Surviv plotted alongsynth b e” type The W ass. e side these bands “The K e Hours ey places them on an take on ” - A locomo tively e 80s da analogous sound n rkwav e synth ergetic T h -pop. e Anth map. “It’s obviously em “Dance T very important to be aqua d he Way I Fee l” an compared to bands hipnes ce track on t - Satisfyingly he fault s and r s when you’re trying etro ch line be ubeese. tween to break into the music

The Es sentia l

s

world, as that is the reason

59

Planet Parade | Backstage

Intergalactic,

planetary...

S

Planet Parade

by Eoin Rafferty 60

omething that’s often overlooked about the Ball is that it provides an opportunity for local bands to gain experience in playing larger venues.

Maynooth based 3-piece Planet Parade have been playing together for five years, and have recently recorded an EP entitled Ghosts to People. A kind of cross between Jimmy Eat World and Good News for People who Love Bad News era Modest Mouse, their sound is energetic, emotional and polished, and the EP features four immediately catchy songs. They have toured Ireland

BallGuide · 10

Backstage | Planet Parade with established acts like Mundy, Bell XI and Delorentos. The band is in the process of recording a new, as yet untitled, EP. I spoke to guitarist/ singer Michael Hopkins about the band’s genesis, their relentless touring and their excitement at playing Trinity Ball.

Besides indie favourites Vampire Weekend and Passion Pit (for whom Planet Parade will be opening at the Savoy in Cork), Hopkins named few contemporary bands as influences: “We’re mainly into old music, you know: The Police and Stevie Wonder and Bob Marley. We’re not really too into recent bands.” And despite the band’s fairly straightforward lyrics, Hopkins told me that the band has a vague interest in science and science fiction. He explained the name ‘Planet Parade’ to me. He said that the band members are all “kind of space nerds. I just read it somewhere and it’s when all the planets line up perfectly in a chain with each other or something. It happens in 2012.” He admitted, however, that “there wasn’t really much thought involved in it, we were just dying for a name and something sounded cool finally so we just kind of went for it.”

Despite the high production values of Ghosts to People (Hopkins stated that the EP’s engineer is “a genius”), he told me that playing live is the band’s preferred medium: “it’s the whole reason why we try to do this. You hear a record and it sounds cool, but our stuff is kind of made to be danced to.” Hopkins says the band employ an array of effects to give their shows an extra kick, stating that for live shows there are “just pedals everywhere. Stompboxes.

We just try to give it something else, something to make it really big, because we don’t have an extra guitar player or keyboard player. So with pedals it seems like it can be rawer, more explosive.” Hopkins emphasized the chemistry in the group, both live and in the songwriting process. “It’s totally collaborative. It’s different for every song but we’d all kind of bring our tuppenny’s worth.

Certain songs might give someone

BallGuide · 10

“really

We’ve heard

good

&

things about the

ball

an idea that everyone just kind of pulls together. Or some songs we’d just be jamming and it would end up being structured by the three of us equally. It’s not really a one person songwriting thing”.

I asked about the band’s set up, and was told that, despite the lineup remaining constant, the band has recently changed their approach to playing music. “We’ve been together about 5 years now, we’re all kind of best mates but the way the line-up is now in the band, we literally swapped our instruments around. I used to play drums, now Andrew plays the drums. He used to play bass and Ronan plays bass now, he used to play guitar. Like 8 months ago we swapped around and it actually turned out a lot better. It was hard with the vocals and drums, we felt kind of caged in.” I wanted to know their attitude to touring, and what kind of experience they have: “We’ve played a lot of gigs around the place, around Ireland. We did a couple of tours with Bell XI, we played in the Olympia and it was really cool. We’re not really used to that. We play a lot of Whelans gigs, every month or so. That’s always good craic. People would be pretty drunk at that stage, because we start around 12 o’clock!” I wondered if the Trinity Ball will be the band’s biggest gig so far. “Oh of course! It definitely would.

We’ve heard really good things about the Ball and we’re dying to do it. We’ve

we’re

just

dying to

do it”

no idea what to expect apart from all the people in tuxes! Everyone’s saying it’s really cool and we’re just dying to play it.” Despite near constant gigging in Dublin’s relatively small venue circuit, Hopkins told me that they “don’t really feel part of an Irish scene at all. We just kind of do our own thing and we bump into bands every now and then. There’s no ‘underground’ scene or at least we don’t know about it.”

Hopkins told me that he rarely goes out on the town these days “We only socialize when we’re gigging ourselves. The prices of gigs these days are outrageous”, suggesting a sensitivity to the specialness of gigging and nights out. Though the band have lots of experience in smaller venues, it will be interesting to see how they perform at a show as large as Trinity Ball. Michael’s excitement is palpable.

The Essentials The Party Starter: “Cut The Cord” - Melodic indie pop along the Phantom.fm lines.

The Wee Hours “Play Fair” - Delorentos style playfulness, into emotive rock.

The Anthem “Sunshine” - Uplifting song in the Editors vein, with a dubby twist.

61

Trinity Publications Bursary Have you made an outstanding contribution to student publishing and media this year?

Do you plan to keep up the good work?

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Contact the Secretary, Grace Walsh, gwalsh2@tcd.ie for more information or an application form.

Keep a lookout for more information in the coming weeks.

If you require more information or an application form please contact the Secretary, Grace Walsh at gwalsh2@tcd.ie www.trinitypublications.info

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