Cassandra Voices

Tag: Dublin music scene

  • Musician of the Month: Cara Coyle

    The music I am performing at the moment mostly came from three different sets of songs that I began writing in 2018. The first batch I wrote when I was living in a small cabin my dad built near my family home in Donegal.

    At the time, I felt the songs come to me and I just wrote them down. I never experienced songwriting like that before. I did write in my early twenties, but It felt different with these songs.

    Since then, another batch of songs came to me in 2020 just after Covid hit. I realised that each set of songs felt that they had their own colours. The early batch felt black with bits of white. So I refer to them as the black and white songs. The songs that arrived in May of 2020 are mostly orange and my most recent songs have mostly been pink. I’ve got lots of pink songs.

    Sharing Music

    I never meant to share my music with others in the way that I am now. I was quite wary of doing so for a long time. If I shared them it was just for the fun of playing and experimenting with friends.

    There are two acts that currently inspire me to write and perform my music to others – Rónán Ó Snodaigh and Shakalak.

    At the moment I feel particularly moved by live music and feel very lucky that my favourite acts are Irish. When I go and see Rónán or Shakalak perform I want to go straight home afterwards and make something new to share. They make me feel like strengthening my inner voice and using it more.

    Their example shows how transformative live music can be and each time I’ve heard them perform I feel that I have learnt something new about myself or about the world we’re in. They remind me that music can bring us closer together. That we are all going through similar things in different ways, and we can relate to each other through our art. They continuously inspire me to bring what I have inside of me out into the world.

    Returning to Dublin

    When I came to Dublin in 2018 – having spent two years in Donegal – I began playing my music at open mic nights in the city. This helped me to integrate back into city life. I didn’t realise it would take a while for Dublin to feel like a home again.

    Playing in venues helped me connect with others and so began the feeling of community. One of the most valuable rewards of playing music has been witnessing the community that comes with it and watching that community grow. I have got to meet so many beautiful people and feel genuinely supported and encouraged by them.

    During Covid – whenever it was possible to do so – I began to play my orange tunes with a talented and intuitive drummer, Jason McNamara. Last year I was granted an Agility Award and with it I wrote more pink tunes.

    It was strange for me to sit down and say “ok, I need to write some songs” because prior to this the songs came about very naturally. It worked out though, and I’m currently enjoying hearing these songs grow legs and arms and gain a life of their own on the stage.

    Self-Expression

    Rather than pursuing music as a career, I have always just been interested in music as a way to express myself. It’s an art form for me. I feel I get to see myself grow through making art in ways that I might not find the space for in day-to-day life.

    Performing live is what I enjoy most. I did a small bit of work in theatre in the past and loved that a play would be this live, living and breathing thing for a little while.

    It existed just for the people who showed up to see it and then it would be gone. I often feel that my music was written as if it were made for the theatre stage.

    For years I have played music on the street for fun, and for experience. There, I learned how to project my voice; perform with confidence; receive a compliment; to be rejected; experiment with other artists; and connect with all kinds of people. A lot of my own music would have debuted on the streets of Dublin.

    Image: Daniele Idini

    On the Liffey

    Once Covid ended I started to make changes that meant I was playing my music to others quite frequently. In 2022 I was offered a beautiful gig that runs in the summer called ‘Music under the bridges’ by a company called City Kayaking.

    The gig usually starts under Capel Street Bridge where a group of people on kayaks gather to listen to a musician sitting on a little dingy under the bridge. The setting is just beautiful and different every time. Nature dictates the stage. Sometimes bringing sunlight that hits off the water and projects on to the arches. Sometimes you might catch a seal listening in. It’s magic no matter what the weather is like.

    The very kind and lovely thing about this company is that they hire artists to play their original music, which meant that I was suddenly playing my music to an audience on a weekly basis.

    From playing on the Liffey, things seemed to progress like a rolling stone. Next, I found myself playing at mini festivals and events in the city and beyond.

    I started to meet more artists and felt inspired to continue to create and find more ways to spend my time playing music in my days.

    At the beginning of this year I was introduced to the opportunity of playing music in nursing homes which I still do now on a regular basis. I was delighted to stumble into this area. It’s really grounding and the exchange with the people there can be very rewarding.

