The Irish Times - Friday - The Ticket - - THE TAKE -



Whe­lan’sDublin8pm¤16.50 whe­

When he isn’t per­form­ing as an in­te­gral mem­ber of BellX1, song­writer and multi-in­stru­men­tal­ist Dave Ger­aghty hangs his hat on the hook known as Join Me in the Pines. Pre­vi­ously re­leas­ing al­bums un­der his own name (2007’s Kill your Dar­lings, 2009’s The Vic­tory Dance),

Ger­aghty has been beaver­ing away un­der the um­brella ti­tle of JMITP for the past four years. Re­cent mu­sic has pro­vided ev­i­dence of a change of di­rec­tion, how­ever: som­bre in­die-folk re­placed with splashes of funk and pop. A class act, what­ever the mu­sic. JMITP also play Róisín Dubh, Gal­way, Satur­day, No­vem­ber 24th. TCL


TheBut­tonFac­tory,Dublin ¤33.50 tick­et­mas­ Al­soSun For those of you that lurked around the Voodoo Lounge, the base­ment of Ea­monn Do­ran’s and the oc­ca­sional Thurs­day in Fib­bers circa 2004 2007, this dou­ble whammy of ska-punk from Less Than Jake and Reel Big Fish will take you right back. So dust off the che­quered Vans, the baggy pants and warm up for a night of nostal­gia and skank­ing. Sup­port on the night comes from Cal­i­for­nia band Sub­ur­ban Le­gends. LB


SoundHouse,Dublin¤17.34 tick­et­mas­ The Aces are a dreamy in­die-pop band from Utah and they are Katie Hen­der­son, McKenna Petty and sis­ters Alisa and Cristal Ramirez. Hav­ing just fin­ished up a tour with the Aus­tralian pop-punk band Five Sec­onds of Sum­mer – an un­usual fit but what­ever it takes to reach a big­ger au­di­ence - and their de­but 2018 al­bum When My Heart Felt Vol­canic de­serves a spin be­fore the year is out. Think HAIM meets Say Lou Lou but breezier. LB


OlympiaTheatreDublin8pm¤50.65 (sold­out)tick­et­mas­ter.ieAl­soMon (sold out)/Tues, same venue Se­ri­ous band, se­ri­ous mu­sic. So se­ri­ous, in fact, that there was a stretch of time when even their most fer­vent of fans were pos­si­bly think­ing how much longer the band could dig deep in or­der to main­tain their level of pop­u­lar­ity. And yet for all their fret­ful, post-mid­night de­ter­mi­na­tion, surely no one was ex­pect­ing the band’s new al­bum, Ma­rauder, to sound so fresh. The touch­stones of Joy Divi­sion and The Chameleons are still there but sliv­ers of light and shade push their way through, guid­ing the mu­sic into ar­eas never pre­vi­ously ex­plored. What­ever about the wise mu­si­cal de­vi­a­tions, three shows at this venue (two of which are sold out) prove that the fan­base re­mains in­tact. TCL


3Arena Dublin 8pm ¤50.50 (sold out) tick­et­mas­ This time 10 years ago, Florence Welch was a ne’er do well singer, song­writer and per­former schlep­ping around small venues in the UK and play­ing vir­tu­ally bot­tom of the bill line-ups in fes­ti­vals such as Elec­tric Pic­nic. Here we are now, how­ever, and Flo and her mates (in­clud­ing co-founder mem­ber, Is­abella Sum­mers, who pro­vides the ‘Ma­chine’ part of the name) can barely con­tain the drama and cel­e­bra­tion. Tracks from the group’s ex­cel­lent lat­est al­bum, High as Hope, will be fea­tured through­out, as will bet­ter-known songs from her pre­vi­ous three records (2015’s How Big, How Blue, How Beau­ti­ful, 2011’s Cer­e­mo­ni­als, and 2009’s Lungs). TCL


