A dark, self-effacing portrayal of a modern life more alien than the one Damon Albarn and co declared 'rubbish' in 1993, Junk Drawer's debut arrives in the midst of a global pandemic. With much of the housebound world uncertain of its future, the timing couldn't be better.


Framed through the eyes of Junk Drawer's dynamic songwriting duo, brothers Stevie and Jake Lennox, 'Ready For The House' is a record not so much searching for answers, as accepting that there aren’t any. Reflecting on a turbulent few years for the band personally, at times the lyrics across '...House' make for a heartbreaking listen. Like on the Sisyphean 'Mumble Days', when Jake sings, "An anecdote that's well-refined touches on my brittle mind, and stomach acid hurts my singing voice". For years the brothers have suffered from poor mental health, and while this record refuses to offer any definitive solutions, there's a definite refusal to turn the lights off completely.


Woozy opener 'What I've Learned / What I'm Learning' ushers you into Junk Drawer's home with fragile hope.

"Sometimes I dream of coloured worlds of no hurt.
Surround me in warmth & bright, sparkling, all-knowing glow.
All so distinct you stop just to absorb the thought
that all matters & does not, but none of it can be bought."

Subtle synths guide Brian Coney's fuzz-bass and lackadaisical riffs towards the window, bathing them in the light of another day; but you know it can't last, and just as we're warming up to the idea of going outside, a post-punk melee ensues. "I grasp at trains of thought, ever present but somehow not...".


There's even room for some tragi-comic tidbits, with Lennox unafraid to distance Junk Drawer from their realist peers when he sings, "Allow the many thoughts undulate into themselves, you into twists and turns, the likes of which you’d only read in a Richard Madeley novel."


Elsewhere, 'INFJ' highlights just how far Junk Drawer have come from their earliest work. At 8 minutes long, it's a self indulgent, late night tour around 'Ready For The House's darkest edges, fearless and violent. It sets you up for the cold claustrophobia of 'Temporary Day', a collision of atmosphere and simplicity. It gives the first concrete indication that everything is, perhaps, going to be okay. The fog is lifting.


Closer 'Pile', is Junk Drawer's masterpiece thus far. Inspired by Stevie's attempts to get home after a gig without his medication, 'Pile' embodies every hazy thought, sleepless night and the inescapable angst of the age we live in. "I've lost myself, to myself, I'm gonna miss me when I'm gone." Junk Drawer strike the rare balance of the universal, whilst remaining entirely personal. It all falls apart in the climactic outro, but somehow, that's okay.


For all it's inherent unrest, 'Ready For The House' refuses to revel in it's sadness, nor shy away from it. Instead, Junk Drawer have painted a picture of Earth many will recognise, but few will openly admit to knowing. Across this record, the band fight back. They do so with kindness. By choosing to get up in the morning. By listening to Captain Beefheart and finding small moments in the day where it feels a little easier.

"I'm going to pay my friends a compliment today and I'll try to be more."

Approximately 2,368 miles from Belfast, 20 year old songwriter Rio was dreaming of joining a jazz band.

Like Amy Winehouse before her, Rio's pop-ambitions were secondary to the simple art of self-expression; a shy exterior hiding a voice of nostalgic vulnerability. Upon her return, the singer placed an ad to turn the dream into reality; Meanwhile, like a twist from a Jennifer Egan novel, Newry born producer/songwriter and ex Kid Trench frontman Gerard Sands was on the lookout to form a new band. Scouring the internet for singers, he came across Rio's ad. It stuck out a mile. She sent over an acapella-jazz rendition of 'Crazy' by Gnarles Barkley and as simply as it had all started, Dark Tropics were born.

What's remarkable about 'Badlands', Dark Tropics brooding, melancholic debut single, is the intensity of the vocal. A jazz heart remains at the base of the duos cinematic pop, with Gerard's compositions propping the venture up, keeping things moving. To be so young, Rio exerts a deeply personal connection to every note and lyric. Whether by design, or accident, it's no surprise that within only a few months Dark Tropics have risen from virtually nothing to radio playlists across Ireland, with RTE, Today FM, BBC Radio Ulster and more giving 'Badlands' significant airtime. Having worked tirelessly since their formation last year, the current lockdown may afford a chance to breathe for a change. Taylor Johnson took the rare chance to catch up with Dark Tropics reclusive frontwoman Rio...


Hi Rio, thanks for taking the time to chat to us! How’ve you been?


Everything is a bit mad at the moment but considering what’s happening I’ve been much better than expected!!


We live in strange times right now, have you been able to find any inspiration amid the madness? Scenes from around the world are extraordinary…


I’ve been walking down to Portmuck most days, at one point it was very overcast and everything was grey, I can’t explain the feeling but it definitely was the biggest inspiration I’ve had in a while, everything is so surreal right now that I feel like inspiration is everywhere!


Your formation story reads like something from a novel, how natural was your songwriting connection when you first began writing together?


I was going from writing poetry to songs, totally different things, for myself it’s been a journey to learn to write songs that mean something but still sound like songs! But I was able to connect with Gerard’s writing almost instantly and I find when we wrote together, everything is a lot faster and smoother.