    At the moment I am considering some projects for 2024. I have a little studio in the city centre that I work away in. I haven’t recorded a lot of music yet since I’ve been more interested in performing live, but It seems it might be a next step for me.

    There’s talk of collaborating with an artist to make a music video for my song ‘Paper Thin Woman’ which would be magic! I’m starting to play with a wonderful bass player now as well as Jason on drums. This is new and exciting territory for me. I look forward to the adventure ahead!

    Follow Cara Coyle on Instagram.

  • Musician of the Month: Evin O’Brien

    I always considered myself a late bloomer when it came to music. Growing up, I didn’t have many opportunities to play instruments, and I chose to focus on art rather than music during my secondary school years. Becoming a better musician seemed like a mysterious journey with no obvious roadmap.

    I credit my Dad for introducing me to some incredible artists like Led Zeppelin, Queen, Pink Floyd & Jethro Tull. In return, I introduced him to the captivating sounds of Radiohead, a band which played a pivotal role in developing my appreciation of interesting chord progressions and ambiguous harmony.

    We listened to a lot of music together and aged fourteen my Dad surprised me with my very first guitar – an SX acoustic steel string. I remember eagerly trying to bend those strings in the style of Jimmy Page, with no great success. It would be some years before I would get round to purchasing my first electric guitar.

    I struggled as a teenager to envisage my future career. I was less concerned with money, status, or even moral virtue. Instead, I found myself preoccupied with what the day-to-day experience would be like. I would ponder different paths, like the idea of becoming a doctor – helping people, earning a good income, a respectable profession. But then I would wonder, ‘What would the minute-to-minute reality be like?’ Would it involve blood, guts, and smelly feet? High stakes with people’s lives on the line?     

    That’s why I find myself where I am today – as a musician and a teacher. I derive immense joy from the everyday moments in my career. It’s not about the grand aspirations; it’s the day-to-day experience that fulfils me. Whether I’m playing music or sharing my knowledge as a teacher, I find deep satisfaction in the present moment.     

    Revelation!     

    Not long after finishing school, I stumbled upon a YouTube video of Beethoven’s ‘Moonlight Sonata’ arranged for solo classical guitar. It instantly captivated me, and I dedicated that entire summer to learning the piece from start to finish. The experience brought me an unparalleled joy – the intricate polyphony, the interplay between the upper and lower voices, and the sublime harmonic movements, all projected from my own instrument! It was a revelation – I had finally found something I could pour hours into.     

    I discovered I had a knack for memorizing lengthy pieces, so I embarked on expanding my repertoire. Attending classical guitar recitals at the National Concert Hall became a regular thing, as I aimed to immerse myself in the rich tapestry of the classical guitar world. By the time I enrolled for lessons with Leslie Cassidy at the DIT Conservatory of Music and Drama in 2013, I had already delved into the works of various composers, including Villa Lobos, Tarrega, Barrios, Koshkin, and Albeniz. This played a pivotal role in shaping my technique and opened my ears to a more contemporary range of harmonies as I explored the guitar repertoire from the romantic period onwards.

    My time with Leslie was absolutely crucial to my growth as a musician. I eagerly looked forward to our weekly Saturday morning lessons, where he meticulously reviewed every piece I had learned, correcting my mistakes and helping me break free from bad habits – especially my woeful right hand technique. Though my time with Les lasted only two years, he was an incredibly supportive and motivating mentor and teacher. I miss him dearly, and I often wonder what it would be like to have a conversation with him today, at this stage of my musical journey.

    Everything in Its Right Place…     

    Regardless of my skill level as a musician, I’ve always been drawn to composing. It just felt right and has always been a natural part of how I absorb new musical ideas. I aim to combine elements that I find appealing in a way that feels satisfying—a blend of the familiar and the unpredictable. There’s a certain joy that comes with seeing a well-developed idea come to life, as if putting something in its rightful place.     

    I knew I lacked many of the skills and understanding necessary to compose music at the level I desired. Even though I was already composing for my band BiG Fridge, I wanted a deeper understanding of my own music to better develop and convey my ideas. That’s why I decided to enroll in the Bachelor’s program in Jazz Performance at the Newpark Academy of Music. Despite knowing little to nothing about jazz, I discovered that this foreign musical idiom shared many of the same values that resonated with me.     