Tivoli theatre Dublin 8pm ¤16 tick­et­mas­ Thank­fully, ev­ery now and again along comes a band that is all pee and vine­gar, a fig­u­ra­tive mix that is bound to have in­ter­est­ing con­se­quences not only for the lis­tener but for fans of gen­uinely ex­cit­ing mu­sic. Lon­don’s Shame – a mix of heav­ing post-punk and clas­sic Brit­pop – are one of those bands. Their de­but al­bum, Songs of Praise, was re­leased at the start of the year and by the sum­mer was el­e­vated to one of the year’s best. Fit­tingly, Shame re­turn to Dublin to a big­ger venue (they played Whe­lan’s about seven months ago), which means more room to push, shove and gen­er­ally have a ball. TCL


Bel­loBar,Dublin¤18.50-¤21 home­ Lam­bert, the Ber­lin-based, be­masked, clas­sic pian­ist, is a reg­u­lar vis­i­tor to these shores, al­ways put­ting on a spec­tac­u­lar and un­pre­dictable show, and on this trip he’s joined by the Amer­i­can but UK-based vo­cal­ist Brook­lyn Decker as they present songs from their col­lab­o­ra­tive al­bum We Share Phe­nom­ena. Writ­ten be­tween Ber­lin and Not­ting­ham over a se­ries of emails and texts, the process had forged a deep friend­ship be­tween the two mu­si­cians, as well as re­sult­ing a beau­ti­fully frag­ile al­bum. LB


TheGrandSo­cial,Dublin ¤11.25 thegrandso­ Ele Bres­lin is a 25-year-old Dublin that takes the elec­tropop genre and in­jects lash­ings of soul into it. Launch­ing her de­but sin­gle Do Like I Do, which you can lis­ten to on break­ing­, the BIMM grad­u­ate is bring­ing a full band with her to help kick things off. Over the course of the next year, she in­tends to roll out a se­ries of songs and mu­sic videos to help you get ac­quainted with her. LB


Up­stairsinWhe­lan’s,Dublin¤15 whe­ The Glas­gow band pre­vi­ously known as Happy Meals are rein­tro­duc­ing them­selves as Free Love, so as not to con­fused with a dif­fer­ent Lon­don­based Happy Meals. Made up of Suzanne Rod­den and Lewis Cook, Free Love make quirky, utopian elec­tropop mu­sic. Their video for Syn­chronic­ity sees them play­ing off

the typ­i­cal 1980s mu­sic video for­mat (hazy lights, bizarre props), as a nod to their love for the likes of The Hu­man League. This gig should be hella fun. LB


Acade­myDublin8pm¤20 tick­et­mas­

Hatcher and Clut­ter­buck might sound like a le­gal firm straight out of a Charles Dick­ens’s novel, but James and Andy are hav­ing none of that. The two Lon­don­ers first met about five years ago to cre­ate warm elec­tronic rhythms that was smartly de­scribed by the Tele­graph as “fu­tur­is­tic soul des­tined to re-in­vent baby-mak­ing mu­sic”. With two well-re­ceived al­bums in the bag (2016’s Warm on a Cold Night, this year’s Love Me/Love Me Not), the duo looks set for more of the same for the fore­see­able fu­ture. Ad­mi­ra­tion and re­spect, that is, not pa­ter­nity suits. TCL


But­ton Fac­tory Dublin 7pm ¤10 but­ton­fac­

Dublin’s BARQ have been jump­ing up and down with ob­vi­ous en­ergy for a few years, clev­erly ne­go­ti­at­ing the tricky paths be­tween forg­ing a dis­tinct iden­tity, keep­ing one eye on com­mer­cial ap­peal, and mak­ing sure that broad­cast pro­gram­mers prick up their ears for tunes that fit right into day­time ra­dio play. This gig is the launch plat­form for their new sin­gle,

I’m Blam­ing You, which sees BARQ suc­cess­fully team up with Dif­fu­sion Lab (a Dublin-based col­lab­o­ra­tive hub fo­cus­ing on work­ing with hip-hop, soul, R&B acts). Spe­cial guests are African desert-in­flu­enced group, HAIKU, and funkier-thanfunk band, Chief Kee­gan. TCL THURS­DAY 22


