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May
22
7:30 PM19:30

Comedy Karlnival Andrew Ryan with support from Brossie

Tickets €7 in advance / €10 on the door - (strictly over 18's)

Tickets €7 in advance / €10 on the door - (strictly over 18's)

Corkonian Andrew Ryan is one of the most exciting talents in recent years; in demand as an act and an MC at the biggest comedy clubs across the UK & Ireland. Andrew’s quintessentially Irish storytelling abilities and cheeky, friendly demeanor make him a natural observational stand up. He performed his debut hour show Ryanopoly at the Edinburgh Fringe Festival in 2012, receiving rave reviews. In 2014 he returned with his show The Life of Ryan playing to packed out rooms. In 2015, he was at the Edinburgh Festival with his latest show Perfectly Inadequate, selling out the run and having to put on extra shows. He is performing his show Ruined at the Edinburgh Fringe Festival in 2016.

In Ireland, he has performed at Kilkenny Cat Laughs, Vodafone Comedy Festival and the Vodafone Comedy Carnival.

He has performed stand-up on BBC3’s Russell Howard’s Good News, Best of the Edinburgh Festival Live on BBC3 & Live at The Comedy Store for Comedy Central, Alex Zane’s Dirty Rotten Scoundrels for London Live. Andrew has also contributed to World Cup’s 50 Greatest Moments & BAFTA’s Red Carpet television shows on BBC3.

“Illuminating debut” - Metro

“Going to be a huge star” - Timeout

“Hard not to enjoy” - Daily Record

“An hour of hilarious comedy” - EdFest Mag

Brossie.jpg

With support from Brossie. Performing under a pseudonym to protect her identity and sense of humour from her primary school students, Brossie is a teacher and wickedly sharp comedian who is one to watch (as a comedian, not as a teacher - she doesn’t hit her pupils or anything)

  • Please note all ticket prices include a booking charge.

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  • Over 18s only (unless advertised to the contrary)

  • On street parking

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May
23
8:00 PM20:00

Cormac Neeson

Tickets €12 - (strictly over 18's)

Tickets €12 - (strictly over 18's)

Dylan once wrote Destiny is a feeling you have that you know something about yourself nobody else does. If you try to be anyone but yourself, you will fail; if you are not true to your own heart, you will fail. Then again, there is no success like failure.

Cormac Neeson, the lead singer of Northern Irish rock band The Answer, blazed the road to rock n roll glory for the better part of a decade, touring the world, sharing stage supports with the likes of AC/DC and The Rolling Stones, achieving both fan and peer respect as not only an outstanding vocalist but consummate performer. Yet, recessed deep within his creative subconscious lay his Dylan destiny, a Celtic ˜knowing” that constantly gnawed for release from the straight jacket of rock n roll.

It is well documented that the last The Answer record Solas (2016) was their most soulful, personal and affecting album to date being rooted in an intense period in Cormac’s life, in part inspired by his journey from the edge of personal trauma as he overcame his first-born son Dabhog’s premature, life threatening and complicated birth. Following Solas, Neeson decided it was finally time to reach for something different and to lay bare a fresh creative direction that his heart demanded.

The result of three entrepreneurial self-funded writing trips to Nashville, is White Feather, a first solo album which propels Neeson into the life affirming world of Country soul, Celtic roots, Americana and laid back Folk rock. Through a series of crafted, introspective songs, he delivers a vulnerable, personal and very different sound drawing heavily on his recent experiences. Neeson has co-written songs with leading USA and Nashville country songwriters including 2016 Tennessee songwriter of the year Corey Lee Barker; Steve O Brien, Blue Miller, Chase Akers, Blake Densmore and Allen McKendree Palmer who between them have sold in excess of 30 million songs.

In January 2018, he packed his bags once again and headed to Nashville to track 15 songs for the White Feather album at the historic and famous Studio 19, now The Sound Kitchen. Purchased in 1964 by Scotty Moore, Elvis’ guitarist, Studio 19 has recorded a veritable who’s who of great American artists including Bruce, Dolly, Garth, Alabama, the list goes on. The studio is an icon of Nashville’s famed music row and Neeson tapped into the cities immense recording history and ambiance, working with some of the finest Country musicians from Detroit, Chicago and Tennessee, including guitarist John Heinrich (The Everly Brothers, John Mellencamp, The Beach Boys, Ronnie Milsap), multi-instrumentalist Pevy Pevahouse (Trace Adkins), Doug Kahn (Bass) and Steve Grossman (Drums), both from the Gibson Miller band and performers on India Aries Grammy award winning album Voyage To India.

Everything about this process has felt right. From the creation of these great songs to the cutting of the record, it’s been one huge emotional release for me.....like destiny unfolding the way it was always meant to happen (Cormac Neeson)

White Feather is not a one off. Neeson is looking forward to taking his new sound and band on the road in 2018, as he builds towards the album release at the end of this year. In White Feather, he has shed a skin, revealing something about himself that defies all previous perception. Perhaps for the first time in his career Cormac Neeson is, as Dylan would put it, being absolutely true to his own heart and he wants the world to know it.

  • Please note all ticket prices include a booking charge.

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  • On street parking 

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May
23
8:00 PM20:00

Lisa O'Neill proudly presented by Seoda Shows

Tickets €15  - (strictly over 18's)

Tickets €15 - (strictly over 18's)

“It’s uncompromising, stunning, soul-shaking stuff”

* 5/5 'Best Folk Album 2018' The Guardian

“Folk is undergoing something of a renaissance at the minute, as the kick against ‘fake everything’ heralds a yearning for authenticity from food to music. It doesn’t get more authentic than Lisa O’Neill, who seems genetically incapable of falsehood, fiction or affectation. A special talent indeed.”

* 9/10 Hot Press Magazine

“An authentic, sometimes otherworldly, sense of place, time, and tradition.Across a mix of originals, traditional, and one cover (Shane MacGowan’s 'Lullaby of London'), O’Neill calmly but decisively stakes her claim as a mould-breaker.”

* 4/5 The Irish Times

LISA O' NEILL from County Cavan is an Irish songwriter like no other. Her roots may be sourced in folk and traditional music but her work opens up a landscape beyond any settled sense of genre. On her last album, 'Pothole in the Sky', she set her remarkable incisive voice against impressionistic instrumental back-drops, like Margaret Barry colluding with the Dirty Three or some such meeting of minds. Lisa is not shy of collaboration, and her performances across Ireland, Europe and beyond have featured many great musicians of all ages and traditions. In January this year, she joined a stellar cast of great songwriters and musicians to celebrate the birthday of Shane McGowan at the National Concert Hall, Dublin, Ireland. Earlier this year she accepted an invitation from the National Gallery of Ireland to respond to works in the Frederic William Burton: For the Love of Art exhibition, which resulted in another spellbinding performance. In April she put together a critically acclaimed show for the Abbey Theatre in Dublin with writer Pat McCabe, and musicians Ian Lynch (Lankum) and Cass McCombs.

