Little Waves @ C-Mine, Genk, 2018 – a feast of a festival

Much looked forward to, our annual family outing to one of the finest festivals I know is already over and done with again. Last Saturday saw us driving excitedly to the C-Mine in Genk, Belgium, a former mine building, now converted to part museum, part art exhibition centre and part very fine venues to enjoy this year’s Little Waves @ C-Mine, Genk, 2018 – a feast of a festival.

The fun starts when you arrive: Plenty of free parking, a short stroll to the building that houses the venues, a friendly and easy entry procedure. This year there was an additional venue upstairs, the Compressorenhal, the newcomers were moved from the foyer to a separate room and then there were of course the standing only venue with gallery and the big theatre with seating. Everything as expected: Fine food and drinks at reasonable prices, super friendly staff and a line-up to die for.

Sadly the problem with overlaps of the performances that will make you miss quite a few acts you would like to see or has you rushing in and out of performances, still remains. I would say, it probably has become worse. It so happens that we never made it up into the Compressorenhal to see Wartaal, Bonfire Lakes and Holly Miranda. Especially the latter I would have loved to see but Holly’s set was at the very same time as Mercury Rev’s. Pity for the very talented musician to have everyone flocking off to see Mercury Rev.

It also means that you have way too little time to fully enjoy the bustle and the fine catering…well, a couple of Krieks and original Belgian chips had to do the trick.

On arrival we had a short gander at Bed Rugs from Antwerpen who delivered an engaged set of songs to unfortunately not yet many in the audience. I thought their music, though well-crafted and with heart in it, was a bit all over the place but was very happy with the last song we heard, a guitar-laden psychy tune.

Little Waves @ C-Mine, Genk, 2018 - a feast of a festival
BlitzenTrapper

But then it had to be off for us, Blitzen Trapper from Portland, US, were starting their set. Americana in the purest sense garnished with typical country lyrics, in some songs not unlike The War On Drugs oeuvre, there was a very professional band who also seemed very down-to-earth and likeable. The audience was still not quite awake yet, sadly, but I think, Blitzen Trapper did not take it to heart and were enjoying their set and were way too polite to comment. I am only guessing here but given the day that was in it (warning strikes of the US, UK and France in Syria), people were probably expecting a bit of a political comment from this so very American band but Blitzen Trapper remained on neutral ground.

A short peek into Catbug‘s set on the newcomer’s stage…she was playing to a full room and entertaining with singer-songwriter compositions. Quick bite to eat and we were ready for Mick Flannery from Ireland.

Little Waves @ C-Mine, Genk, 2018 - a feast of a festival
Mick Flannery

Even though – can you ever be ready for Mick Flannery‘s bitter, bitter songs about heartbreak and hopelessness? Yes you can if they are delivered with such wit and warmth and amazing guitar and piano playing plus the stories in-between. Mick Flannery probably would not think of himself as a stage person but his performance is very compelling. Could have heard a needle drop if the girls behind would have stopped chattering (in the best possible way, about the music, but nonetheless). Mick Flannery was attending his merch stand, selling, signing and talking afterwards and came across as not only a very gifted songwriter and musician but just a normal guy which we all were very impressed with. If you can catch him on his continuing tour through Europe and the US, do!

Little Waves @ C-Mine, Genk, 2018 - a feast of a festival
This Is The Kit

I would have loved to see more of Douglas Firs from Gent in Belgium because I really like some of their more sombre songs but alas, we had to be in time for This Is The Kit who I had already missed once last year at another festival. I expected good songs, performed to a high standard but This Is The Kit’s gig left me gobsmacked, utterly gobsmacked. Those beautiful songs reach another dimension live due to the immense craftsmanship of each one in the band: Kate, Rozi, Matt and Neil. (We have Rozi Plain – please pay attention also to her fantastic solo releases on Lost Map – not in the picture, that stage is just too wide and we were too close).  Added to that their playing together in such a tight way was absolutely amazing. You could ask Kate for a song, she’d wangle it in and the band played it perfectly.

Kate’s and Rozi’s duo singing was bliss. Kate’s absolutely masterful on fingerpicking guitar, banjo and of course singing and even whistling a tune. The diverse and on the point drumming of Matt, the melodious bass of Rozi and to top it all off the guitar mavericks of Neil who was allowed to show off during the last two songs – I know….I am ranting but I am not exaggerating. The set even contained my favourites “Misunderstanding” and “Bullet Proof” and both had me in tears. The audience was oh so quiet (in a good way), so my whooping was of course making me stand out like an eejit, but hey. Kate later was at the merch stand with Ben and both were again so kind and friendly and witty. Ah, true musicians do not need to be divas, I know, but it is still very refreshing to see.