Did you know straight away something special was happening?


I’ll let you know when it actually sinks in, I’m still in a bubble of disbelief!


You can hear the jazz-influence shimmering under ‘Badlands’, will that always be something you keep at the heart of your music?


It’s not in everything, but I always try to sneak a little jazz in! Definitely a big love of mine.


How surprised have you been by the reception the singles received? In the modern world it’s increasingly rare for commercial radio to support new talent, but the grassroots following you’ve built speaks for itself…


Even now, none of it feels real, I know it’s happening but it doesn’t feel like it’s happening to us? I was beyond shocked and absolutely elated at the reception it received!


Growing up, did you always want to be in a band and can you remember the first band/artist you fell in love with?


I loved singing but I never thought much of it, it wasn’t until I started to listen to postmodern jukebox actually that I though “Maybe I COULD do this”! The first band I remember falling in love with was AC/DC! My biggest loves came later in life…


You played your debut gig together at Output Festival and it was Rio’s first gig ever. It’s incredibly rare to have fans down to your first ever gig, but that’s been the reality for Dark Tropics. How does it feel knowing people believe in, and connect to your band from such early days?


If you see any of the videos, there’s a guy in orange dancing like a maniac in the front row, that’s one of my close friends! When I told people about my gig they were all shocked as I hadn’t actually told many people about the band, so to have so many people close to me show up made me unbelievably happy, every time I got nervous I looked up and saw Matt smiling and dancing and all my nerves just melted away! I also really hope that people can connect to our music, all the music I love now is something I connect with and thinking that someone could get the same joy out of something that Dark Tropics produces fills my heart with joy.


You’ve mentioned in previous interviews an early bonding point for you both was Radiohead and The Rolling Stones. Who has the biggest influence over the new music you’re writing?


I really connect with how Keaton Henson writes, it’s so heartfelt and vulnerable, he has definitely been a massive influence on what we’re currently working on! But aside from that, Radiohead will never leave and The Velvet Underground has me by its grips at the moment!


Finally guys, you’ve already began working towards a debut album. A mammoth achievement for any band. What do you hope listeners take away from that record, when they finally hold it in their hands?


Hopefully they will get a feeling of understanding from it, hopefully they’ll listen and feel happy, sad, angry but most of all they’ll understand the scenarios. I guess you could call it a sense of unity almost?

As the ripple of COVID-19 careens across the world, it’s forcing humankind to innovate and change the way we live. We have already looked at the immediate impact the virus is having on the scene, but what might the future hold for music? Here we make 7 musical predictions for a world with Covid-19 left behind.


1. Live gigs return with a bang

There was a time, in the early to mid-2000's, when the Northern Irish music scene was one of the most exciting in the world. Snow Patrol were global phenomenons thanks to medical drama Greys Anatomy and two globetrotting singles.  Two Door Cinema Club, And So I Watch You From Afar and General Fiasco had broken through the Irish gigging circuit and into the major leagues; all turning professional and releasing successful debut records. Across Belfast, venues were full of hot new bands, pushing each other to be better and join the party. Having spent so much time indoors, the music loving people of this tiny nation will flock back to venues they'd perhaps taken for granted. Venues will be heaving with bodies and an enthusiasm not seen since the age we started losing friends.




2. ...but not at the expense of livestream gigs!


The latest trend of internet shows has proved a fun, unique way of engaging fans across the world, from every walk of life, regardless of personal circumstances. Before the outbreak, we'd see occasional acoustic sessions from big stars (our own Gary Lightbody loves a go on Instagram live), manly for promotional reasons. In a post-coronavirus world the importance of this interaction will have increased ten fold, and though no replacement for a hot, sweaty sing along, they will prove a handy alternative for future cancelled shows or breaking big news.






3. Melancholic new tunes

With many artists stuck indoors and little by way of distraction, it's only natural for a musical baby-boom of sorts; and the muse for 99% of human beings right now? You guessed it, isolation! Bon Iver may have beat us to it, but if locking yourself away for months on end with little contact beyond the people you're stranded with gives the world a few more 'For Emma, Forever Ago's, we won't be complaining.




4. Collabs for days

Although a few bands have attempted uniting through the lockdown, a combination of slow internet connection and facetime's distracting filters lays rest to any real productivity. After being denied the right to rock out together, more and more artists will be hanging out and recording duets/harmonies/rap verses on eachothers tracks. Ryan McMullan feat. Jordan Adetunji? Why not!?





5. 'Getting the ol' band back together' becomes a regular thing

Okay, so it looks like nothing is going to bring Oasis back. Warring Gallagher's aside, we'll see an increase of hibernating bands across the country dusting off the flying V's and booking a practice space. Having had time to reflect on their glory days during the lockdown, they'll remember how good it felt being on stage, and how pointless it is putting that reunion off any longer. Expect some serious nostalgia and your Uncle Keith to grow his hair out again.