Na­tional Con­cert Hall Dublin 8pm ¤35/¤

Founded in 1982, Aidlink is an Irish char­ity that works in Ghana, Kenya, and Uganda to rad­i­cally im­prove the day-to-day ex­is­tence of peo­ple liv­ing in poverty by build­ing wells, san­i­ta­tion fa­cil­i­ties, and train­ing farm­ers, with a sharp fo­cus on equal rights for fe­males. The mu­sic acts per­form­ing sep­a­rately and join­ing to­gether to raise funds in­clude Cathy Davey, Wal­lis Bird, The Pale, David Kitt, and Mundy. Ex­pect a har­mo­nious choir or two to en­hance pro­ceed­ings. TCL


The Work­man’s Club, Dublin 8pm ¤14 the­work­man­

Westch­ester County singer-song­writer Dar Wil­liams doesn’t of­ten travel to Ire­land, so if you have a han­ker­ing for the kind of in­die folk/pop that makes you think as you hum along, then you’d best get to this gig. With a bit of luck, Wil­liams will have copies of her 2017 book, What I Found in a Thou­sand Towns (A Trav­el­ing Mu­si­cian’s Guide to Re­build­ing Amer­ica’s Com­mu­ni­ties – One Cof­fee Shop, Dog Run, & Open-Mike Night at a Time), the ti­tle of which is self­ex­plana­tory. Books aside, her most re­cent al­bum, 2015’s self-re­leased Emer­ald, sees her once more take own­er­ship of her art with songs that vi­brate with hon­esty and in­sight. TCL



TheVin­tageRoom,Work­man’sClub, Dublin8pm¤8the­work­man­

Dublin singer-song­writer EllyD brings a very fruit­ful year to a close with the launch gig for her re­cently re­leased sin­gle, Sorge. The singer has made se­ri­ous in­roads this year, hav­ing grad­u­ated from in­génue sta­tus to re­leas­ing her de­but EP, Rise. Aligned with the mu­sic, how­ever, is a hard-work­ing ap­proach to hon­ing her per­for­mance skills in front of an au­di­ence. If you can’t make this gig (al­though you should, as the in­ti­macy of the venue will en­hance ap­pre­ci­a­tion of the mu­sic), EllyD will be sup­port­ing The Rip­tide Move­ment at their Vicar Street show on Satur­day, De­cem­ber 1st. One to keep a beady eye on for 2019? TCL



Fol­low­ing the re­lease of his

Ne­cro­dancer and Dun­geon Funk EPs, North­ern Irish DJ and pro­ducer Car­ton Doom (Chris Hanna) is mak­ing his de­but Dublin per­for­mance in the Bernard Shaw this week­end. Promis­ing to de­liver a very busy set of elec­tro and techno, it’s ad­vised that you “dress to sweat” for this gig so don’t come un­der­pre­pared. Sup­port on the night comes from Belfast DJ Chris Jones and it all kicks off at 8pm. LB



The Dock, Car­rick on Shan­non 8.30pm ¤20 the­ Seven-strong band of singers and mu­si­cians, all liv­ing in Mayo who have de­vel­oped their own unique and richly-har­monised ap­proach to vo­cal per­for­mance from di­verse vo­cal and in­stru­men­tal back­grounds, in­clud­ing folk, trad, blues, rock and pop mu­sic. Their ar­range­ments are largely cen­tred on their multi-part vo­cal har­mony ex­pe­ri­ence gained from clas­si­cal cho­ral mu­sic.


Cough­lan’sLive,Cork8pm¤15 cough­ Now with two al­bums un­der their col­lec­tive belts, this four-piece, fea­tur­ing fid­dler Caoimhín Ó Raghal­laigh, sax­o­phon­ist, clar­inet­tist Seán MacEr­laine, per­cus­sive dancer Nic Gareiss and per­cus­sion­ist Pet­ter Bern­dalen reg­u­larly lev­i­tate just as their name sug­gests. With a raft of their own com­po­si­tions in mu­sic and dance, this is mu­sic that’s free of any ties that bind: a spir­ited, light-filled mag­is­terium and a treat for any mu­si­cal ad­ven­tur­ers.


The Clé Club, Cois Life Bar, Lib­erty Hall 8pm¤5cle­club.wik­i­ His­to­rian and ac­claimed au­thor Dr Ida Milne traces the im­pact of the Great Flu in an age of rev­o­lu­tion while singer, song­writer and racon­teur Jimmy Crow­ley ex­plores the theme through songs of war, of love and loss. This week’s gath­er­ing of the Clé Club has as its theme: A night of songs and mu­si­cal mor­tu­ary piled high with mur­der, may­hem and death, yet love lives on. Songs & tuneswel­come from the floor. Fear a’ ti for the evening will be Sea­mus Doo­ley.