Over the years she has quietly built a reputation for herself on the Irish and international scenes and now has a growing following with her unique folk sound, strong song-writing and distinctive voice. Her debut release ‘Has an Album’ was followed in 2013 by Choice-nominated ‘Same Cloth Or Not’. Her third and most recent album ‘Pothole in the Sky’ was released to critical acclaim and is filled with tension and emotion, contextualizing themes of love, loss, heartache and sorrow today through referencing tales from the past with beauty, honesty and defiance. Lisa’s latest release on the Rough Trade Records imprint River Lea, ‘Heard A Long Gone Song’ has garnered huge acclaim. It has recently been RTÉ Choice Music Prize - Irish Album of The Year nominated, has a 5/5 star review from the Guardian on release and a coveted ‘Best Folk Album of 2018’ from the same publication.

“At a time when sameness threatens to drain the world of charm and surprise, Lisa O’Neill stands tall for difference, as an outlier with a mission to frame the world as she sees it and to perform it accordingly. Her voice is her own. No small achievement.”

* THE IRISH TIMES

  • Please note all ticket prices include a booking charge.

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May
24
7:30 PM19:30

Paul Young

  • University Concert Hall, Foundation Building (map)
  • Google Calendar ICS
Tickets €38 - Available from The University Concert Hall - (strictly over 18's)

Tickets €38 - Available from The University Concert Hall - (strictly over 18's)

PAUL YOUNG

35 YEARS OF ‘NO PARLEZ’ TOUR 2018

Paul Young is back on tour, performing his much loved album ‘NoParlez’ in celebration of 35 years since it’s release. ‘No Parl ez’ was Paul’s debut album. It reached number 1 in the UK charts in 1983 for 5 weeks and fast became triple Platinum. The albumproduced Paul’s first UK number 1 single – The Marvin Gaye cover of ‘Wherever I Lay My Hat’ and hits ‘Come Back & Stay’ &; ‘Love of The Common People’. The album also features a cover of Joy Division’s ‘Love Will Tear Us Apart’.

Originally in early 80’s band Q-Tips, Paul Young went solo in the 80’s and his career took off with ‘No Parlez’ and further top 10 hits such as ‘Everytime You Go Away’ & ‘Everything Must Change’. He is also a Brit Award winner for Best Male vocalist, sings the opening lines on the original Band Aid Single ‘Feed The World’ and performed at Live Aid in 1984. Paul is a keen chef, biker and fan of all things Mexicana! A family man, always happy to be touring his classic hits as a solo artist or with his Tex Mex/ Americana band ‘Los Pacaminos’

  • Please note all ticket prices include a booking charge.

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May
24
8:00 PM20:00

The Wedding Present 30th anniversary of Bizzaro

Tickets €22 - (strictly over 18's)

Tickets €22 - (strictly over 18's)

Celebrating the 30th anniversary of Bizzaro.

 

“The boy Gedge has written some of the best love songs of the Rock ‘n’ Roll Era. You may dispute this, but I’m right and you’re wrong!” John Peel.

 The Wedding Present have had eighteen UK Top 40 hit singles… not bad for a band that has, from its inception, stubbornly refused to play the record industry’s game. That was back in 1985 when David Lewis Gedge boarded a National Express coach in London with 500 records packed into a pair of his mother's suitcases. In this fashion, the debut single GO OUT AND GET 'EM BOY! was collected from the pressing plant, delivered to the distribution company, and The Wedding Present was born. That pioneering spirit has been at the core of the band's philosophy ever since. From GEORGE BEST, "an unmitigated delight" [NME], the first full-length release on their own Reception Records onwards, the band has charted an appealing, if often eccentric, course of its very own.

  •   Please note all ticket prices include a booking charge.

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  •   Over 18s only (unless advertised to the contrary)

  •   On street parking.

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May
24
8:00 PM20:00

Jenny McMahon

Tickets €11 - (strictly over 18's)

Tickets €11 - (strictly over 18's)

Jenní is a singer/songwriter from Limerick city . Better known as vocalist  and writer Jenny McMahon with electronica outfit DeLorean Suite, Jenní has attracted critical acclaim for her authentic, unadulterated and soulful voice.

So it is perhaps unexpected that her new single ‘Roses’ sees Jenní make a return to her folk roots with a distinctly pared back sound. The single was recorded in one day at Open Door Studios, Limerick with well-known drummer Tony Roche (DeLorean Suite), guitarist Kealan Kenny (Toucan) and bass player Brian O’ Grady (Kilfenora Céilí Band). The song has a rich, warm and mesmerising tone and the accompanying video was shot in the iconic Cleeves factory by the team at Crude Media and is visually stunning.

Having launched the ‘Roses’ at a sold out gig in the legendary Maries Cheese Shop Jenní is excited to play the single and a host of original material  written over the last year with her live band which also includes guitarist/pianist Mark O’ Connor (Tooth) and Shane Storan (Randolph and the Crokers). Jenní notes that ‘Roses marks a turning point for me musically. I wanted to write songs from a very authentic place that would connect with people on a visceral level. I spent time reflecting and really drilling down into events, people and places from throughout my life. As a result I’ve written songs that expose a very different side to me that people won’t have seen before.’

Jenní plays Dolans Warehouse Friday May 24th https://www.dolans.ie/whats-on-limerick with a full band and plays an acoustic slot at Steamboat Record Store April 13th for World Record Day.

Soundcloud: https://soundcloud.com/jennimcmahon/roses-jenny-mc-mahon

  • Please note all ticket prices include a booking charge.

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May
25
9:00 PM21:00

ZhOra / Coroza / TOOMS presented by Bad Reputation

Tickets €7 - (strictly over 18's)

Tickets €7 - (strictly over 18's)

Bad Reputation IRL presents:

zhOra
with special guests
Coroza
TOOMS

Doors: 9pm - Adm: €7
Saturday 25th May 2019
Kasbah, Dolans, Limerick

  • Please note all ticket prices include a booking charge.

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  •   Over 18s only (unless advertised to the contrary)

  •   On street parking.

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May
29
7:30 PM19:30

Comedy Karlnival with JJ Whitehead and support Paul Crowley

Tickets €7 in advance / €10 on the door - (strictly over 18's)

Tickets €7 in advance / €10 on the door - (strictly over 18's)

Comedy Karlnival presents

Award winning comedian, star of Live At The Comedy Store, The World Comedy Tour, The BBC Stand Up Show and countless International Festivals. “Intensely likeable, seriously funny”  - The List

JJ Whitehead’s rangy swagger and fearless, electric wit has charmed audiences around the world.  Disarmingly comfortable, JJ delivers unabashedly personal stories and blistering social satire in a unique performance style that can only come from a North American who cut his comedy teeth in Great Britain. He has been a welcomed regular on British and Canadian TV; at international comedy festivals and as a headliner at such clubs as The Comedy Store, Jongleurs, Highlight, The Glee Clubs, Manfords and Yuk Yuks.

Paul Crowley is a stalwart of the Irish Comedy scene, this likeable Corkonian has become one of the most popular acts on the circuit with his hilarious take on life as a modern Irishman and father. Crowley is a natural storyteller whose easygoing style belies a razor sharp wit.  He has been a finalist in Capital Comedy Club Awards, Paddy Laughs and the Tedfest Toilet Duck Award.

“A consistently excellent act, this hilarious Corkman raises the roof every time he plays with us" - Comedy Crunch

  • Please note all ticket prices include a booking charge.