6. DIY- not? An increase in lofi releases 

Another positive effect of the Covid-19 lockdown has been forcing artists to think outside the box. So far we've already saw Joshua Burnside release 'Far O'er the Sounding Main', a folk EP recorded in his bedroom, and Pascalwillnotsurvivethis's 'Gravestone At Surf Point', recorded (drums and all) in his living room. As more artists adapt to lofi life, the appeals of the home studio will hold new importance for some. We may even see the emergence of a scene, with bands taking their lead from the likes of The Mountain Goats (recorded most of their early albums on a boombox), Radiator Hospital (laptop in their kitchen) and Low Roar (iPhone in a bathroom), saving money in the process.



7. A Little Solidarity...

Before Covid-19 something special was happening in Northern Ireland. That won't be diminished. In fact, it will be stronger than ever. And So I Watch You From Afar's 'OK?' Festival was due to bring artists from across the country and the scene together to raise money for mental health charities (and will be doing so in October). Volume Control and the Oh Yeah Centre it calls home had experienced one of their most successful years ever. The 'Girls Rock School' in Belfast was continuing to grow. The NI Music Prize had it's first year in the upscale Ulster Hall and new promoters were coming to the fore with a dedication to helping artists and nothing more. This time away from the music scene we love will only help us to cherish it more. We will see artists going to eachothers shows and sharing their music. We will see more bands break out of Northern Ireland and into the world. Our infrastructure will recover and grow. There will be hope and more than just a little solidarity.

Mark McCambridge cuts an unassuming figure on Belfast's rained out cobbles. Since 2014 the retiring songwriter has been crafting songs of delicate beauty, quietly getting on with the business of being one of the cities best and worst kept secrets. Unusual, given our introduction to Arborist featured Pixies original bassist and indie icon Kim Deal on backing vocals. Debut album 'Home Burial' followed, along with critical acclaim from the likes of Mojo, Uncut, The Guardian and more. An Americana infused ode to chances taken and missed, gentle laments and finding peace within yourself. One thing was for sure,  'A Northern View' had a high bar to vault over.

Arborist ushers you back into their world with the lush b-side 'Dominican', a sweeping violin-led piece that could just as easily be closing the second act of a war-time play. Within 30 seconds, McCambridge jolts you from your sleep and 'A Stranger Heart' begins for real, mapping 'A Northern View's twisted world out from the beginning. That apprehension never truly leaves the records 11 tracks, crafting an urgency their debut did not.

Arborist did not travel far to make this record, choosing instead to continue his collaboration with Ben McCauley in the producers chair at Peter Gabriel's Real World Studios. However, for all it's references to Belfast and the Irish countryside, 'A Northern View' sounds like it could just have easily been made in the Catskill Mountains,  so wide reaching are the songs. Take 'Here Comes The Devil's rustic harmonies and bluesy guitar call, or 'The Guttural Blues' Nick Cave-esque serenade; looping soft piano chords, whilst a synth plays the role of howling Northern winds to perfection.

The albums party piece is surely 'Taxi', a five minute tale of McCambridge's Dad's cousin, Henry McQuillan and how he inadvertently gave Thin Lizzy the idea to record 'Whiskey in the Jar'. Sad and hilarious, 'Taxi' is the moment at which Arborist's brilliance is truly exemplified, taking their lead from Belle and Sebastian's 'A Spaceboy Dream' and closing with a brilliant one liner from our protagonist.



It contrasts nicely with 'From the Sagging Bough of a Maple', a reflective piece recorded in three takes, with the band apparently hearing it for the first time on the day. 'By Rote' focuses on more family history, this time his Aunty teaching him to play the piano as a child. It takes us full circle, as the songwriter reflects that some twenty years later, "...here I am, still trying to repeat what I learned". We are accompanied by Emma Smith's lush strings, colouring 'By Rote's sepia toned world and gifting the record a cinematic feel.

Just as we are starting to settle into McCambridge's story, 'The Dark and The Moon' transports the listener to an old Irish bar, bathed in the moons glow, hundreds of years in the past. We see a room full of people, generations drinking together, a fire roaring and dogs nestling at children's feet. The four piece harmonies on show are as beautiful as any moment on this record, with Joshua Burnside (mid), Gary Graham (bass) and Peter McFaul (falsetto) to thank. 'Don't Let The Sky Take Me' carries on the warmth, the sea-shanty lullaby replaced by harmonies straight off of Fleet Foxes self titled debut.

Beautiful though it is, it falls a little short when placed beside the wistful pull of 'Can I Add You To My Will?', a playful take on reaching a point in your life when you want to write a will. It has a classy, timeless feel, in debt to 50's and 60's orchestral pop. It has jazz elements too, just what the late great Amy Winehouse may have done with a song like 'Can I Add You...?' we can only imagine.

We are edged towards the end with 'Too Much On My Mind', a country song previously reserved for closing gigs on tours gone by. You can tell it's a song McCambridge has lived with for a while, every element from it's deep-south guitar solo, to the 60's synth flourishes working to take you back into his troubled head. He's weighed down by life, just like the rest of us.

Then it's left to the title track to guide us home, by way of triumphant brass, alt-rock guitar work in the shape of Built to Spill or Dinosaur Junior, and more of Emma Smith's shimmering strings. It's the release 'A Northern View' is building towards from 'Dominican's false start, and as is the case most of the time; it's made better for the wait.