Friday23 John Spil­lane

DCMu­sicClub,Cam­denLane8.30pm ¤14 mu­si­ A true son of the In­de­pen­dent Repub­lic of Cork, John Spil­lane brings his knap­sack full of orig­i­nal songs and sto­ries to this in­ti­mate venue, where waltz­ing cherry trees, the tri­umph of the hu­man spirit and ad­mon­ish­ments to a cer­tain Johnny to give a wide berth to Ballincol­lig will form part of the rich ta­pes­try of the unique al­ter­na­tive uni­verse of this base­ment set­ting.



Bel­loBar,Dublin,8pm,¤10(also Sun­day, Plug’d, Cork) face­ Ex­per­i­men­tal­ist col­lec­tive Wo­ven Skull cel­e­brate the re­lease of their sec­ond long-play­ing record in the com­pany of fel­low ad­ven­tur­ers in the outer reaches of the sonic uni­verse, in­clud­ing mys­te­ri­ous US gui­tarist and singer Fuzzy Hell and a duo fea­tur­ing gui­tarist Cian Nu­gent and drum­mer Sean Car­pio.


Arthurs,Dublin,9.30pm,¤12, arthur­ Heavy­weight drum­mer Conor Guil­foyle leads his well-drilled eight piece en­sem­ble – in­clud­ing trum­peter Bill Black­more and sax­o­phon­ists Yuzaha O Hal­lo­ran and Peter Dobai – through a set of west coast ‘cool jazz’ and east coast ‘hard bop’ clas­sics from the pens of Ho­race Sil­ver, Benny Gol­son et al.


The Draw­ing Room (14 Hen­ri­etta st.) Dublin, 7pm, ¤18, sueryn­ Vo­cal­ist and com­poser Sue Rynhart takes her voice (and her au­di­ences) to un­usual and orig­i­nal places, so it’s ap­pro­pri­ate that this con­cert with her new trio, fea­tur­ing key­boardist Dar­ragh O’Kelly and bassist Dan Bod­well, is tak­ing place in the at­mo­spheric sur­round­ings of the Dublin Ten­nement Mu­seum. A tour of the mu­seum is in­cluded in the ad­mis­sion price.



Sugar Club, Dublin, 7.30pm, ¤20 the­sug­ar­

What­ever mu­si­cians Bowie had plucked from ‘ob­scu­rity’ to ap­pear on his swan­song Black­star re­lease, they would have had their ca­reers turbo-charged, so we can be grate­ful that the thin white duke had the good ears to se­lect the kind of mu­si­cians who re­ally de­served a wider au­di­ence. Cre­ative Brook­lyn key­boardist Ja­son Lindner brings some of the lessons he learnt with Bowie to this fu­tur­is­tic three piece with Robert Glasper Ex­per­i­ment drum­mer Justin Tyson and mus­cu­lar Greek bassist Panagiotis Andreou.



Sugar Club, Dublin, 7.30pm, ¤22.50, the­sug­ar­

Leg­endary gui­tarist Pat Metheny told

The Irish Times last year that he thought An­to­nio Sanchez was the great­est drum­mer of his gen­er­a­tion. Sanchez has been the drum­mer in Metheny’s band for the past decade, so the gui­tarist’s en­thu­si­asm is un­der­stand­able, but there is no doubt­ing that, if there was a world rank­ing for drum­mers, Sanchez would cer­tainly be camped out in the top 10. His Mi­gra­tion band in­cludes top New York side­men sax­o­phon­ist Sea­mus Blake, pian­ist John Escreet and bassist Matt Brewer. Drum­mers will at­tend in num­bers, sticks will blur, jaws will hit the floor.