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May
29
8:00 PM20:00

SOAK

Tickets €17 + booking fee - (strictly over 18's)

Tickets €17 + booking fee - (strictly over 18's)

Grim Town. It’s unclear exactly what or where it is but it’s grey, flat and small in both size and significance. It’s a concrete slab on a cul-de-sac that leads to nowhere. It’s a restlessness that rocks back and forth, back and forth. It’s the suffering that starts in the corner of your mind or in the crease of your forehead and ends with total loss of identity and control. It’s the grim realisation that you are not who you thought you were, and that the only way you can face your most excruciating fears is through an unforgiving, unadulterated pop song. ‘You are now entering the southbound train to Grim Town. Please surrender any faith, passportation or optimism to platform staff if you haven’t already. Refreshments will not be available on this service. Thank you and enjoy your journey.’

All aboard.

 

“I was so sure of myself when I was sixteen, so sure of what I was about, and I didn’t give a fuck. But when I finished touring I realised that I absolutely didn’t. I had no idea. When you’re on tour you get into a cycle of something, and in a way you’re growing but really you’re not because everything stays the same, everything stays constant. And then when I was finished I was like, I have no idea what anything is. So, I had a freak-out-moment, and I spent a year in that freak-out-moment, not knowing what was what anymore. It was scary.”

 

But how can anybody truly know themselves at just sixteen? The term ‘to come of age’ comes with so much baggage, so much expectation, with SOAK’s second album Grim Town, Bridie dissolves all assuredness, and we follow her on this empowering but often painful journey, clinging closely to the handrail.

 

“This album feels a lot more real to me. I think in the first album I held back from saying certain things.” Performing under SOAK, Bridie is no stranger to holding back, to hiding behind a pseudonym or beneath capital letters, to hiding behind words- whilst also being completely out there: “I would even purposefully sing something weird [in the first album] so you couldn’t hear exactly what I was saying.” But there is an unprescribed honesty to Grim Town, almost as though the greater soundscape, bigger production, brass sections and soulful backing vocals gave Bridie the confidence to make herself more vulnerable, to truly put her introspections in the firing line. The album opening jump-starts the listener into action with Get Set Go Kid (“me telling myself to wise up”). This up-beat opener playfully marks the beginning of the end, the train track towards freedom- “I’ve got to get out, I can’t live here anymore!” For Bridie this is an escape from more than just her hometown of Derry, it’s an escape from her sixteen-year-old self which she had recorded and cemented into 2015 with ‘Before We Forgot how to Dream’, an escape from the weight of her own identity and suffocating headspace. “With the first album, I just didn’t really know much about myself or my life, and this time round I feel like I just had time to process it all. I was having such a shit time- I was literally distraught in every single way and when I started writing these songs, I had to get them out of my brain to deal with them better, to process everything, and I tried to make it loud so that  I could say it and hear it, so it became like this sonic landscape.”

 

Jump to the aptly titled Life Trainee, and we enter a whirring static and a piano tinkling with trepidation before delving into powerfully positive, almost gospel-like anthem on how its OK not to be OK:  ‘What phased me before/ leaves me cold and bored/ the sadness addict/just couldn’t hack it’ . This structure mirrors our own journey throughout the album, and Bridie’s own onward journey to acceptance. But, this acceptance only comes after a difficult attempt at honesty and total vulnerability. I was blue/ Technicolour Too is stripped back, rough and an unbearably vivid, voyeuristic description of a house party, alight with aux-chord hoggers and treadmill jaws, and although playful in tone and discreet in meaning, it marks an important rite of passage for Bridie. “Essentially, it’s a song about watching people  off their heads on drugs, but I could have never said that before, and to be honest I don’t think I would have wanted to, even. But now, everything I’ve said in this album I just feel like I have to say it. Literally HAVE to.”

 

An important part of this departure and growth was leaving her long-term producer and friend, Tommy McLaughlin of The Villagers, who has been producing SOAK since 2010, “it was a really hard decision- Tommy’s amazing- but I didn’t want this record to feel or sound like the last one. I wanted it to be clear that I’ve grown up, and to be a step up, essentially, in all the ways that it could be- and Ant provided that.” Enter Ant Whiting. With a heavy pop catalogue that includes M.I.A, it was his mastery of such a broad, colourful and pop-driven sound that helped to create, as Bridie so perfectly puts it, “a carnival of noise.” De Ja Vu epitomises this kaleidoscopic sound, with its eerie chromatic opening, anthemic, ABBA-esque chorus and unnerving police sirens. As we follow the track it begins to resemble the car crash imagined in the song; ‘You’ve been drinking again/ Crashed the car and you blamed the rain’. “De Ja Vu is basically about someone in my life who I was worried about a lot. You know, one of those people who is never really stable and you’re scared that one day it might all go wrong and how all the neighbours would be in the street watching it and the sirens would be going off.” Bridie hypothesizes the future whilst simultaneously looking back to the past, reliving and rethinking this could-be future over and over again, and this is the essence of Grim Town.

 

There is a transience to the album, a movement which is sometimes unpredictable, but the broader sonic space created gives our heroine more space to be unsure of herself and explore parts of her psyche which are perhaps not so clear cut. “I was so scared that everyone would expect me to stay really acoustic and mellow, when actually I wanted it to be really in your face and poppy one minute and then suddenly become really introspective and sad.” Similarly, Bridie herself changes physical form. In Everybody Loves You, the euphoric first single, marks the aftermath of a long distant relationship: ‘cos I was built from concrete/so I don’t hurt no more’. Then, in Maybe, she becomes fluid and surreal, floating through somebody else’s psychological landscape ‘I don’t’ even wanna know where I go in your memory.’

 

More than this however, the songs themselves are volatile, and they too are constantly changing state.  At the (un)ripe age of twenty-two, Bridie already reminisces on her even younger self. She laments in Crying, ‘oh, to be sixteen’, and it is unclear whether she is craving the hopeful naivety of her youth or cringing at her own youthful expense. In a similar vein, she cringes as she points at an intricate flower tattooed on her elbow, done to cover up a suspiciously phallic looking hammer that was blurred out due to obscenity during a recorded live performance- (‘and that’s why they shouldn’t let you get tattoos when you’re 16!”) But Bridie doesn’t feel calloused when she reflects on the past, “it just feels weird. I wrote that bridge two or so years after I’d actually written Crying, so I kind of went back to the song and was reminiscing about the person I was when I first wrote it, the person I was when I was sixteen. It’s weird to reflect on something that didn’t happen that long ago.” So, the songs themselves exist in a kind of structurally lucid state, ever growing and ever changing. But, that unforgettable, haunting purity of Bridie’s voice remains and cuts through the broader and more playful musical and lyrical landscape, like unforgiving black ink on white, freckled skin.

 

“Where am I in Grim Town? I think I’m on the street. Just walking. Constantly moving and never settling. But it’s important that I eventually leave Grim Town, because the main point of the album is that it can get so so bad, really bad, and it can be dramatic but that’s okay. It’s going to be okay.”

  • Please note all ticket prices include a booking charge.

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  • Over 18s only (unless advertised to the contrary)

  • On street parking

 

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May
30
8:00 PM20:00

Alabama 3 Acoustic

Tickets €18 plus booking fee - (strictly over 18's)

Tickets €18 plus booking fee - (strictly over 18's)

Heeding Woodie Guthrie's maxim, Alabama 3 have never feared the reduction of their technology. Consequently, Alabama 3 acoustic is brave enough to go out on the road armed only with a battered acoustic guitar and harmonica, preaching Guthrie's word that 'this machine kills fascists.'