As Arborist's sophomore record takes it's bow, you'll be forced back again before long. A mercurial reflection of modern life through a Northern lens, rest assured, these songs can be enjoyed wherever your view.



For fans of:

There's something in the water on the North West of Ireland.

Donegal, Letterkenny and it's surrounding areas have finally emerged from the alien lanes of Irish musical no-mans land, with a hotbed of new talent coming to the fore. There's always been a close affiliation with the neighboring maiden city, but for every hype engrossed Derry band plying their trade across the border, there was a distinct lack of breakthroughs for the locals; but that's all changing now.

Sheerbuzz are the latest in a growing line of bands from the North West to capture what it's like growing up, losing friends and the universal disconnection the world is feeling right now. The 'All Our Time and Money' EP sounded like a funky incarnation of Scottish breakthroughs The Snuts, using Andy Rourke inspired bass-lines and witty one-liners to devastating effect ("I can be everything you want me to be, unless it's taller, or stronger or a county baller"). New single 'Darkside' is a marked improvement, keeping the clever, conversationalist prose, but nurturing a richer, fuller sound.

Warm synths lift a melody tantalisingly close to falling in the river Foyle, only to be pulled back to the dance floor at the very last moment. Textually, Sheerbuzz have found a sweet spot somewhere between lush 80's pop and Irish emo. It's a refreshing blend, and one completely of their own making.

Though not the finished product yet, Sheerbuzz show signs of a band in bloom and enjoying the moment. If they can continue to tease out their potential, anything is possible.

Back in the heady days of 2019, before going outside felt like a military operation, folk-duo Taobh Eile (Irish for 'Other Side') were in the process of changing their name, honing their sound and commencing work with the late, great Lyndon Stephens and his Quiet Arch label.

Before long  they became Laytha; and galvanised by Lyndon's belief and a run of beautifully intimate shows across Ireland (including the emotional 'Goodbye Quiet Arch' show at the Empire), their reintroduction to the gigging circuit has been one of dipped toes, apposed to massive splashes.

Still bathed in the ethereal glow that only a new band can possess, cousins Niamh Carney (vocals) and Philana Nolan's (vocals, guitar) glittering indie-folk belongs both in the Irish countryside and across state lines, with shades of Fleetwood Mac and Lisa Hannigan running through their self-titled debut EP (then still 'Taobh Eile'). However it is when their voices blend and the harmonies rise that Laytha hit their mercurial best, swooning from verse to verse on tracks like the delicate 'Elsewhere'.

With their new name, new songs and big plans for the year ahead post-lockdown, Taylor Johnson got a chance to catch up with Laytha.



Hey guys, thanks so much for taking the time to chat to us! How you been?

Hey Taylor, thanks so much for asking us to do this! Thankfully we are keeping good, like a lot of people Zoom quizzes with our friends on a Saturday night (along with a glass or two of vodka and wine) are keeping us going.



Have you been finding it difficult to write through the current quarantine, or has it inspired you?

We tried to turn the delay in our harmonies over FaceTime into a cool effect… but that didn’t really work. Although we have really enjoyed having time to play our instruments and write tunes or drum beats so that when we are finally reunited we have plenty of material to write lyrics for.



You’re still such a new band, releasing your debut EP only last year. How was that recording process and did the songs come out the way you’d hoped?

The recording process for our EP was so much fun. We recorded the 3 tracks, just our vocals and guitar with Niall Doran in Start Together Studios. We took the tracks home and squeezed a bunch of our friends into a small room in Philana’s house to record piano, fiddle, drums, backing vocals and most importantly, claps (ty Eoin). We have such great memories of those days. We took all our recordings back to the mixing and mastering wizard that is Niall Doran, who we think understood our sound better than we did! haha so yea they definitely came out better than we ever hoped.


Of course, you were called Taobh Eile then. What was it that prompted your name change? What does Laytha mean to you?

Well Taobh Eile is just such a common name so we thought we could be a bit more creative yano? Haha joking aside no one could say it, spell it or remember it so when we started getting more gigs and taking this a bit more serious, we decided (with the gentle persuasion from others) to change it. After months of brainstorming we came up the Lietha which was inspired by the summer solstice, Litha. We sent a message to all our friends asking them to send a voice recording of how they would pronounce it. Our dear friend Mother Claire, in her strong Derrylin accent, pronounced it ‘Laytha’ and we replied saying ‘that’s wrong… but way better so thank you for naming our band’

Do you still feel a connection to the songs from that record?

We will always have such a strong connection to those three songs. They were the beginning of our musical journey together (aww!) the tracks are written about different aspects of our lives growing up in Enniskillen and it has been really cool to see people relate the songs to their own experiences in their hometowns. We also feel connected to them because our friends were so involved in recording them. When we listen to the songs, we find ourselves laughing and reminiscing on the days we made the tracks.


Taking things back to the start of this year, I can’t imagine how difficult it must have been for you losing Lyndon. What are your overriding memories of him?