    Attending Newpark was a humbling experience. I had never before been surrounded by so many individuals who loved and took music as seriously, if not more so, than I did. I met amazing people who possessed qualities I aspired to, and learned a great deal from them, both as individuals and musicians. Tommy Halferty, my teacher, was truly remarkable. He encouraged me to embrace my own strengths and musical voice, always pushing me to work harder and give my best.     

    Although I often felt out of my depth, the further I progressed at Newpark, the more I realized that I had ended up exactly where I needed to be. I was exposed to new and exciting forms of music, and I acquired not only the skills and knowledge I sought in harmony, arranging, improvisation, and composition, but also a common language to effectively communicate my ideas with my peers.     

    Moreover, the experience gave me a glimpse into the vast realms of what I didn’t yet know. It provided me with the terminology and techniques that empowered me to delve deeper into these subjects even after completing my degree. While at the time, the degree felt all-encompassing, I later realized it was merely scratching the surface of music theory.  

    Harmony Takes Centre Stage     

    If there’s one quality that takes center stage in my own music, it would be the harmonic content. Reflecting on my own compositions, I’ve discovered that I can learn a great deal about myself and my personal taste through retrospective analysis. This understanding of harmony is crucial for me to achieve that. It’s simply the aspect of music that I find most fascinating and exhilarating.

    Much of the music I create is either modal or strives to fully explore the relationship between two loosely related chords. I aim to employ parsimonious voice leading as a means of generating new movements that sound fresh and captivating to my ears.  

    After completing college, I set about forming the instrumental ensemble known as Rynx Laneran, with the goal of developing and performing my latest compositions. I joined forces with Andy O’Farrell and Alex Delogu, both of whom I had the good fortune of meeting at Newpark. The music we create is deeply influenced by my admiration for artists like Portishead, as well as renowned film composers such as Bernard Hermann and Lalo Shiffrin. Our sound also takes inspiration from the captivating style of Mulatu Astatke’s music.  

    I’m incredibly proud of the music we have crafted together thus far, and I eagerly look forward to returning to live performances this summer. Additionally, we have plans to release more music later in the year, and I couldn’t be more excited about sharing it with our audience.  

    Irish Music  

    My fascination with traditional Irish music began with a chance encounter at a party where I met guitarist Chris Cole. Chris took me under his wing and introduced me to the fundamentals of his rhythmic approach when playing traditional music on the guitar. He generously shared his insights into arranging tunes for the instrument, and as my repertoire grew, I started creating my own solo guitar arrangements of Irish tunes, drawing on my knowledge of classical technique.

    Last year, I received a tremendous validation for my efforts when the Arts Council awarded me the Music Agility Award, enabling me to develop twelve original arrangements of traditional Irish tunes for contemporary Irish classical guitar.  

    Currently, I’m exploring how to merge different genres from around the world by applying scales from folkloric music such as Ethiopian music to the Irish tunes I’ve arranged. I’ve recently completed three “Ethiopian Jigs,” as I’m currently referring to them, and they possess a unique quality that is both familiar and exotic. I’m excited to see where this compositional approach will take me next.  

    These days, my schedule is busier than ever, and I’m constantly learning and expanding my musical horizons. I consider myself fortunate to have encountered a diverse range of musicians who have allowed me to pursue my various musical interests, no matter how niche they may be. I’ve never wanted to limit myself strictly to classical or jazz music; my love for different genres is vast, and I aspire to play them all.  

    In the past year, I’ve arranged numerous classical pieces by some of my favorite composers, which I perform as a duo with bassist Alex Delogu. Additionally, I formed a gypsy jazz quartet called The Tenters with fellow guitarist John Mahon, bassist Dave Mooney, and violist Brendan Lawless, and we regularly perform around Dublin.  

    I thoroughly enjoy my role as a session guitarist, collaborating with various artists such as Christian Wethered, Adam Nolan, and Yankari Afrobeat Collective. Each experience adds to my musical journey and presents unique challenges that I embrace as a contributing member.  