In homage to the classic delta blues slide players like Mississippi Fred McDowell, Howling Wolf, John Lee Hooker and their own Rockfree Base (though not in that pantheon of greats), we present our own narco-acoustic slant on Alabama 3 and the music that has inspired us along the way.

Complete with Larry Love's gravelly ash-stained vocals, Nick Reynolds bank robber melodies on harmonica, they provide a raucous show, which is in no way constrained by the boring maxim that often goes with acoustic gigs!

Fresh from their full band recording of ‘Blues’ released in November 2016, fans have enjoyed acoustic arrangements of the latest recordings along with their back catalogue of hits this year.


An unrivaled Marxist machine gun, Alabama 3 Acoustic are on a mission to get you mashed.

  • Please note all ticket prices include a booking charge.

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May
31
7:00 PM19:00

Madness

Tickets €53 including booking fee - (strictly over 18's)

Tickets €53 including booking fee - (strictly over 18's)

With 31 Top 40 hits in the UK including One Step Beyond, Our House, It Must Be Love, Embarrassment, Baggy Trousers, Madness’ live shows are a frenzy of timeless anthems.

The Nutty Boys, as they are commonly known, enjoy an unrivalled reputation as one of Britain’s greatest and most enduring live acts.

They headlined The House of Common Festival in London’s Clapham Common in 2016 and 2017, and wowed audiences when they played the main stage at Electric Picnic last September.

Emerging in 1979, they became one of the most successful British acts of their generation, enjoying huge acclaim on both sides of the Atlantic and one of the most prominent bands of the late 1970s and early 1980s.

Following a hiatus for a few years, Madness reformed in 1992 and since then have performed everywhere from the roof of Buckingham Palace to the London Olympics, the ever popular House of Fun Weekender becoming one of most popular live acts on the circuit.

They have been a constant presence in British culture and, unlike many other bands of their vintage, continue to write and record new music. 

Full House, The Very Best of Madness a brand new compilation was released in November of last year. Their latest studio album Can’t Touch Us Now, the band’s 12th, which includes the poignant Amy Winehouse tribute Blackbird, put them back in the Top 5 in the charts in 2016 and demonstrated why Madness are as relevant today as ever as their musical odyssey continues.

  • Please note all ticket prices include a booking charge.

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Jun
1
7:00 PM19:00

Jenny Greene and the RTE Concert Orchestra

Tickets €52 plus booking fee - (strictly over 18's)

Tickets €52 plus booking fee - (strictly over 18's)

Jenny Greene and the RTÉ Concert Orchestra will be joined on stage in Limerick by some very special guests.

The collaboration between the DJ and the 48 piece orchestra debuted to considerable acclaim at Electric Picnic in 2016, performing live versions of 90s club classics.

The event became the fastest selling music gig in Galway International Arts Festival’s 40-year history in 2017, with their Festival Big Top gig selling out in under an hour. They have also performed at the Marquee in Cork and the 3Arena in Dublin.

  •  Please note all ticket prices include a booking charge.

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  •  Over 18s only (unless advertised to the contrary)

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Jun
2
5:00 PM17:00

The Coronas present The Long Way Home Festival

Tickets €43 (plus boking fee) On sale Friday April 26th 9am - (strictly over 18's)

Tickets €43 (plus boking fee) On sale Friday April 26th 9am - (strictly over 18's)

The Coronas, one of Ireland’s biggest live acts, will play Live at the Docklands on Sunday June 2nd.,2019

The hugely popular band are bringing ‘The Long Way Home Festival’ on the road this summer and looking forward to wow Limerick fans.

Live at the Docklands audiences can get ready to sing along to hits like ‘Someone Else’s Hands’, ‘Closer to You’, ‘San Diego Song’ and ‘Give Me a Minute’.

The Coronas will be joined Ryan McMullan, Thanks Brother & Josh Gray sure to be a show-stopping night to round out the 2019 Festival.

Strictly over 18s

‘An Irish phenomenon’

THE IRISH INDEPENDENT

‘Radio hits galore, a kicking live sound and arguably the most vocally gifted, naturally charismatic Irish frontman since Phil Lynott’

IRISH EXAMINER

  • Please note all ticket prices include a booking charge.

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Jun
5
8:00 PM20:00

False Confessions: Inside Making a Murderer 2 presented by Seoda Shows

Tickets €27 + booking fee  - (strictly over 18's)

Tickets €27 + booking fee - (strictly over 18's)

Join Laura Nirider and Steven Drizin, as they discuss coerced and false confessions, interrogation tactics, and the wrongful conviction of Brendan Dassey whose case and post conviction process has captivated the world. 

 

Quotes:

"Smart, articulate, and likable"

* FORBES MAGAZINE  

"Fierce legal warrior"

* ENTERTAINMENT WEEKLY  

"Fighters for those that aren’t getting the justice they deserve"

* BUSTLE  

"Leading experts in false confessions by young people"

* DATELINE NBC 

"Zealous fighters for Brendan Dassey"

* BUZZFEED

 

Laura Nirider is a Clinical Assistant Professor of Law and Co-Director of the Center on Wrongful Convictions of Youth (CWCY) at Northwestern Pritzker School of Law in Chicago. Nirider represents individuals who were wrongfully convicted of crimes when they were children or teenagers. Her clients have included Brendan Dassey, whose case was profiled in the Netflix Global series Making a Murderer, and Damien Echols of the West Memphis Three, whose case was profiled in the documentary West of Memphis.  In addition to her courtroom work, Nirider regularly publishes scholarly and practitioner-focused articles on interrogations and post-conviction relief. In partnership with the International Association of Chiefs of Police, she has co-authored one of the only existing juvenile interrogation protocols. She is also a frequent presenter on interrogations at defender and law enforcement training conferences around the country and has been featured in film and television programs on interrogations. Recently, she co-authored an amicus curiae brief that was cited by the U.S. Supreme Court in J.D.B. v. North Carolina for the proposition that the risk of false confession is "all the more troubling...and all the more acute...when the subject of custodial interrogation is a juvenile.”

 

Steven Drizin is a Clinical Professor of Law at Northwestern Pritzker School of Law where he has been on the faculty since 1991. He served as the Legal Director of the Clinic's renowned Center on Wrongful Convictions from March 2005 to September 2013. At the Center, Professor Drizin's research interests involve the study of false confessions and his policy work focuses on supporting efforts around the country to require law enforcement agencies to electronically record custodial interrogations. Drizin co-founded the Center on Wrongful Convictions of Youth (CWCY) in 2008, the first innocence organization to focus on representing defendants who were only teenagers when they were wrongfully convicted. Drizin and former student Laura Nirider, who directs the CWCY, represent Brendan Dassey, a central figure in Netflix's smash docuseries Making a Murderer.

  • Please note all ticket prices include a booking charge.

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Jun
6
8:00 PM20:00

RIDE proudly presented by Seoda Shows

Tickets €25 - On Sale April 11th at 10am - (strictly over 18's)

Tickets €25 - On Sale April 11th at 10am - (strictly over 18's)

Waving farewell to the Eighties: it was biggest pop kick there’d been in, ooh, ten years. During that godforsaken, musically atrocious decade, it was them and us. We hadn’t got a prayer. Our stuff didn’t register in corporate demographic terms, it was too vague and indefinable. And it didn’t register in the charts. There would be the occasional triumph, as the The Smiths, the Bunnymen or the Mary Chain made a lightning raid on the Top 20, only to limp back to obscurity the following week.