Lyndon was the first person who made us believe music could be our lives and not just a hobby, that we could turn it into a real career. It was so amazing to meet someone who was so passionate about giving artists a chance and we are forever grateful that he took a chance on us. If a text from Lyndon came up on our phone, it was immediate excitement and curiosity… you never knew what idea he had in store. Our favourite memory of him was the day we played at Stendhal. We arrived late on day two to a very muddy camp site and didn’t have time to pitch our tent before our set. Lyndon offered us VIP accommodation… Le Shed de la Quiet Arch (translation: merch hut). Not only that but he happened to stumble across boxes of coors light and of course he wouldn’t let them go to waste… so safe to say we were set for the night!


Did he give you any advice that has stuck with you?

Literally everything and anything! Who do you think the gentle persuasion from others was for the name change?


You performed at the now legendary ‘Farewell Quiet Arch’ gig in the Empire, alongside Joshua Burnside, Ciaran Lavery and Ryan Vail amongst others. Was it difficult stepping on stage that night?

It was difficult for many reasons. After hearing the devastating news, the ‘Farewell Quiet Arch’ gig for us took on a whole new meaning and level. Being new to the label, we felt like we really had to earn our place being on that bill. We were also very aware that we were playing to an audience filled with people who loved Lyndon and were obviously very emotional at this time. So  before we went on stage we took a minute to put nerves aside and put all our energy into the songs to hopefully make Lyndon proud. Now, we look back on that night with amazing memories, we were beyond inspired by the performances, each artist had such a powerful impact on the energy in the room. The music and the atmosphere was a true testament to Lyndon’s legacy. 

Local music hero - Lyndon Stephens (photo by Stuart Bailie)

You’ve played all across Ireland in such a short space of time, do you have a favourite moment of your journey so far?

We always love gigs in our regular spot at home, Blakes of the Hollow. Our gigs in Cork really stand out for us too. Not only is the music scene great but so are the pints (Murphy’s of course). One thing we learnt very quickly was not to start the pints before your set. And definitely do not under any circumstance do any interviews after. All in all it’s always such a laugh and we’ve made some great friends, including sound techs, who sneak us into sold out gigs.



You’re of course cousins, who’s idea was it to start a band? Have you always sang together?

Niamh was actually singing in bars on her own at first while Philana was studying Biology in uni. We always jammed together at home and both loved harmonising. After singing a few tunes one night together at a family party turned lock in, Niamh really wanted us to both sing together at her next gig. It took a lot of persuasion and a lot of nerve calming but eventually, it happened! So everyone can blame Laytha on Niamh and her annoying persistence.

Inspiration - Fellow Quiet Arch artist Joshua Burnside

There’s more than an element of Stevie Nicks to your music, who are your biggest inspirations?

Oh yes we love to go full Stevie. We also find a lot of inspiration in Irish artists and bands like Hozier, Ciaran Lavery, Jealous of the Birds, Reevah, Joshua Burnside, David Keenan, Rowan and Lemoncello.


Finally guys, it’s difficult for anyone to make plans right now, but do you have an idea of what you’d like to do next, when normality returns? 

Before the lockdown we were working on our album. The process has slowed down a bit at the moment but we are still determined to get it out as soon as we can. We can’t wait to travel around for gigs again because that has really been inspiring our writing recently. Niamh can’t wait to hug people again and Philana can’t wait to continue social distancing like she always did...!

In 2018, Belfast quartet Dugout introduced themselves in a burst of colourful, introspective indie rock. Sporadic but significant support slots with General Fiasco and Belwood followed, then just as quickly as they'd appeared, they were gone.

Leaving behind the highly promising singles Chugout and Ride was a shrewd move, highly singable pop-songs which always hinted at something more. In new single 'Topsoil', they go a little further.



Indebted to Weezer's fuzzy blue masterpiece, Topsoil is an effortless, harmony-laden slab of alt-rock. Precise and warm, but with a Beach Boys melancholy that feels strangely appropriate in the current world climate, 'Topsoil' hits home in all the right places.

Hopefully it doesn't take another global pandemic to get more from Dugout.

And So I Watch You From Afar playing to a sell out festival crowd in 2017...but how far away will audiences be in future?

Before we begin; a message from Taylor.

Hello! Thank you for clicking on this article and supporting local music. Whether you've stumbled upon this on some sort of click bait rabbit hole, or you've purposely seeked it out, I really appreciate you being here. You're looking well. I'd like to personally thank each contributor to this article for their time and effort, they were under no obligation to give their opinions and it is very much appreciated. Links to all contributors work is included below, give them a listen, follow their pursuits and support your scene in anyway you can! We're going to be exploring this further over the next while. Hope you find something new and keep your spirits up. Look after eachother!

- Taylor Johnson, 26/3/20

A Plastic Rose live from Spectrum Festival 2014

With the Irish and British governments having introduced strict new curbs on life to tackle the spread of coronavirus, these restrictions are having a major impact on the live music industry and entertainment sector across Ireland and Northern Ireland. Taylor Johnson explores what’s been going on - and what the future may hold for the music scene as we know it, post Covid-19.