Crane Lane, Cork, 8.30pm, Adm free (also Thurs­day, Ar thurs, Dublin, 9.30pm,¤12)kev­in­ The top Dublin rhythm sec­tion of drum­mer Kevin Brady and bassist Dave Red­mond is re­spected far beyond these shores for the sure­footed, hard-swing­ing sup­port they give to visi­tors. For more than a decade now, they have been meet­ing up reg­u­larly with US pian­ist Bill Carrothers, record­ing the ex­cel­lent En­sam al­bum with him in 2016 which in­cluded a guest ap­pear­ance by vo­cal­ist Norma Win­stone. Carrothers is an in-de­mand side man him­self who has played with bassist Gary Pea­cock and trum­peter Dave Dou­glas, and has been par­tic­u­larly as­so­ci­ated with drum­mer Bill Ste­wart. His long as­so­ci­a­tion with Brady and Red­mond will make this re-union worth catch­ing in Cork to­day and Dublin on Thurs­day.




The monthly new mu­sic sa­lon at Arthurs is a great way to keep up with what’s new and who’s fresh on the Dublin cre­ative mu­sic scene. This month, Con­golese gui­tarist Ni­wel Tsumbu and per­cus­sion­ist Ea­mon Cag­ney per­form clas­si­cal and tra­di­tional mu­sic, flautist Lina An­donovska and drum­mer Matthew Jacobson per­form new com­po­si­tions from Barry O’Halpin and Nick Roth, and, as part of Mu­sic Net­work’s ‘Mas­ters and Ris­ing Stars’ se­ries, pi­anists Phil Ware and Luke Howard per­form in duo.


Work­man’s Club, Dublin, 7pm, ¤12, im­pro­vised­mu­

The monthly vinyl lis­ten­ing club, mod­er­ated by this cor­re­spon­dent, turns its at­ten­tion to one of the most im­por­tant mod­ernist com­posers in jazz, the way­ward ge­nius of Carla Bley. De­fi­antly orig­i­nal, Bley was one of the first fe­male jazz com­posers to gain wide­spread re­spect, and over the years her record­ings have been a who’s who of mod­ern jazz. Lately, though, she has turned more to­wards live per­for­mance and her pi­ano play­ing has emerged from the writ­ing room as some­thing un­ex­pected and unique.



NCH Kevin Barry Recital Room 7.30pm ¤17.50 François Couperin’s Trois Leçons de Ténèbres are set­tings of the La­men­ta­tions of Jeremiah for per­for­mance dur­ing Holy Week. Only three of the nine set­tings he men­tioned hav­ing writ­ten have sur­vived and the mu­sic, for one and two fe­male voices and con­tinuo, is of an qual­ity to sug­gest that the miss­ing six con­sti­tute a ma­jor mu­si­cal loss. The Na­tional Con­cert Hall’s Couperin 350 cel­e­bra­tion fea­tures a per­for­mance by Ais­ling Kenny (so­prano), Sharon Carty (mezzo so­prano), Ni­cholas Milne (bass viol), Sofie van den Eynde (the­o­rbo) and Mal­colm Proud (or­gan). Also on the pro­gramme are works by Pur­cell, Marais and Couperin’s joy­ful Motet pour le jour de Pâques.


Sean ad É ire ann, Le inst er House 7pm 01-6486334, ed­u­ca­tion­[email protected]­ The Royal Irish Academy of Mu­sic and the Na­tional Mu­seum of Ire­land are tak­ing over the Seanad for an hour of mu­sic by women to mark the cen­te­nary of women’s suf­frage. The fea­tured com­posers are Solfa Carlile (Dystopia), Amanda Feery (Rat­tle), Mar­ian In­goldsby (Deuce), Jane O’Leary (a pi­acere), Ailis Ní Ri­ain (End with Words of Hope), Kaija Saari­aho (Chang­ing Light) and their works will be per­formed by so­prano Sylvia O’Brien, flautist Wil­liam Dow­dall, and clar­inet­tist Paul Roe. The event will be topped and tailed by a per­for­mance of Ethel Smyth’s suf­fragette an­them, The March of the Women. Places, ob­vi­ously, are limited. But it’s worth check­ing out even un­til the last minute in case of can­cel­la­tions or no-shows.