So, come the tail end of 1989, there was a mood of battered, hopeless optimism. As we took our huddled flight into the Nineties, a bolt from nowhere, from Oxford, overturned the inherent pessimism in that optimism and gave us something to believe in. Ride had tunes, noise, looks, style, confidence, everything. And they had youth: their two guitar-playing singers Mark Gardener and Andy Bell were both just 19, as was drummer Laurence ‘Loz’ Colbert. Stephen Queralt, the bassist, was an oldster at 21. They’d come together on a foundation course at North Oxford Art College and had been playing around the Thames Valley area for less than a year. Already, though, they looked and sounded supreme, like they’d been born with their guitars strapped on and had been jamming together ever since. Justifiably mistrusting the A&R scramble that ensued, they instead signed up where they felt they belonged, Alan McGee’s Creation Records.

The cover of the ‘Ride EP’, released in January 1990, showed a bed of roses. The symbolism there, and in the first words on the first track was lost on nobody. A new decade was rung in with a possibility that guitars gone into overload might become pop music – as in actually popular, in the charts and stuff. ‘Take me for a ride away from places we have known,’ Mark crooned on ‘Chelsea Girl’… implicit in the song’s delirious melody was a reaching for new heights, a belief in better things to come. It went to Number 71. In those days, for an independently released debut, with next to no radio airplay, this was a result. Creation had never slipped inside the Top 75 before. There hadn’t been such a buzz about a UK group in aeons. Ride were hungry to perform, and when they did, they blew everyone away.

It all kind of centred on Loz. He was a hurricane behind the drums, you’d just see this blur of sticks and hair. Stage right was Steve, staring intently downwards, snapping the groove tightly down. Off to the left was Andy, in his own world. And right up front you had Mark, thrashing wildly at the six strings, but cooing like an angel into the mic, the Ride duality in one body.

By April, they’d charged up enough audiences for there to be real anticipation for their next record - the ‘Play EP’ - and on that buzz alone, it went in at – unthinkable! – Number 32. Bands just didn’t happen that quick. Even the Roses and the Mondays and the Scream, who’d all been going for years, had only just started to hit. ‘It took Primal Scream six years to become a genius band,’ gushed McGee at the time. ‘Ride have managed it in six months.’ Eager anticipation now shifted onto Ride’s debut album.

Preceding it by a month came the ‘Fall EP’, the band’s third, with a foreboding atmosphere about it that those hooked on the noise/pop pleasures of ‘Chelsea Girl’ and ‘Like A Daydream’ might not have foreseen. After the Smithsian daffodils last time out, the sleeve showed penguins freezing to buggery in the snow. The four tracks were headed up by their darkest composition so far, ‘Dreams Burn Down’. For all the uncompromised storm clouds, ‘Fall’ near as goddammit matched the success of ‘Play’ at Number 34.

When ‘Nowhere’ dropped in October ’90, it not only became Creation’s first ever Top 75 album, but shot in at Number 11, to blanket critical appreciation. It was angst, but it was ecstatic, as witnessed by Bell’s awesome closing track, ‘Vapour Trail’, its brooding bassline/cello finale leading up and away into infinity. A fitting climax to the finest debut album of 1990. The rest of the world was listening.

In Japan, Australia and America, the ‘Smile’ mini-album was released, compiling the eight killer tracks from those first two EPs. Press excitement exploded around the globe. The band did an extensive European tour in the Winter of ’90, followed by a debut trip to Japan. They landed at Osaka airport to be greeted by 200 girls all clutching bunches of daffodils (how did they do that – in December?!).

Ride were pop stars. Where so many of their contemporaries had failed to stretch their fame beyond the British coastline, Ride were truly a global success. The 4000 tickets for the Japanese tour sold out in 12 minutes, and ‘Nowhere’ went Top 10 there. ‘Vapour Trail’ from the album was also a huge US radio hit. As people, the band’s time wasn’t their own anymore.

In March ’91, Ride Mark 1 released the ‘Today Forever EP’, with a killer shark’s jaws warning off competitors from the sleeve and the mesmerizing lead tune, ‘Unfamiliar’, doing much the same in music. It leapt into the singles chart at  No 14, a career best, but already they were planning Ride Mark 2, to leave their peers for dust. ‘All that stuff just means we do something different next time,’ Queralt informed Select magazine’s David Cavanagh at the time. ‘We’re now very aware of what we don’t want to sound like.’

In 15 months, Ride had released two albums’ worth of material. For the rest of ’91, they played live all over the world. They toured the US for the first time, nipped down to Australia and back up for a second visit to Japan. Headlining the one-off Slough Festival in July, they aired some of their work-in-progress.

Withdrawing to rural Chipping Norton with Alan Moulder at the production controls, they recorded some 25 tracks, from which the ten great ones formed ‘Going Blank Again’. It was an astonishing LP that bore no trace of ‘difficult second album’ syndrome, soaring off boldly beyond anything that they, or any of their piddling peers, had achieved thus far. Its title sarcastically swiped at critics who alleged that Ride were vacant, had nothing to say. And ‘Leave Them All Behind’, which trailered it in February ’92, was as eloquent a mission statement as you could’ve wished for.

Without giving any ground (hell, by stealing more!), ‘Leave Them All Behind’ went in at 9 (Creation’s first ever Top 10 hit).  In March, the LP went further, racing in at 5.

These were glory days for Ride. They’d very effectively legged it clear of the pack that had formed around them, and scaled the industry ladder to the point where, following an exhaustive and exhausting world tour – their second in as many years, they would play one slot below Loz’s all-time heroes Public Enemy at Reading ’92. If you’re holding the full-tilt box-set version of this ‘Best Of’, you can hear for yourself just how mind-meltingly brilliant they were live around this time.

The four of them spent much of that year getting fired up. They ventured out for the occasional live show including the spectacular Daytripper weekend, where they co-headlined the Brighton Centre and the Blackpool Empress Ballroom with The Charlatans – Ride closing the show down South with the bill flipped on The Golden Mile. And once their songs were close to ready, they went back to Oxford with producer George Drakoulias (Black Crowes, Jayhawks), to hone and re-arrange the next ‘difficult’ album, their third.

Pre-production over, George had to leave to take the helm of Primal Scream’s ‘Give Out But Don’t Give Up’, but there was a producer lined up – John Leckie, who could reel off a litany of classics he’d worked on, from John Lennon’s ‘Plastic Ono Band’ and ‘Meddle’ by Pink Floyd, right through to ‘The Stone Roses’. Initially bound tight as an insular band/gang, Ride’s gates had blown open and the world around them came flooding in. It was like swapping black/white for Technicolor, everyday life for hyperreality, With its opening minute of chirruping / chattering, this was not the stuff of radio dreams. Having been AWOL during the first tremors of Britpop (Suede/Auteurs, and in January, ‘Supersonic’ by Oasis), Ride came back as a ball of confusion. The single stalled at 38, but it set the stage for the main feature, ‘Carnival Of Light’, unleashed in June.