YOU’VE probably grown used to it by now: your favourite band or artist making the dreaded announcement of rescheduled tour dates or gig postponements. The effect this will have on established musicians, promoters and road crews across the world is unprecedented – and Ireland is no exception.

Over the last two weeks, we spoke to people from all corners of the Irish music industry to explore the true consequences of this pandemic…



Jaime Rachelle is a punk-singer/songwriter from Belfast. She was in the process of piecing together an Irish Tour when Ireland’s Prime Minister Leo Varadkar announced new measures to close all pubs and bars in Ireland starting midnight on March 15th.

“I hadn’t gigged for about a year, as I had been taking time off to focus on trauma therapy and work on my anxiety,” Jaime tells me.

“I was so excited to do two gigs down south, then it was announced bars were shutting because of the coronavirus, and I started seeing how serious things were getting.”

For people like Jaime, the worry goes beyond just disappointing her fans.

“I started panicking and had to cancel both gigs and a hotel booking in Dublin for me and my boyfriend. I have asthma, and so I was told to self-isolate last week by my doctor as I was really sick a few weeks ago. I had also planned to make a new record, so plans are out the window now for that, as I can’t leave the house.”

Jaime fears there could also be lasting implications for our mental health:

"I’m gonna be unable to see my counselor and CPN (Community Psychiatric Nurse) for a while now. Being unsure about what’s gonna be happening with my therapy is definitely impacting my mental health! It’s such a scary time for so many people with mental health problems."

It isn’t just musicians being hit hard by the outbreak. Kate O’Loughlin is a music promoter, freelance journalist and runs her own PR company, MusicBox PR in Dublin.

“Times are very hard for us right now.”

“We don’t have much to work with as everything is being pushed back to later in 2020, maybe even 2021. We had some EP launch shows booked, obviously these have now been cancelled, which has been a massive loss for us and the artist, as we need a source of income.”

Kate has been working in the music industry for a few years, but fears she may have to return to her old line of work to make ends meet.

“I used to work in a luxury department store in Dublin, but left to focus on what I love, which was a job in the music industry. Unfortunately, the way things are currently looking, I might have to go back to retail when this is over to make up for any money lost.”

For all this uncertainty, Kate refuses to let the situation overcome her ambitions, and feels the Irish music communities spirit can get us through.

"I don’t think any of us knows what’s currently lying ahead, but  with a bit of positivity and support from each other, everyone in the music industry can get back into business. I’m using this time to get creative and think of ways to work around all this craziness."
For independent and established music promoters alike, the shutdown has proved catastrophic to their business model.

Addison Patterson is the founder of 'Table It!', a new promotions company based in The Pavilion, Belfast. Having successfully launched the 'Table It!' brand with an inaugural show on February 7th, two further gigs were announced for March with more planned for later in the year – until Covid-19 hit.

"It's a very, very weird time for so many people," explains the promoter who, like so many working in the creative sector in Northern Ireland, maintains other work to sustain her career in the music industry.

She continues, "I’ve lost both of my “actual” jobs, and then to not be able to do the creative thing on top of that is a really big blow."

For promoters like Addison, the problems go beyond just financial losses.

"It's financially terrifying, but even for artists and promoters who just do this on the side, it’s like losing that little thing that was gonna keep you going."

Yet, despite the postponement of all future 'Table It!' shows, according to Addison there is still some light to be found even in these most uncertain of times:

"It’s not just musicians, promoters and techs feeling the implications of the hiatus, it’s scene-wide, including fans. Social media engagement and support from fans has been monumental, and I think that shows the amount of support bands will have when they get back to it.


It's a sentiment shared by Gas Hands frontman Dylan Bradley.

The Derry based punk band were in the middle of a UK tour when social distancing advice was rolled out by the UK government. Although no official legislation had been offered at this point, for Dylan and the band, the choice was made easier once they heard the fears of those back home.

"Nothing seemed to be closing or going particularly different over in the U.K. so we based our decision on what we were seeing back home and on rumours about travel bans. Luckily we got home before it went on full lock down!"

With a punk mentality ingrained within their band, Gas Hands were thankfully not too out of pocket after cutting their tour short early.

"We drove ourselves in a car and stayed mostly in people’s houses, so the outgoings were pretty small, meaning we didn’t loose out too much financially. The only thing we had to pay extra for was an early boat home. Maybe that says something in the favour of going as low budget and DIY as possible, especially if an unexpected emergency occurs!"



In spite of the turbulent times, Dylan and his Gas Hands band mates believe this crisis may yet ignite a new passion for the local music scene in Northern Ireland.

"I would imagine that as soon as we all can, a lot of us will be extremely happy to get back out to playing and attending shows. I think it’s possible, that with things being the way they are at the moment, once it’s safe to do so a lot of people might appreciate the feeling of a live show more than ever."


Recording engineer and producer Chris Ryan is sitting in his home studio, contemplating the events of the last few weeks. Ryan is known for his work with Irish band Just Mustard on their Choice Music Prize nominated album ‘Wednesday’, as well as fronting post-punk jazz collective Robocobra Quartet. He’s been self-employed in the music industry since 2011.

