The Goo 1
Live Reviews Maria Somerville Maria Somerville -
The Button Factory - David Carr A week out from the release of Luster the crowd were treated to a sneak preview of no less than seven tracks from the new album. I would describe the music of Dubliner Maria Somerville as very textured but also distant, almost ghostly. It appears Maria is keenly aware of this and looks to imbue the live production with a similar aesthetic. The smoke machine is set to 11 and spews out a continual haze for the entirety of the gig. Only white light is used and with her hair falling over her face Maria is effectively in silhouette throughout. There are surely deliberate similarities with Sadako from the Japanese horror Ringu, compounded by a massive projection screen that only displays television interference. After a palette cleansing intro, ‘Projections’ is every bit as good as I hoped live. Weighty, it delivers a pleasing shoegaze shimmer. ‘Spring’ which leans towards dream-pop on the album is more guttural live, closer to Chapterhouse’s output. The Cure style baseline on ‘Garden’ really drives in the live environment and demonstrates how in sync they are even this early into the tour. It’s a definite highlight. ‘Halo’ is punchier and more motorik live 32 and could happily groove away to infinity. I should also point to Michael Speers who bows away at his cymbals on numerous tracks creating an otherworldly accompaniment. Support act Olan Monk returns on bass for a trouser quivering version of ‘All My People’, a bludgeoning ending to a deliciously aesthetic night. Ispíní na hÉireann & Madra Salach - 3Olympia - Jamie Lee Forde To say this show felt like a special moment would be an understatement. If ever there was a show that embodied Irish folk/ traditional culture in its current form, it was this one. Madra Salach, relative newcomers on the scene, took to the biggest stage they’ve played to date like ducks to water. Powerful, emotional and atmospheric renditions of timeless classics from The Pogues and Sinéad O Connor captivated the building crowd. As did their original compositions that, to my surprise, were known word for word by many in attendance - a special feeling it must have been to hear your own words sung back to you as a young band in a venue as iconic as the 3Olympia. As for the headliners, Ispíní na hÉireann brought that raw and rugged, unpolished but infectious energy that we’ve come to know and love them for. It’s far from the Cobblestone they’ve come, and, although that rough and ready energy was present, the group clearly upped the ante for the big stage. Dramatic lighting, intricate instrumental passages between songs and fiery, passionate deliveries on every number had the jam-packed venue bouncing for majority of the show, aside from some tender moments the group tastefully sprinkled throughout. All in all, this show felt like a celebration of culture and authenticity. Íontach ar fad! Gag Reflex - Workmans Cellar - Mia Grabow In a small venue packed with a young, attentive crowd, the evening kicked off with Delivery Service, whose post-punk sound was heartfelt and harmonically rich. Despite their bassist losing her voice, the guitarist stepped in on vocals—an impressive and seamless pivot. Puck followed with a chaotic, high-energy mix of hype-punk and metal, featuring galactic guitar tones. They even pulled someone from the audience to join in on guitar—a crowd-pleasing move. But it was headliner Gag Reflex who truly owned the night. The Irish-German grunge quartet took the stage with ferocious intent.