The fish-eye sleeve shot of the band spoke volumes to fans of lysergic history. The grungy cover of ‘How Does It Feel To Feel?’ by The Creation (the ’60s garage-psych band who’d given McGee’s label its name) harked back to familiar sounds, but for the rest, Ride strode boldly forward from behind their habitual wall of feedback and, as they’d promised before, just let it flow.

At Christmas, the band played as un-billed support to Oasis at their biggest gig to date, the 5,000-capacity Brighton Centre. Without realising at the time, this was to be the band's last UK show, the only dates that followed in 1995 were a fourth tour of Japan and one festival in Spain. However one Noel Gallagher watched the whole Ride set from the mixing desk at the back of the hall, commenting at the end ‘It's just as well we're fucking good’.

With wives, babies and new homes they’d barely had time to decorate yet, the four now had lives of their own. They’d been at this for five years, and while they’d all grown up together, they’d developed their own domestic agendas away from the gang ethos.

It must’ve been a bastard to know what to do next. They each had their own ideas. It’s a miracle that they came up with anything at all, but what they recorded through 1995 was ‘Tarantula’, another quantum leap forward. However, by the time it was released in March ’96 the band had announced that they had effectively split up. To hear what a high Ride flew out on, how far they’d travelled since ‘Chelsea Girl, ‘Leave Them All Behind’, even ‘Birdman’, just cue up ‘Black Night Crash’: a blast of bad-ass blues, based on the car-smash voyeurism of JG Ballard’s ‘Crash’. Despite the lack of gigs, the album still charted at 21.

2001 saw the release of the re-mastered catalogue albums from the original analogue tapes, “OX4 – The Best Of Ride”; a timely reminder of just how brilliant, how different, how influential, and how fundamental they were to what has since followed. Alongside this was a 3xCD box set, featuring "OX4" alongside an album of previously unreleased material, "Firing Blanks", and a live album of their Reading Festival show in August 92.

  • Please note all ticket prices include a booking charge.

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Jun
7
9:00 PM21:00

Meat Puppets proudly presented by Seoda Shows

Tickets are €20 plus booking fee - (strictly over 18's)

Tickets are €20 plus booking fee - (strictly over 18's)

We are delighted to announce that this will be the first time the original line up of MEAT PUPPETS are to share the stage since 1996!

 Meat Puppets’ story begins with idle time spent in the wide-open spaces of the Phoenix area during the early 1980s. Friendly high school acquaintances, Bostrom and Curt Kirkwood were in the dawn of their twenties, unemployed and “starting to hang out because we were the only guys home,” the drummer recalled with a laugh. “Cris was going to school at the time, so we would lay around waiting for him to get out, and then he would join us as a trio. We began to make such a hellacious racket that we knew we were on to something.”

The collective influences in play ran the gamut—classic rock, British prog, the Dead, Zappa, Beefheart, fusion, the jazz avant-garde and, of course, punk rock, which had enjoyed a tightknit but robust scene in Phoenix since the mid-to-late ’70s. But the fascinating take on hardcore that can be heard on Meat Puppets, the band’s 1982 SST debut, had more to do with punk rock’s ethos of creative freedom (and Arizona’s psychedelic history) than with any calculated musical strategy. “Curt was trying to play in straight bands and getting kicked out,” Bostrom recalled. “I told him, ‘No—in this day and age you can be anything you need to be, and this band is going to support your weirdness.”

 During the fall prior to that album’s January ’94 release, essential groundwork was laid. Nirvana, touring in support of In Utero, asked the band to open some shows in October. A couple of nights into the stint, Kurt Cobain told Kirkwood that NIRVANA was taping an ‘MTV Unplugged’ soon, and that he needed the brothers to guest at the performance in New York. “He said he couldn’t play the guitar parts,” Kirkwood said with a chuckle. And so “Lake of Fire” and “Plateau,” two of Cobain’s favorite tunes off of one of his favorite albums, ‘Meat Puppets II’, became staples of MTV when the network was still a taste-making behemoth. As Kirkwood saw it, his songs were being interpreted by a once-in-a-generation talent. “That’s a special voice,” he said. “That’s like a George Jones voice, somebody that’s immediately recognizable. A NEIL YOUNG voice.” A quarter-century later, the NIRVANA association continues to be a catalyst for fandom. “It’s been the most constant vein that draws people in,” Kirkwood said.

  •   Please note all ticket prices include a booking charge.

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Jun
14
7:30 PM19:30

Dermot and Dave

Tickets €32 - available from UCH - (strictly over 18's)

Tickets €32 - available from UCH - (strictly over 18's)

DERMOT & DAVE ANNOUNCE BRAND NEW COMEDY TOUR FOR 2019!

Today FM duo, Dermot Whelan and Dave Moore, have just announced a 10-date nationwide tour of their brand new hilarious comedy show, Dermot & Dave Live!

Having toured to full houses all over Ireland in 2016 and 2017, the radio duo once again bring their bonkers comedy antics to a stage near you in 2019! The lads toured the length and breadth of Ireland with sell-out crowds in venues like Vicar St in Dublin and the INEC in Killarney. They’re ready for even bigger crowds this time around.

When the 2018 Vodafone Comedy Carnival line-up was announced, Dermot and Dave were the first act to sell out their shows, with tickets disappearing in a matter of hours. Now, they’re ready to hit the road again with a brand new show that brings together stand-up comedy, hilarious characters and a whole load of rocking musical performances.

When asked what people can expect from their new stand up show, neither of them actually answered the call but their message minder said, “”Hi, you’ve reached Dermot and Dave and we can’t take your call right now but the show is going to be amazing. We sing, we dance, we take our tops off. And there’s even more craic and lunacy than last time. *BEEP*”

Even though the show is brand new, you needn’t fear, all of the lads’ favourite characters will make a return including internet sensation, Noni, Limerick’s infamous chocolate seller and Tony “Club Classic” Cascarino.

  •  Please note all ticket prices include a booking charge.

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Jun
14
8:00 PM20:00

Mongoose

Tickets €15 - (strictly over 18's)

Tickets €15 - (strictly over 18's)

Mongoose is a musical melty-pot, combining the vocals, instrument-playing and songwriting of four women - Molly O'Mahony, Ailbhe Dunne, Muireann Ní Cheannabháin and Cara Dunne.

‘Suck the Wound’ is a darker piece of work than the band’s first album ‘Mongoose’ (2015), both sonically and thematically. Exploring different sounds and textures, this album is prickly and hard to define. The genres of the songs vary widely, from rock, to a South American bolero, to jazz, to folk, all tied together by Mongoose’s tight four part vocal harmonies. As the title suggests, the album is one of struggle and healing. It will be launched in Whelan’s on 16 May, followed by an Irish tour.

“A vocal powerhouse with a line in charming yet incisive idiosyncrasy, Mongoose are an act unafraid of being true to their boundless, abstract and vibrantly coloured creative selves. A must for lovers of musical ingenuity and adventurous atmospherics.”- DervSwerve music blog, 2017.

Support Laura Ryder Ampersand

  • Please note all ticket prices include a booking charge.

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Jun
14
9:00 PM21:00

Jeffrey Lewis & Los Bolts (US) presented by Seoda Shows

Tickets on sale now, €10-strictly over 18’s.

Tickets on sale now, €10-strictly over 18’s.