Little Waves @ C-Mine, Genk, 2018 - a feast of a festival
Mercury Rev

The Academic had started a fresh set in the standing only venue which seemed to be going down well but there we had to rush again: Mercury Rev were beckoning with a very different set. Celebrating the 20th birthday of the album Deserter’s Songs, the songs were played by Jonathan Donahue, Grasshopper and Jesse Chandler in an acoustic and intimate way with many a story told around the making of the album and the situation Mercury Rev were in at the time. Apart from this being very interesting, touching and funny at the same time – Jonathan is a great storyteller, the actual songs went straight to your heart. I barely moved through the whole set. The audience did get a good dose of electric guitar though from Grasshopper during the songs, fresh from his new Sterling Stingray!

It was amazing to see Mercury Rev live. Some might have missed the typical Mercury Rev big, embellished, dramatic performance but boy, this toned down performance certainly had me by the guts.

We finished off the evening by saying hello to the very courteous Jonathan, Grasshopper and Jesse at the merch stand (their wares were selling like hot cakes) and a short look-in to Slumberland who were entrancing with two drum kits and synthesisers.

We had a very special evening thanks to the artists we saw and heard.

Certainly want to see all of these acts again and thank you Little Waves, see you next year!

 

 

Album review: First Tiger – Dedicated

Happy New Year to you all! I know – what is it but a fracture of time that divides the new from the old in some parts of the world only. And yet, the greeting is expected and willingly given by me to all those who are more than deserving of a happy new year and who will contribute to make it one for those surrounding them – which is a great start. As always, music will play a big part in the life of those who read this. So here it comes: The first album review: First Tiger – Dedicated.

Album review: First Tiger - Dedicated

“Dedicated” was already released last year but first of all, I am nowhere finished with the First Tiger’s album – so much to discover yet and secondly, so many of you have not heard of it so far.

So, First Tiger which are Shorts (vocals, guitar), Stevie (guitar, vocals), Paddy (drums) and Iain (bass) hail from Glasgow, Scotland, and the wit, the playfulness as well as the grittiness of the city all simultaneously are contained in their debut offering. 

The ten songs featured on “Dedicated” are musically so packed with surprising hooks and turns that it will take you a while to discover it all without being pretentious. We have here, I dare say, pop songs as they should be if the grown-up customer of the record industry was ever asked for his/her opinion. Likewise the lyrics: Stories from inevitable everyday life, bitter sweet love stories, self-deprecating opinions on relationships, presented with immense humour and an unerring eye for detail.

Tracks include the quirky, rocking, slow and saddish, but behind every note and every letter, the individuality of First Tiger jumps at you.

Tracklisting:

Falling Elevator, Dedicated, Walking On Air, Smiley’s Funeral, Take Care, For Pete’s Sake, Crappy Hopes And Beat Up Cars, Not Worth The Rent, The Party’s Over, Other People’s Taste.

The debut album was mixed by Stuart McCredie (Belle & Sebastian, The Fratellis, Blue Nile) and mastered by Calum Malcolm of Linn Records.

To quote First Tiger themselves (and they are almost there):

“If there’s a missing link between Fats Waller, Jacques Brel, Radiohead, Anthony Bourdain, Prince, the Strokes and the feeling you get from Raymond Chandler novels, by god, we’re determined to find it.

There’s a lot about musicians like Duke Ellington and Fats Waller and Jacques Brel that we dig. Something about the awareness that you’re playing music to entertain. And that if you’re going to put yourself in front of folk, you should make it worth their while, not just yours.”

Now, refreshedly starting into the New Year, you just have to do three things:

Read up  a little on First Tiger in their own inimitable words here.

Listen to some of the soundbites below.

Go and see First Tiger live, that’s well worth it.

And get the album “Dedicated”, you can find it in all the usual places: Itunes, Spotify, etc.

Great Lake Swimmers @Muziekgieterij & interview

In one of the past blog posts I had posted an interview that Great Lake Swimmers‘ Tony Dekker kindly gave me and also highly recommended you to go see them on tour. And here comes more: Great Lake Swimmers gig review and interview

The three-week tour through Europe with Mary Lattimore has now come to an end and I had the opportunity (thank you Phil Klygo from weewerk!) to see them play and have another short conversation.