    As I reflect upon my career as a musician, I feel incredibly lucky to have dedicated myself to the study of the guitar. It may sound unbelievable, but it often feels like every positive thing in my life has either directly or indirectly stemmed from my commitment to this instrument. It serves as my meditation, my hobby, and my livelihood. It’s what motivates me to get out of bed each day. The impact it has had on my life is immeasurable. I’ve discovered an endless game, a never-ending journey that reflects my approach to life, one of constant learning and growth, an outlook that I intend to maintain throughout my life and journey as a musician.

    Feature Image: Daniele Idini

  • Bringing Music Back to Dublin

    Promoter, venue and band manager, Conal Lee reflects on the experience of musicians over the course of lockdowns, and considers the ongoing difficulities for musicians and venues in Dublin, as  well as the challenges of dealing with new controls.

    Conal Lee.

    How have you survived through the lockdown?

    Having an enforced break, albeit as a result of the pandemic, was needed for two or three months as I had been working non-stop for a long time, and I was not going to take a break of own accord anyway. But the novelty soon wore off as I began itching to get back to work and start creating. My mind and wallet needed it. Unfortunately, there was very little to do. I could not create live music events, which is mainly what I do.

    What was the general mood among musicians you know? Did many acts break up, or come together?

    I think some musicians held a similar view that a month or two of a break was a nice opportunity to sit back and reflect on things, and record some music, but only a few months! Obviously, financially the past twenty months or so has been very, very tough on the pocket, but the effect to the mental health has gone unnoticed I feel. Musicians are artists, creative people, that need to be busy developing work and need to have that end goal of preforming the music live to an audience.

    There have been some bands that have fallen away during lockdown, after not being able to meet up, rehearse and play, which develops the band and keeps the momentum alive.

    What were the main challenges putting on gigs prior to the lockdown?

    Running a venue dedicated to blues and jazz, it is always going to be hard to pull in a big, consistent audience as they are very niche genres, and generally attract an older crowd. So, to find the balance between putting on the right act, on the right nights, and trying to attract a younger audience by having a mix of all the sub-genres of blues and jazz can be the most tricky part. Any venue’s bar has to make money as do the musicians and sound engineer, door person and myself, so another part of it is putting enough acts into this balancing act that tend to bring a bigger, thirsty crowd.

    Do you think there has been anything good to have come out of the lockdown for musicians? Are there new outdoor venues for example, or has a more tolerant attitude towards on street performance emerged?

    A lot of musicians have been working a lot for years. Gigging many nights and trying to raise family etc., so the time to reflect on what was important, and then to have some time to record singles, EPs and Albums where there may not of been enough time previously.

    Venus have closed and will not reopen, there are a few outdoor spaces that have popped up, but it’s of little comfort considering the amount that have closed or that just may not do live music again, as they will use the space for more drinkers/eaters to catch up financially on lost time.

    Now, as we return to ‘normality’, what new challenges are you facing as a promoter?

    I think many of my audience may be wary about going into a small, hundred-person capacity Blues and jazz venue. I will, like others, have to increase admission prices and do more ticketed events which most of my punters are not used too. Again, it’s generally an older crowd that attend those concerts. I’m hoping that there has not been too many bands that have broken up, as something like this could kill off these genres.

    How do you feel about venues having to require prior bookings and vaccine passes?

    It will suit some gigs, some audiences but not others and vaccine passes just added extra work, but if it had to be done then that’s fine.

    Are there specific reforms the government could make to improve the life music offering in Ireland?

    An area, or quarter if you like, that’s dedicated to top quality music or a variety of musically genres through the area seven days/nights a week.

    Bigger grants for sole promoters to help run venues as there are too many big companies promoting gigs in many of the venues in town

    What advice would you give to your younger self entering the music industry?

    Believe more in what you are doing and stick to your ideals

    What is your favourite venue in Dublin, and why?

    Possibly The Sugar Club for the different types of artists performing, the regularity of the shows and the size, and space or the venue. And of course Arthur’s Blues & Jazz Club.

    If you were to design a venue of your own, what would it be like?

    Apart from Arthur’s, a venue dedicated to folk and traditional music.

    What do you think is speical about the live music scene in Dublin?

    The level of talent for a small-sized capital city. Live music is part of the city’s culture. It’s the music and arts that makes the city special.

    Feature Image: Daniele Idini