JEFFREY LEWIS & LOS BOLTS( NYC, Rough Trade Records) play a crazy, original mix of scuzzy urban indie-rock, literate lyrics and comic book punk, like a 21st Century mash-up of Sonic Youth, Pete Seeger and R CRUMB. Jeffrey has done tours in Europe and America and Australia and Asia and elsewhere (averaging over 100 gigs every year since 2001), as well as sometimes playing as the opening act for bands like the Mountain Goats, Daniel Johnston, Stephen Malkmus & The Jicks, The Fall, Pulp, Roky Erickson, The Vaselines, Adam Green, and other luminaries. Jeffrey has released seven critically acclaimed albums on Rough Trade Records, in addition to albums on other labels (like K Records and Don Giovanni), and Jeffrey continues to self-publish his art and writing in an ongoing underground comic book series called 'Fuff'. With current Los Bolts bandmates Brent (Moldy Peaches) Cole on drums and Mem (Cat Tatt) Pahl on bass, Jeffrey has recorded a new full-length album in Nashville with producer Roger Moutenot ( Yo La Tengo, Lou Reed, Sleater-Kinney), with release date tba!

Recommended If You Like..
The Modern Lovers, Yo La Tengo, Violent Femmes, Lou Reed, Daniel JohnstonThe Moldy Peaches, The Mountain Goats

“Ideas burst from Jeffrey Lewis… ramshackle fuzzbomb jams… inspirational."
* 4/5 The Guardian

"Weird? Very... but also downright inspiring"
* 4/5 Rolling Stone

"Jeffrey Lewis is slowly but surely on a trajectory to immortal cult-status."
The Line Of Best Fit

“Ramshackle and beautiful noise… Lou Reed’s natural successor as punk poet of the New York streets”
* Louder Than War Magazine

“The Big Apple’s best-kept secret.... Genius… mind-blowing."
NME

"Bizarre but brilliant"
Uncut Magazine

"Dazzling"
MOJO

"[Jeffrey Lewis is] The best lyricist working in the US today.”
*Jarvis Cocker*(Pulp)

"Hands down my favorite contemporary songwriter"
* Ben Gibbard( Death Cab for Cutie)

“I discovered [Jeffrey’s] music via 'Sad Screaming Old Man' which is one of my favorite songs ever written. …I have great respect for [Jeffrey’s] formidable skills.”
* Dave Berman ( Silver Jews)

"Jeffrey is the only artist I've sent fan mail to.”
Jens Lekman

"Really great and impressive and inspiring and exciting... There's not a lot of people that can tell a story and use language like that in music."
* Will Oldham

  • Please note all ticket prices include a booking charge.

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Jun
15
8:00 PM20:00

Galway Street Club

Tickets €11 (Strictly over 18’s)

Tickets €11 (Strictly over 18’s)

Galway Street Club, a 15-piece street band

Galway Street Club are bringing their latest Live Show, another energetic, Chaotic, Foot-Stomping Set back to Dolans Warehouse, Limerick this June 15th. 

Following the release of their Debut Album “Sovereign State of Madness” in 2018, the band have grown from strength to strength, Selling out their Irish Album Tour, embarking on a headline Tour in the U.K, and wowing audiences at Festivals such as Electric Picnic, Knockan Stockan, Townlands Carnival, Bestival and Boomtown, as well as supporting Ska Legends ‘Madness’ at their sold out show at Galway International Arts Festival, and Joining Acid-Country House veterans Alabama 3 on 6 Dates of their U.K Tour. To Rave reviews.

With Album No.2 in progress and releases expected very soon, this tour will be the first opportunity to hear the band’s new material.

  • Please note all ticket prices include a booking charge.

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Jun
15
9:00 PM21:00

Prodigy Sons, Prodigy Tribute Band

Tickets are €13 advance booking/15 on door - (strictly over 18’s)

Tickets are €13 advance booking/15 on door - (strictly over 18’s)

The Prodigy Sons Story

The Prodigy Sons are a 6 piece Prodigy tribute band.  Originally set up way back in 1996 this is their story. 

4 school friends (Gary, Gordon, Keith and Wayne) from Drogheda at the tender age of 14 attended their very first concert on New Tears Eve 1994 in the Point Depot in Dublin. That concert was headlined by The Prodigy. It would have such an impact and influence on these 4 friends that it would be the beginnings of a lifelong love affair the music of The Prodigy.

It was a couple of years later when they were trying to think of fund raising ideas for a school trip that the idea of a Prodigy Tribute band came up. This was the birth of The Prodigy Sons and they there first gig in mid 1996.

Incredibly, by chance, all the members were totally suited to their roles. Gary was a keen DJ and into music production like his alias Liam Howlett. Keith was an incredibly gifted dancer like his alias Leeroy Thornhill. Gordon to our total surprise was a transformed man when on stage and sounded exactly like his alias Maxim. And lastly Wayne was as enigmatic and furious as his alias Keith Flint.

The band gigged the local student discos to packed houses and rave reviews for a period of 2 years before exam pressures and other life events forced the lads to call it a day in early 1998. It was not until 20 years later when one of the lads found some old pictures and posted them on Facebook was the band even mentioned again. This picture created such a buzz of nostalgia on social media that it resulted in calls for the band to reform.

It took some convincing but after consultation the band decided to do a one off gig for charity just to see how it would go. When the lads announced they were reforming, the response was incredible. The band decided that if this was going to work they would need to up their game and recruit a guitarist and drummer. Step forward Jagger Murray (lead guitarist) & Baz Black (Drummer) who were an instant hit.

The comeback gig was a massive success as the large venue was packed out and they raised nearly €5000. It generated real interest and booking for the band flew in the following day. The band were excited for what the future held. Then, in a crazy twist of faith, the very next day the news came that shocked and stunned us all. Keith Flint, co-founder and front man for the Prodigy had been found dead in his house at the age of 49. This stunned and shocked the band as we all had such a connection with the band that we felt like we had lost a close friend.

The band have vowed to keep Keith’s memory and spirit alive by bringing the joy of the Prodigy sound and music to the masses up and down the country. We live for the beats and we keep the beats alive……..

  • Please note all ticket prices include a booking charge.

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Jun
15
9:00 PM21:00

Just Mustard proudly presented by Seoda Shows

On Sale Friday May 17th at 9am-strictly over 18’s.   Tickets are €10

On Sale Friday May 17th at 9am-strictly over 18’s.

Tickets are €10

Seoda Shows proudly present Just Mustard - KASBAH Social Club - Sat June 15th - Doors 9pm - Tix €10

  • Please note all ticket prices include a booking charge.

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Jun
17
6:00 PM18:00

Amon Amarth and Behemoth presented by DME, Bad Reputation and Dolans Presents

Tickets €49.50  - (strictly over 18's)

Tickets €49.50 - (strictly over 18's)

In what promises to be the metal event of the year in Ireland, Sweden's Amon Amarth will team up with Poland's Behemoth for a very special outdoor show at King John's Castle in Limerick on June 17th 2019. Amon Amarth recently completed work on a brand new album due this Spring whilst Behemoth continue to tour in support of their recent 'I Loved You At Your Darkest' release. Tickets €49.50 go on sale Thursday 7th March at 10am via dolans.ieticketmaster.ie and usual outlets nationwide. 