So, it was Friday, May 6th, one of the first warm days after a very cold spring so far and the lovely people of Maastricht do what they love best: Sitting outside, having fun and watch the world go by in their beautiful old city. Yet, quite a few people made it into the outstanding venue “Muziekgieterij” (thank you, the great people at Muziekgieterij, too) and were well rewarded:

Great Lake Swimmers had invited their friends The Fire Harvest from Utrecht who came despite it being their CD release day and treated us to a great set of slow and dark and introspective songs. Check them out!

Next up was master harp player Mary Lattimore but she will of course get her own space on this blog 🙂

Great Lake Swimmers - audience perspective
Maastricht concert May 2016

Great Lake Swimmers then entered the stage and by looking at people, I’d dare say, they entered their minds and hearts. You could hear a needle drop when the band delivered their acoustic set.  Yes, we all were still in the dark venue but somehow GLS conveyed The Great Wide Open that is so important to them, their inspiration, their essential elixir.

Tony Dekker, Bret Higgins and Erik Arnesen are accomplished multi-nstrumentalists, so if you are thinking – phew, a long acoustic set, that is going to be a tad dull, no it was by no means. At the same time the acoustic nature of the show made for a very personal atmosphere. Lovely to see and hear older songs again like old acquaintances, changed but inside the same.

The quiet sound also made it possible to really pay attention to the lyrics.

Great Lake Swimmers played a very long set and encores as well during one of which they were joined by Mary Lattimore on harp. I think most people would have had the same long-lasting effect of contemplative, calming and introspective mood after the concert as me. It was beautiful, thank you.

Before I forget, Tony Dekker kindly answered a couple more questions as well, so here goes:

Offbeat: Some people were a little worried since you only perform with part of the band on this tour.

Tony Dekker: Well, we are doing acoustic shows.

Offbeat: People seem to be very impressed that the music came across really well. Are you happy enough with how the tour is going?

Tony Dekker: Yeah, it’s great. We’ve been touring for three weeks and we have one more show and it’s been going really good. We were able to bring things back and revisit some of the back catalogue, playing songs in a little bit more quiet way and present them in a more intimate show with a three-piece band.

Offbeat: Do you find that the songs have changed over time or taken on a life of their own?

Tony Dekker: I guess so. I mean when you release a song you never know where it’s going to go, who is going to listen to it, what it is going to do. The songs always have a life of their own.

Offbeat: Do you have a musical background in your family?

Tony Dekker: No, no music in the family at all. I am the black sheep. I started out in my teens. I learned to play guitar and I was in scrappy art rock bands when I was younger. Then I started taking songwriting a little more seriously. After school I studied literature. Some of that affected my writing. It got me deeper into the writing process. I have more of a background in literature and writing than in music.

Offbeat: Are you one of the few artists who would think about the lyrics first?

Tony Dekker: Yeah, absolutely. 100 per cent.

Offbeat: That is very rare.

Tony Dekker: For a lot of the music out there at the moment the lyrics seems to be kind of an afterthought. It is more about the flavour of the week. Hopefully we are making music that will last a little longer. It is not really meant to be disposable music. A lot of the music at the moment lasts maybe a month and then it’s the next thing. Ours is not music that is meant to be like that.

Offbeat: Leonard Cohen it was, I think, who said, that his poetry does not sell or is read and that through music it becomes more approachable.

Tony Dekker: Yeah, I don’t know. It is a more direct channel. I know the quote.

Offbeat: Or maybe adding an extra layer for the atmosphere of the music?

Tony Dekker: I think songwriting is very different to poetry for sure. It is a different discipline. Some poems don’t really work as songs. And some songs don’t really read well as poems. So I think it is a different thing. But on that topic, I think, music is a more direct channel as you are really communicating with someone, you are really expressing something. There is a more direct connection when you are in room with a person sharing the same space and singing and making music in the air.

Offbeat: If you take us through your albums, how do you see your own development?

Tony Dekker: I don’t know, I think, maybe the songwriting has got a little more concise. We have gotten to be better musicians. We have evolved over the years. At the same time you could play some songs and do them with voice and guitar like on the first album and do them in the same setting and the songs still hold up. We still play songs from across our catalogue. We haven’t made the same album twice. There has been a progression with each album and I think you can hear that. It brought us to a place.
This tour is kind of a special tour where it is like reviewing our older songs. A lot of people who have been fans over the years want to hear those songs. So it’s more a tour for them.

