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tions of those working on the project. Sticking t
o the source material is important, but subtle interpretations are a necessity if the feelings are to be adequately expressed. The ‘concert experience’ is the crux of Glasshouse’s place in Ireland’s musical scene. There are other groups doing similar things, although in slightly more avant-garde and niche ways. The difference comes from Glasshouse’s aim to make something that straddles ingenuity and accessibility. They are not and never will be a covers band, rather a creative entity that utilises the source material as the seed from which their shows will grow. Suffice to say that music has a profoundly deep place in Naoise’s life and perspective on it, therefore its ability to be harnessed as a tool for enhancing people’s lives is an imperative part of his outlook. “I feel like we are getting our audience into classical music in new ways. It’s an incredible art-form that is often overlooked because of a certain societal attitude.” The architectural elements of singular venue choices, the integration of visual elements and the choice of artists being interpreted all contribute to the notion that these shows double up as an introduction for people with interests in various disciplines, encouraging them to interact with classical music – something that might previously have lacked appeal. Nothing is an accident. The Jóhannsson show was performed in the Unitarian church, a poignant home for such an emotionally charged album, considering his recent death. The spiritual element offered a depth that separates what Naoise and Glasshouse are doing from the rest. It also showcased original pieces by six Irish composers responding to his life and work as well as suitably evocative visuals which were cast upon the stone tablets by LeTissier. Each show is treated in a holistic manner with all things considered. True power in art, just like our memories, is derived from feeling. These little things, the choice of venues, the chance to have a beer or not, the option to clap and shuffle in your seats, all made that show what it had to be. They weren’t obvious at the time – all that mattered was the music. That’s where Glasshouses’ strength lies. Choices like these operate almost subliminally; creating an experience that doesn’t require ostentatious light-shows or outrageous outfits. Its subtle attention to detail allows us to enjoy the thing that really matters – the multitude of feelings that music can evoke in us all. In ten years time, the shows might still linger in our minds, just like the Illinois album that played in Naoise’s dad’s car still does in his. In time, we’ll forget almost everything else about these performances, but if we close our eyes, it’s possible that the feelings might flood back. It’s these experiences that form us and help give our life meaning. The Glasshouse project is doing just that, showing us that there is meaning and life in a genre of music that looks like it’s eventually beginning to run out of steam in our contemporary world. Their shows are certainly an experience and I’m almost certain that, as Naoise and Glasshouse continue to explore their limits and possibilities, they’ll give many more people many more memories. Glasshouse present Holocene: the music of Bon Iver in the Sugar Club on Wednesday March 27, €16-€20 glasshouse.space 32