NCH,Dublin7.30pm¤15-¤38.50 It’s an­other all-Rus­sian night from the RTÉ Na­tional Sym­phony Or­ches­tra, and this time it’s de­voted to just a sin­gle com­poser – Tchaikovsky. The pro­gramme fo­cuses on works writ­ten be­tween 1878 and 1890, with the open­ing given over to or­ches­tral se­lec­tions from op­eras, the Polon­aise from Eu­gene One­gin and the Over­ture to The Queen of Spades. Tai­wanese-Aus­tralian vi­o­lin­ist Ray Chen, a player with a rep­u­ta­tion for amus­ing mu­sic videos as well as fine play­ing, is the soloist in the Vi­olin Con­certo. And the con­cert ends with the Fifth Sym­phony, a hugely pop­u­lar work about which the highly self-crit­i­cal com­poser wrote in 1888, “After two per­for­mances of my new Sym­phony in Pe­ters­burg, and one in Prague, I have come to the con­clu­sion that it is a fail­ure. There is some­thing re­pel­lent, some­thing su­per­flu­ous, patchy, and in­sin­cere, which the pub­lic in­stinc­tively recog­nises.”


Gallery of Pho­tog­ra­phy, Meet­ing House Square, Tem­ple Bar, Dublin Un­til Jan­uary 20th gallery­of­pho­tog­ra­ The reign­ing Prix Pictet win­ner is Richard Mosse and his Heat Maps – ther­mo­graphic im­ages of con­cen­tra­tions of refugees – is on view to­gether with work by the short­listed pho­tog­ra­phers, work­ing on the theme of space, from Sergey Pono­marev’s dis­turb­ing Euro­pean Mi­gra­tion Cri­sis to Michael Wolf’s Tokyo Com­pres­sion, plus projects by nine oth­ers.


An open, one-off event staged by Dorothy Smith and Jackie Bourke.

Daly mount Sta­dium, Phibs bor­ough, Dublin No­vem­ber 10th 10am-1pm In use since 1901, Da­ly­mount Sta­dium will be de­mol­ished and re­placed by the new mu­nic­i­pal sports sta­dium in three years time. Smith and Bourke are cur­rently work­ing on an ex­plo­ration “of the ar­chi­tec­tural legacy and space” of the site. Those in­ter­ested are in­vited to draw and ex­plore the his­toric sta­dium, in­clud­ing ac­cess to ar­eas not usu­ally open to the pub­lic. There’s an in­ter­ac­tive pub­li­ca­tion, The Da­ly­mount Colour­ing Book, in the works.


Chris Doris. The Model, Home of The Nil and Col­lec­tion, The Mall, S li go, Ire­land Un­til Jan­uary 27th the­ Chris Doris draws on ele­ments of psy­chother­apy, art, med­i­ta­tion and ”other forms of in­ter­cep­tion” for works in­clud­ing Open Paint­ings, text paint­ings and works on steel and pa­per evok­ing “the empty ground of be­ing, and the con­di­tioned na­ture of self.” The project in­cludes an ex­per­i­men­tal, par­tic­i­pa­tory, cho­ral sound­work, Songs of Be­ing Seen (No­vem­ber 17th, 3pm, with an 18-per­son limit) and a con­ver­sa­tional par­tic­i­pa­tory project Tak­ing His­tory, from De­cem­ber 1st.


Five artists. Sol­stice Arts Cen­tre, Rail­way St, Na van, Co Me a th Un­til De­cem­ber 21 st sol­stice art scent Davey Moor cu­rates a show of works by five artists – He­lena Hamil­ton, Kevin Killen, He­len Mac Ma­hon, Lor­raine Nee­son and Mar­garet O’Brien – us­ing light in the form of ar­ti­fi­cial il­lu­mi­na­tion as their pri­mary medium. That medium has been ex­tant since the 1920s, Moore notes, and flour­ished on the West Coast of the USA in the 1960s and 1970s. Now Irish artists have been work­ing with it in­ven­tively and var­i­ously.


The The LAB, LAB, Fo­ley Fo­ley St, St, Dublin Dublin Un­til Un­til Jan Jan 12th 12th dublincit­yart­sof­ dublin city art so ff the-lab/ex­hi­bi­tions the-lab/ex­hi­bi­tions Atoosa Pour Hosseini‘s start­ing point for her new film, sculp­tural and in­stal­la­tion work was Derek Jar­man’s 1993 film Blue. Blue. Her fic­tional char­ac­ter ne­go­ti­ates the land­scape with an eye to colour, dis­place­ment and mi­gra­tion. Paul Hal­la­han ex­plores how sys­tems and net­works cre­ated by hu­mans have dis­placed na­ture as a source of artis­tic fas­ci­na­tion, and what that means for us.