Offbeat: Thanks very much!

 

 

Villagers gig review and interview

Villagers gig review and interview

Villagers are taking their album “Where Have You Been All My Life?” on tour. The album was a selection of old and new songs recorded live in the studio. Same applies to the concerts on this tour. I had the opportunity to see one of the gigs in Düsseldorf, Germany, at the beautiful ZAKK centre.

Let me just say, grab the chance to see Villagers on this tour. You’ll get a great support act, the Ye Vagabonds, a beautiful ascending set of Villagers’ songs showing off, deservedly, just how accomplished they are as musicians based on synthesizers, fluegelhorn, harp (!), drums, double bass and acoustic guitar.

For a show that is perfect to a tee, it exuded a lot of warmth and spirit – and no, you just have to go there. It was masterful!

Of course, I had to disturb the awestruck and respectful silence of the majority of the audience vehemently for a minute or two (sorry, but it did help!) to give out to the minority of the audience who were chatting non-stop, really, really annoying. They might need no harm, but you have to ask yourself, why not save yourself the effort and the others the pain, when you want to chat to your friends and discuss the music with the music in the background, and just stay at home and put a record on.

So, there, that said, I will now invite you to read the interview that Conor O’Brien kindly gave me for this blog and the radio shows on www.novumfm.de and www.byte.fm. A nicer man hardly ever has treaded this earth!

The Villagers

Here goes:

Offbeat Music:
Thank you, Conor, for taking the time for an interview. Let’s get straight into that. What was your upbringing like? Was there a lot of music in the house?

Conor O’Brien:
There was, mainly classic jazz singers like Ella Fitzgerald or Nina Simone, lots of Frank Sinatra. My Dad’s obsessed with Frank Sinatra. And my brothers and sisters were playing lots of music and I was the youngest, so I was always hearing these different areas of music, slowly becoming greatly obsessed with it. So, definitely lots of music.

OM:
Some people get deeper into music as kind of rebellion when they are teenagers. Obviously not, when the parents listen to nice stuff. Did you have to rebel or did you have a supportive family when you said you are going to do music?

Conor:
They were very supportive. It’s a very boring answer. It was very easy for me (laughs). Basically my brother gave me his guitar to use and I was kind of left alone, to my own devices a lot which was nice because I was really obsessed with making visual art as well, painting. So I did for years, probably didn’t get out of the house enough. My parents supported me. It was a perfect childhood really.

OM:
After school, did you get straight into making music?

Conor:
After school? I went to college and I did English & Sociology for three years but then I was writing the whole time and started a band. I was in a band called The Immediate. We were playing around Ireland and a bit of the UK and a little bit of France. That ended and I became a guitar player for a girl called Cathy Davey and that was the first time I was starting getting paid, having money for making music. I couldn’t believe it, incredible. I worked on the first Villagers album while I was touring with her round Ireland and the UK.

OM:
The approach to your four albums so far has always been a different one, so it seems. Could you shortly take us through the albums without simplifying it too much on your approach to them (whether intentionally or not)?

Conor:
I think with all of the albums, I never went into them with a very locked specific idea of what I wanted. Each of them had a different method. The first album (Becoming A Jackall) was quite…there were a lot of pre-written notes and words and almost poem-like sections in my notebooks and so I had a big backlog of stuff. The actual making of the album was almost like putting all these things together like in a jigsaw puzzle, trying to figure out what is the most coherent way to piece together these previously made things.
With the second album ({Awayland}), a lot more stuff had to be written closer to the time of it being recorded. There was a lot more fight or flight syndrome, you have to get it down and it has to work which was really interesting. It meant 15-hour days for a few months just focussing. I was trying to learn to produce as well and make electronic sounds and also write words and figure out how to make that into a narrative for a folk band type thing. And mix that with experimentations of sounds. It succeeded sometimes and it failed at other times.
For the third album (Darling Arithmetic) , I just decided to write the most intimate, something that no filter on it really. I got rid of the filter and wrote the first things that came out of my notebook. The music reflected that as well because it was more stripped and bare. So that was a really different feeling, a different atmosphere. I then decided for the first time to use my homerecordings as the actual finished product which was interesting as well because they are a little imperfect.
And then this new one was recorded in one day with the band. So it’s basically a session album. We mixed it the next day. That was pretty quick.