“I'm usually equally spread between the studio, touring and management,” he says.

“It feels in a weird way that the old dream of the 60s to 80s, of being a 'recording artist' and not necessarily needing to tour is, at least temporarily, coming back due to the situation.

“Two weeks ago Bandcamp tweeted they've sold about $3 million worth of music in half a day. That's a bit nuts!”


On Friday March 20th, popular music streaming and download website Bandcamp.com waived their revenue shares on sales to help musicians impacted by the pandemic. There has also been a huge increase in ‘live streamed’ gigs, as artists turn to the internet in lieu of traditional live performances.

Chris believes that this growing trend could be one lasting legacy of the Covid-19 outbreak on the live music scene once things return to ‘normal’.

“It might be temporary, but it's interesting!,” he says.

“Especially for people unable to go on tour for all the millions of reasons like physical or mental disability, having kids and so on. I'm sure you know yourself that the current music industry model is broken, one doesn't make money from records and has to go play in shit bars worldwide to try to sell them. So, it’s a bit exciting!

Chris adds: "I've been thinking about how the 2001 anthrax envelope scares were the final push that made all business switch to email from post... in a way, Covid-19 is the acceleration of our physical lives transitioning almost exclusively online.”


Despite her business suffering significantly during the outbreak, community music facilitator and ukulele teacher Roisin Erskine remains optimistic, finding new ways to continue building her brand. She has been running therapy sessions through music for 3 years in Crossgar with her ‘Yogaleles’ group.

“Financially, I have taken a massive hit, and I see that being a pretty typical complaint right across the Arts sector ¬ not strictly related to music,” explain Roisin.

“I have managed to move all my classes online and the uptake hasn't been surprising. People are very quickly beginning to realise just how sociable they actually are.”

As these virtual trends continue to grow in tandem with the lockdown period, could this spell the end for live music as we know it now? Roisin isn’t so sure:



Team GB Paralympic athlete and devoted music fan Claire Taggart agrees. As the disability access officer for Irish League club Larne FC, it’s her job to make the match day experience a safe and inclusive experience for all fans. She feels the outbreak could have a positive long-term impact on the live music industry.

“As a wheelchair user and local music lover, I’m optimistic as to what may come from this,” says Claire, who has been attending gigs in the city for years now - but it’s often difficult, with many venues remaining inaccessible for disabled people.

“It’s something that’s very rarely talked about, but often disabled people are denied the chance to watch a gig because it isn’t physically possible. Watching artists adapt their gigs to the internet has been heartening.

“It gives everyone the opportunity to experience live music safely and equally to everyone else. It’s not just for the physically impaired, those suffering from anxieties or sensory disabilities are going to benefit from this too.”

She adds, “I hope musicians, particularly at a local level, continue this trend when live gigs return.

"Like everybody, I’m grieving for the live music scene,” says Stuart.

“Venues have spent years getting to a good place, and it’s always been an act of faith to set aside your business to host gigs and creativity. I already miss the opportunity to visit town and see bands and to be with ‘your people’.

“I feel sorry for the promoters who have dodged the financial risks for such a long time, always just about surviving. I hope they all make a return in the summer and that we never take them for granted again. I think the scene in Belfast was really peaking and so many good souls were partnering up on that effort. I do think that we’re resilient and that there’s going to be a lot of grass-roots support when the music starts to play again. "
Stuart goes on, "Musicians, managers and labels were getting strategic about their business. Planning releases well ahead, marketing smartly and getting internationally ambitious. For some of them, a year’s preparation has been damaged and that’s so sad

"I’ve been a freelancer for much of my time as a writer and media worker, and I’m half-prepared to weather the tough times. I’ve had a music photography exhibition cancelled, I’ve lost DJ work, lecture bookings and festival slots."

Researching for this article has highlighted, among other things, the resilience of our arts community. Unsurprisingly, Stuart Bailie is no exception.

"But hey, that’s only money and I’m finding ways to write more and prepare for future commissions. There’s some consolation in hearing new recordings from Arborist, Joel Harkin, Problem Patterns, Joshua Burnside, Ériu and Malojian.

"I’m used to working from home and in solitude. That’s part of the writing life. But there was always the chance of a night off and fine company down the road at The Sunflower, Voodoo, The Oh Yeah Centre, The Limelight, The Ulster Sports Club, McHugh’s and The Black Box. That’s what hurts most."

As for the future, Stuart takes a moment to consider the question, before calmly adding;

Somewhere amidst the chaos and concern, it seems like there is a creative light in Irish music that remains insurmountable.

A light that never goes out? It certainly feels that way.

Following on from our exclusive premiere of new single 'Gravestone At Surf Point' yesterday, we sat down for an exclusive interview with Pascalwillnotsurvivethis frontman Danny McClelland to talk lockdown life, remaining constantly creative in a changing world and whats coming next...



Hey Danny! Thanks for chatting to us, how you keeping? Is lockdown life what you expected it to be? 

I’m keeping well as can be! Never expected a lockdown scenario to happen in my life so living through it is honestly super surreal. Ash and I’ve been keeping busy as much as we can while we can during it, but interested to see how everything unfolds.


