The Goo 1
SEP '25 grit and Claire’s no-wave coolness. Their
performance of ‘The Bass’ transcended music, feeling more like an avant-garde piece. Sarah Crean’s set defied expectations, leaning into edgier, rawer sounds. Her interactive performance, blending punk energy with indie sensibilities, demonstrated her evolving artistry. Efé’s transformation from bedroom pop to gritty indie was captivating. Tracks like ‘Table for Two’ received a funky revamp, complete with playful stage antics, reflecting her dynamic growth. Telekura delivered a psychedelic synth-pop masterclass, blending Stereolab’s essence with ‘90s Japanese influences. Their encore was an unexpected delight, leaving the crowd buzzing. I’m already booking my next encounter. Florence Road, perhaps the festival’s biggest draw, packed the main room. Their seamless fusion of rock, indie, and pop, highlighted by upcoming tracks like ‘Miss,’ confirmed their rising stardom. Finally, Babyrat closed the festival with unrelenting energy. Their punchy indie anthems had the crowd heaving with excitement, the band members often diving into the pool of fans, epitomising the festival’s spirit. Leaving Whelan’s, my heart was full. The festival’s dedication to diverse talent and authentic performances ensures its place as a cornerstone of Ireland’s vibrant music scene. David Keenan - The Ambassador - Christian Wethered It was a hot day in Dublin. Inside the Ambassador Theatre, the lights dimmed, and David Keenan stepped onstage as always: defiant, fully present, theatrical. He’s hard to pin down - somewhere between folk, indie rock, and spoken word The band moved fluidly behind him, shifting with each song’s mood. One minute was woozy rock’n’roll, the next, brooding, percussive folk. A saxophone added texture. The crowd was with him from the start - clapping, singing, swaying. They didn’t just know the music; they knew him. That connection ran deep. ‘The Friary’ stood out - just voice and guitar. The band dropped away and you saw the songwriter in full. You wanted more of that. His playing was sharp and rhythmic, but what really lingered was the writing - precise and quietly powerful. Other highlights - ‘Evidence of Living’, ‘Subliminal Dublinia’, and new single ‘Fifty Quid Man’ - held the crowd’s attention, the last one especially taut and immediate. Keenan shifted easily between sung, spoken, and half-sung forms, giving the night its shape. ‘Altar Wine’ loosened things later, but still hit hard. You can hear the influences - Dylan, Christy Moore, Van Morrison, even Gil Scott-Heron - but they’re worn lightly now. He seems more himself. Between songs, a few lines: “Rain, rain, go away… fuck the fear, fuck the begrudgers.” The crowd erupted. At a time of global fracture, Keenan reminded us of the power of music to unify and embolden. He ended with: “You are living in this time. You are living in this earth.” And then, quietly, it was over. Dream Boy (+ Pebbledash) - Workman’s Cellar - Eva Rodriguez The last event before the closure of the Workman’s Cellar due to major renovations featured the female-fronted band Dream Boy. They headlined in celebration of the release of their first EP, Drowning in Blue, with the support of Cork’s 5-piece Pebbledash. The ambience of the venue brought a sense of nostalgia for the late 80s, when shoegaze was at its peak. It was not only the sonic aesthetics of the bands playing that night, but the inclusivity and fashionable looks of the crowd, the DIY merch stand (which sold out!), and also taking time out of their show to raise awareness and raise money in support of the victims of the ongoing Genocide happening in Gaza at the moment. Pebbledash opened the night with their signature sound, blending dark folk with dream pop. Intertwining melodies and creating an eerie yet sweet atmosphere, they captivated the crowd throughout the entire set. On the other hand, Dream Boy played a substantial setlist that blended the tunes from the EP with unreleased songs, forgotten fan favourites and a Diet Pepsi (Blondshell’s version) cover. The cherry on top was the encore. The crowd was able to experience an ethereal version of Ivory featuring a violin, which was a stellar arrangement to close the night. Both bands did justice to the Cellar’s last night and closed the chapter in the best possible way at this iconic Dublin venue, with two powerful live performances. Skinner/Baggles and Butch/Jean Pack - Anseo - Reuben Barter The hottest day of the year saw three of Ireland’s most interesting and energetic bands playing the cosy and sweaty room that is the upstairs of Anseo. First up was Baggles and Butch, a new band that evoked ideas of the mythical year of 76’, with their fast set that stormed through a blazing 30 minutes. As the heat began to build, Baggles and Butch proved to be a good beginning to a night that would only get better. Next up, hailing from Cork, with their 60s inspired pop melodies and (mostly) matching outfits, were Jean Pack. This tight five piece band serenaded the room with their catchy brand of alt-pop; a sound of layered harmonies and scattered minimalist guitar playing with songs driven by a drummer who must have lost most of his body weight in sweat. Their last song ‘Baby’s In A T-Shirt’, with the witty lyricism of singer Niamh was a perfect way to end the set. Skinner began their set with their version of ‘Eisbar’ by Swiss band Grauzone entirely in German. The songs after that switched to suit an English speaking audience including many from his debut album ‘New Wave Vaudeville’ with a healthy mix of Lizzy Mercier Desclox-esque instrumentals and his own blend of polyrhythms, saxophone and guitar experimentations. A few new songs were played including ‘Washing Machine, a refreshing indie pop track and ‘The Clanger’ which featured guitar and drumstick interplay. Skinner ended the show with ‘The Slump’, a song from their earlier catalogue that the crowd loved and danced along to. An epic, hot night in Dublin town. 29