OM: Coming back to “Darling Arithmetic): That kind of was a breaking point for you in terms of writing more personal stuff and opening up and also technically (even when not intentionally). You virtually took the demos as the final product. What did your management or your label think about this?

Conor:
They were actually very supportive. It meant, it is quick and it is delivered. They liked the way it sounded. They could probably hear that it couldn’t be forced into a pop mould. They are smart in that way. I didn’t have any resistance at all. In fact, with the last record before, the was a suggestion from one of the guys from the label that perhaps there was almost too much production going on and I should try and relax on that a little bit. I kind of agreed with that. They are supportive, like my parents (laughs).

OM:
When you were doing that, was it a cathartic experience, releasing something or was it more painful?

Conor:
Oh, lots of different emotions, I think. The album deals with so many different things which are beautiful but also painful. There is a song just about the beginning of a relationship and love. And then there are songs about the opposite side, the end. Songs about bigotry and homophobia. I was waiting until I was good enough a writer to try and deal with these things in a non-crass way or a tacky way. I wanted it to be simple to a point but sometimes that can translate to maybe naïve or …There is a fine line between simplicity and…

OM:
Being superficial or clichéd?

Conor.
Yeah, clichéd or not really giving enough credence to the depth of the emotions that you are trying to portray. That was interesting. But there were a lot of emotions. I did it over a period of eight months. The recording was about eight months in my house, so every day and I was mostly alone (laughs). It got very strange. But it was cool. I like it.

OM:
So, on the one hand you really opened up and got personal. On the other, you wanted to leave a little space for listeners to find themselves in a song, so not like: Here’s the message and that’s how you are receiving it? How difficult is that, to find that balance? To say something about yourself and at the same time to leave it abstract.

Conor:
I don’t know. It’s a weird one because I don’t know how important it is and I might have even changed my opinion on it in the last few weeks even. It’s a cultural thing. It is a very Irish thing to perhaps not talk very openly about your emotions. Or, if you are doing it, the initial communication from you will be something that will be instantly open and cheery. But it will take a while. When you are in Germany, people will instantly say what they want or what they feel or what they mean. (Doubtful look from OM). Not necessarily all the time. There is definite linguistic there. When people communicate and they are like “I do not like that”, “I do not want that” whereas in Ireland you’d say: “I wouldn’t be liking that maybe.”
OM:
Like the word “No” does not exist in the Irish language?

Conor:
Exactly. And you can’t really say “no”, it’s really rude. You feel really bad.

OM:
Or you’re asked “How are you?” and you are expected to say “I’m grand”. In Germany, you’d say “I’m shitty” and if you tried that in Ireland, people would look at you shocked.

Conor:
Yeah! It is seen as a confrontational thing in Ireland to suggest something negative straightaway. So, there are layers to break through. Maybe some of my writing suffered from that a little bit or perhaps there is a way of using that. I don’t know, I am trying to understand whether I really believe in what I said or noticed in the interviews for this (chuckles).

OM:
I talked to Siv Jakobsen, a Norwegian singer-songwriter the other day and she said she does not want to spell everything out too much but to create an atmosphere with the music, the words and the voice and even images to leave things a bit open for the listener to see themselves in the music. Is that where you’re coming from?

Conor:
That’s important. The song is only completed by the listener. Knowing that as a writer is a really interesting thing to play with. There’s something to be said for enigma a little bit. Letting someone use their imagination which is a beautiful thing. Art can only really do that. You’re not like selling a hamburger to someone.

OM:
When you sit down and write a song – some people are obviously aiming at commercial success or looking at how to perform a song or how is this going to land with listener – how do you do that? Do you just write for yourself first?

Conor:
With “Darling Arithmetic” I wrote exactly what I wanted to write, in the room I was in, on my own. I was not thinking about being on a festival stage or whatever. With the last album I was totally thinking about that. I was focussed You can hear that in the way it sounds. There is a lot to be said for both of these methods. You can use all that in different ways. I am even mixing them. It’s a funny one – I keep changing my opinion about it as well (laughs). I started to make a lot of sequenced music again, electronic music. A lot of that is just based on how you feel when your body is moving to it which I want to try and get back to a little bit. I am getting obsessed with harmonies too.

OM:
How did you pick the songs that got a rework on “Where Have You Been All My Life?”