Project Arts Cen­tre, Dublin. Nov 17-24 7.30pm (Sat mat 3pm) ¤18-¤22 pro­jec­tarts­cen­;Mer­maid­Arts Cen­tre, B ray. Nov 298 pm ¤18¤16 mer­maid­arts­cen­ If your life story is by no means con­ven­tional, it de­serves an un­con­ven­tional telling. That is likely to be the case with this col­lab­o­ra­tion be­tween Mary Cough­lan and the al­ter­na­tive theatre com­pany Bro­kentalk­ers, to­gether cre­at­ing a per­for­mance piece “re-imag­ined” from the singer’s com­plex bi­og­ra­phy. Given the sub­stance of Cough­lan’s life, strug­gling from an early age with ad­dic­tion and men­tal health is­sues, whose ear­li­est suc­cess, the al­bum Tired and Emo­tional, seemed to go hand in hand with self-de­struc­tion, that de­mands an ap­proach as sen­si­tive as it is un­flinch­ing. And like the singer her­self, who re­cov­ered from the nadir to re­claim a more sta­ble life, a greater com­mand of her art and a stri­dently po­lit­i­cal voice, it re­quires a ca­pac­ity for trans­for­ma­tion.

That, thank­fully, is what Gary Kee­gan and Fei­dlim Canon have been do­ing so im­pres­sively for close to twenty years now. Their work is some­times har­row­ing, reg­u­larly play­ful and con­sis­tently star­tling, whether turn­ing Irish gay ex­pe­ri­ence, in­dus­trial school abuses or per­sonal tragedy into cap­ti­vat­ing and com­pelling per­for­mances. Here, Cough­lan is not alone, ap­pear­ing with the folk-pop group Mon­goose and dancer Erin O’Reilly, com­pris­ing an all-fe­male cast, per­form­ing against a new score by Val­geir Sig­urds­son, to ex­plore the legacy of trauma and the ca­pac­ity for sur­vival through art that nour­ishes, heals and sus­tains.


Si­amsa Tíre, Tralee. Nov 17; Sol­stice Arts Cen­tre, Nov 19; Linen hall Arts Cen­tre, Cas­tle bar Nov 21; Dr aíoc ht, Blan­chard st own Nov 23-24 fisham­ Pat Kinevane’s lat­est work for Fisham­ble is know­ingly de­scribed as “a new play with much mu­sic”. That may be a sly nod at a num­ber of re­cent works for the stage that have been much more coy about it. Does that make Be­fore, Kinevane’s lat­est dream­like in­tro­duc­tion to an oth­er­worldly Irish char­ac­ter, a bona fide mu­si­cal? The play cer­tainly seems to think so. With a pas­tiche of styles and lyrics, and the as­sis­tance of com­poser De­nis Clo­hessy, it en­velopes the sig­nif­i­cant er­rand of a man named Pon­tius with song, won­der­ing through­out what he will do with them. Or­phaned from a young age and now the es­tranged fa­ther of a daugh­ter with whom he will soon be re­united, Pon­tius is a man on a mis­sion: to buy her a hat. His lo­ca­tion? Clery’s of Dublin, on the very day its rich his­tory came to an abrupt and sur­pris­ing close. That ought to change his tune.

Kinevane, though, seems to be pur­su­ing and ex­pand­ing a regis­ter of his own. His re­cent trilogy with di­rec­tor Jim Cul­leton (For­got­ten, Silent and Un­derneath) all of­fered sharp and wickedly amus­ing de­pic­tions of marginalised Irish char­ac­ters. The con­ceit of Be­fore may be to bring an­other one – dis­pos­sessed, ir­rev­er­ent and still heav­ily im­printed with Catholi­cism – into the main­stream ar­chi­tec­ture of the mu­si­cal, if only to sub­vert it. How can you make a song and dance about a his­tory of loss and divi­sion? Or per­haps, no less than Clery’s, this chap­ter of Irish his­tory de­serves a clos­ing num­ber.

The Aces, Sound House, Dublin, tonight

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