‘Gravestone At Surf Point’ ​and your other new single, ‘Tallulah’, ​is a beautiful way to reannounce Pascalwillnotsurvivethis for 2020. Stylistically, they’re pole aparts, but it works. What made you pick those two songs? 

I always want there to be a place for everything in my music! That goes for genre, EP’s, live recordings, albums and random lo-fi singles. Whether that’s detrimental to people’s experience listening to PWNST I have no clue i’m just happy to be able to do it.


The ‘Castaway’ EP has opened your music up a whole new audience. Were you surprised at the reaction to that release? 

Honestly yeah! There’s always a thought in my head when releasing music that just because it’s cathartic to me, it doesn't mean people are going to like these particular songs or even like them enough to go to shows, but Castaway definitely brought in new supporters, our show at The Belfast Empire was the biggest gig we’ve ever played as PWNST, and I’ve definitely played the empire to 2 people before so for that to be packed out just reassured me that something definitely is resonating with someone.


Pascal’s music has always packed an emotional punch, do you ever find it difficult to be so honest in your songwriting? 

I still get really scared showing a song to the band or my friends if it’s lyrically heavy, or just written from a dark place. I used to be more terrified of it before people started talking to me at shows or reaching out online to relate to me, those are the conversations I never forget because of how much I longed for them.


Does it, perhaps, make it all the more special to witness the impact those songs have when you play them live? 

Oh yeah definitely, I try to interact with the audience a lot too even if there’s not that many people there, I want our sets to feel more like conversation, i’m not afraid to crack a joke with you but i’m also not afraid to speak out about mental health, I’ve had time or two where specifically the audience has sang back the end lyrics to our song ‘Treetops’ and I’ve straight up cried at that.


What was your thought process behind the new video for ‘Gravestone At Surf Point’ and what was going through your mind when you wrote it? 

With ‘GASP’ I wanted to highlight both the anxiety and weird creative drive I’ve had over quarantine, we set ourselves a goal to see how much we could do for a makeshift release in 24 hour time frame, we recorded live with drums and guitar in our living room, I tracked in bass with my octave pedal and Ash’s girlfriend, Sophie Duff-McKenzie provided some beautiful harmonies as our honorary quarantine member. The day after we sat with a bunch of vintage clips to see how we could make a tangible music video using just them for absolute giggles.


To be so young, you’ve contributed a lot to Irish music and the scene over here. When you look back on your days playing in WASPS and Born Only Yesterday, how do you feel those experiences have influenced your music now? 

I think they were quintessential, I don't write like most other solo artists do with their bands where they’ll bring them parts to play, I’ll usually bring them the structure and all my parts done unless it’s a small detail or something like ‘Castaway’ which I wrote in america with Jamie Hewitt. From being in both BOY and WASPS I learned that other people’s creativity is almost essential if you want your band set up to sound like it has life.



Do you find it difficult remaining constantly creative? 

Honestly I would never say I am constantly creative! I try to be as much as possible but I’ve come to appreciate turning my brain off so i don't burn myself out!


Your lofi aesthetic has worked beautifully for Pascal so far, what was it like making ‘Castaway’ while on the road with Jealous of the Birds? How tough was that process? 

It was honestly really chill! Jamie and I both used our days off to just work on recording it and figuring out how to use an old iPhone to make this possible, we ran into hurdles a few times but the main worry was that we weren’t going to get it recorded in time to have it completely finished in america but we did and even though it’s not the biggest achievement in the world, to Jamie and myself it was a surreal moment in our lives that warmed our hearts so dearly.



You’ve written a lot of songs, for a lot of different bands. Do you have a favourite or one that means the most to you? 

I guess the song that means the most to me since its birth has been Tallulah! So much so that I even named a guitar after it, I sang that everyday after writing it in New Jersey, pining for the comfort of my friends and family as I experienced loss so far away from home. Encoring that song by myself at The Belfast Empire was the single most scariest moment of my life and I loved every second.


You’ve also collaborated a lot with the electronic producer Blxxd. How did that come about? Would you like to work together again? 

Syeva is one of my oldest friends from our home in the north coast and really specifically there was a Little Arcadia show in The Atlantic where he was playing with sample pads and I actually pulled him aside after and told him what he was doing was very gnarly and then years later we both have solo monikers on the go, he asked me to do vocals on Tangerine, after working on that and having a class time doing so we decided to do an EP and to answer your last question I would love to work with Syeva again 100% I think he’s a very talented underrated artist and producer, an absolute champion of electronic music in Belfast.


And finally Danny, as a full time musician it must be exhausting keeping so many musical balls in the air. What’s your next big goal in mind for Pascalwillnotsurvivethis? 

Our next EP is called ‘Nefelibata’ and focuses on the death of inspiration and pursuing creativity through that. Produced by Matthew McIvore and Ash Hamilton, It was recorded by High Voltage Productions at Zool Records in Belfast. Once we’re able to regroup as a team we can finally start the video production for that EP and get it ready for release, and I for one am so excited to see what energy myself and the pwnst gang bring to the table when it’s time.

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