Conor:
How did we chose them? It was just what we were doing at the time on tour. We were in the middle of touring. It was quite funny though, a lot of the songs are not hugely different. It is just a different band playing the song. Since we have recorded this album, we’ve changed them for this tour. We are promoting the album, but they are different versions again. They are re-imagined versions now that we are playing. We feel like we should be going back to the studio and re-record the album…but probably not. It is time to move on.

OM:
Is there a song you cannot identify with anymore?

Conor:
There are songs that I cannot really identify with. But I don’t see that as …there are songs where I feel, I was dishonest in them. But of me goes: Cool, you’re exploring dishonesty. I don’t see it as illegitimate suddenly. I like seeing art as everything you do in art being legitimate. You can put everything out there. There’s always a way of changing it or singing it in a different cadence where you realise you are connecting with it again.
There is a song “Greatful Song” on ‘{Awayland}’ which kind of annoys me. I was reading lots of atheist literature at the time. About a year later, I was: I don’t even care about that anymore. I was just writing something based on what I was reading at the time. I do not care about that stuff anymore. I does not mean anything to me. That’s cool. Photo albums always have embarrassing haircuts in them. Villagers videos have embarrassing haircuts in them. The bowl-haircut (laughs).

OM:
What is the best song you have ever written?

Conor:
Oooooh….phew…..oh god, I dunno….och, I can’t answer that….depends on what you enjoy performing at the moment really. Last night the best song was…what WAS the best song last night…maybe ‘The Soul Serene’. I really enjoy that because it has a lot of space in it. Maybe that one.

OM:
It said somewhere you enjoy travelling and you are home wherever you lay your head and then that you regard Dublin as your home. What inspires you more? The travelling bit or the being at home and digesting bit?

Conor:
All of it feeds in. When you are touring you take a lot of notes on your phone and when you get home, you get time to close the door and figure it all out. It’s all part of the process really. This is probably my favourite tour we’ve ever done. Wouldn’t have said that two years ago – I was more of a home bird two years ago but now I am really excited about travelling and bringing these shows. They are the best shows we have done, I think, ever. That’s exciting – I am enjoying that a lot.

OM:
So, what can we expect tonight? What’s going to happen?

Conor:
Er…..laughs….Magic…It’ll be magical. There will be a sort of evolving energy to the show. It’s not as much as a one-note show as the Darling Arithmetic tour was. Then, we even brought like a house lamp on stage. We wanted it to feel like a living-room and everyone to sit down whereas this show – it builds a little bit. It gets quite full-on towards the end. It’s a gradual kind of thing in this show with a release right at the end.

OM:
Sounds good.

Conor:
I am better at doing it than talking about it.

OM:
Is there someone you would really really like to collaborate with, maybe not in songwriting (difficult) but performing?
Conor:
Oh…I dunno….performing?…hm….I am trying to get the guys from “Ye Vagabonds” who are opening for us up. Maybe tonight. We are going to see if it works. So then…(Laughs). I don’t know who else really. I had the idea of stretching my musical horizon a little bit. I am going to have a little jam with my friend Meike who comes to Dublin. She is in this musical collective orchestra called “Stargaze”. We have done stuff with her before. But I just spent a day in her apartment the other day – she has this old Indian instrument called the Bulbul Tarang. She was playing her bass flute and I was learning this instrument. It’s amazing. She is going to bring it to Dublin and we are going to record something and I might make loops out of it.
I want to focus on people who are close to me, friends that I know, rather than a Kendrick Lamar really. Although, that’ll be pretty cool as well. If you are listening Kendrick, I am ready for you!

OM:
Everyone seems to love Kendrick Lamar…final question: In how far do you think your country has influenced who you are?

Conor:
It has a lot but I think it’s only been in the last couple of years, I would even believe that. It is very engrained. I did not grow up in the folk scene. But the more you travel around the world, you more you realise how much music is everywhere, in Dublin and in Ireland. You can’t really walk out the door without someone playing guitar in the street. So that of course influences you a lot.
But some of the other aspects of Ireland, negative and positive…I dunno…

OM:
It being an island?

Conor:
It being an island, yeah. I’ve been thinking about that recently, the psychology of that. If you haven’t left it. There is real sense of community amongst musicians in Ireland which is perhaps unique to Ireland. Maybe?

OM:
I had mentioned Siv Jakobsen and she is said that it is the same in Norway, also sparsely populated, also a folk tradition and people stick together.

Conor:
Yeah, yeah…right…

OM:
Thank you very much Conor;

Conor:
Cheers, thank you!