King John’s Castle (Irish: Caisleán Luimnigh) is a 13th-century castle located on King’s Island in Limerick, Ireland, next to the River Shannon. Although the site dates back to 922 when the Vikings lived on the Island, the castle itself was built on the orders of King John in 1200. One of the best preserved Norman castles in Europe, the walls, towers and fortifications remain today and are visitor attractions. The remains of a Viking settlement were uncovered during archaeological excavations at the site in 1900.

  • Please note all ticket prices include a booking charge.

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Jun
20
8:00 PM20:00

The Magic Numbers

Tickets are €22 on sale Friday April 12th 9am- (strictly over 18’s)

Tickets are €22 on sale Friday April 12th 9am- (strictly over 18’s)

London quartet The Magic Numbers are set to return following a four-year hiatus with the release of their new album Outsiders, available through the band’s own label Role Play Records on May 11, 2018. Capturing The Magic Numbers with a renewed sense of purpose following several successful side and solo projects, Outsiders will be supported by a twenty-five-date tour of the UK through May and June 2018, commencing at Cardiff’s Globe on May 10 and including London’s ULU on May 17. New single, ‘Sweet Divide’, featuring a nascent grittier sensibility for the band whilst losing none of their beloved melodic flair, can be heard here: http://bit.ly/2Eq0zQ1.

“Outsiders is how we've always felt”, says Romeo Stodart, explaining the thinking behind the title of The Magic Numbers' fifth album. “As a band, and as people. We've never really fit in. Even when things escalated quickly for the band, and we were at some awards ceremony, we always felt like we stuck out. It was the time of indie bands like The Strokes and The Libertines – and then there we stood.”

That sensation of not quite belonging, is one which band members and siblings Michele and Romeo Stodart were already familiar with. Born and raised in Trinidad, the Stodarts’ first experience of feeling like fish out of water came at an early age, when their family moved to New York. Then, in their late teens, the Stodart’s relocated again, this time to Hanwell, a suburb on the western most edge of London. When Romeo befriended one of the locals, Sean Gannon, London-born but of Irish descent, and the pair recruited their younger sisters, Michele Stodart on bass and Angela Gannon on keyboards in 2004, The Magic Numbers were born.

Shooting to media attention after selling out London’s 2000-capacity Kentish Town Forum solely on the strength of their ever growing loyal following, even before their first proper single ‘Forever Lost’ was released, their Mercury Prize nominated self-titled debut The Magic Numbers (2005) entered the Top 10 and reached double-Platinum sales. Further hit singles, ‘Love Me Like You’, ‘Love's A Game’ and ‘I See You, You See Me’ followed, along with world-wide tours with the likes of Brian Wilson, Neil Young & Crazy Horse, The Flaming Lips and Sonic Youth. The band caused a stir when they became the first artists to ever walk off of Top of The Pops, refusing to play after a presenter’s uncivil introduction, showing confidence in themselves and that punk rebellious spirit they've carried from the very beginning.

Second album Those The Brokes reached No.11 in 2006, earning Gold status. There then followed a four-year interval till the third, 2010's The Runaway, which featured the last ever orchestrations by the late Robert Kirby, and another four-year interval until releasing their fourth album Alias on Caroline in 2014. These delays, partly down to Romeo and Michele both becoming parents for the first time, also allowed them to explore life outside the band. Michele releasing two acclaimed solo albums, Wide Eyed Crossing (2012) and Pieces (2016), and Romeo gigging with the likes of Africa Express and Jimmy Webb, appearing on the most recent Spiritualized album, and producing other acts, including Ren Harvieu and Kathryn Williams.

Co-produced by Dave Izumi in Izumi's own Echo Zoo studio in Eastbourne, work began on Outsiders in early 2017. The album, though instantly recognisable as a Magic Numbers record in its melodies, begins with a more raucous punch sonically. The confidence is more evident than ever before, noticeable immediately in the more bluesy, gnarly guitar sound. Songs like ‘The Keeper’, even having a distinct T. Rex feel. I’ve been revisiting lots of early rock'n'roll and blues records, Bo Diddley, Howlin’ Wolf”, Stodart explains. “I’ve fallen madly in love with the electric guitar again for sure. I love T. Rex, and Bowie. The silver lining of the sadness of losing David Bowie was that you go back and become obsessed again. Even the way he left us was a work of art.”

There's also been a subtle but significant shift in Stodart's lyrical themes. “It wasn’t a conscious decision to refrain from looking inward but I did feel a shift creatively with the things I wanted to say and share this time around. It’s allowed me the opportunity to play with characters like Michele & I have done on ‘Ride Against The Wind’ which we based upon a fictitious motorcycle girl gang who’ve grown tired of conforming and towing the line in their everyday lives.” This sense of fun is also reflected in the occasional references Romeo throws in of other people's songs, such as name checking Kate Bush's ‘Hounds Of Love’, and ‘Everybody's Talkin’’ by Fred Neil. “I enjoy throwing in those things in a way to see if people notice, it makes songwriting more playful."

The lead single is the epic Neil Young meets Fleetwood Mac ‘Sweet Divide’. “The couplet “Maybe there’s no grand de-sign/What if this is all we find?” hints at a humanist, even atheist interpretation. “No-one knows what's to come,” says Romeo. “We're all just fumbling in the dark, searching, sometimes it can be comforting to acknowledge that. The expansive, extraordinary ‘Runaways’ is one of the album's standout moments. “It's a love song for the misfits in society” Romeo explains, “It's saying we're 'scorned lovers' 'damaged goods' but let's stick together and embrace it, I think there’s a beauty in that.”

To us, music is everything,” says Romeo. “Rebel songs' are about conviction, not wanting to just fall in line, putting your heart and soul into something that you believe in. I think it’s what the people colouring life outside of the lines tend to do which is how we came up with the title Outsiders. Because now is the time for people to be themselves more, and not think so much about fitting into boxes. That's why the lyrics have a 'together' feel: we're all beautiful fucked-up losers trying to make sense of it all. We’ve always been Outsiders.”

  •   Please note all ticket prices include a booking charge.

  •   No exchanges or refunds.

  •   Over 18s only (unless advertised to the contrary)

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Jun
29
8:00 PM20:00

Scally, Fallen Lights & Bobby & The Blunts

Tickets  € 10 (strictly over 18's)

Tickets 10 (strictly over 18's)

SCALLY

Described by Hot Press as "Energy, balls and pure rock n' roll" Scally writes and co produces all his own songs. Scally's songs have been credited for being rooted in working class ideologies - unemployment, teenage pregnancies, drink and substance abuse and crime, whilst also critiquing wider social issues such as homelessness, sex & gender liberation, privatisation of the media and the refugee crisis. Scally's band - The Dirty Rats - decorate these messages with intricate licks and flicks, groove filled grandeur for a true rock n' roll experience likened to Arctic Monkeys and Red Hot Chilli Peppers. Scally has also been gaining notoriety for his on stage antics with his penchant for balaclavas, megaphones, nakedness, whisky drinking and crowd surfing with many likening him to Anthony Kiedis and Iggy Pop.

After building a up kamikaze catalogue of hard and fast rock n' roll tunes with his band for over two years Scally released his first single in April 2017 titled 'The 7th Commandment' which saw labelled as a "definite one to watch" having "both balls and brains" and a swagger deemed "inspiring"(Stuart Clark, HOT PRESS). Scally released his second single ‘Get Ready For War’ in March 2018 which debuted and stayed at NO.1 in the Irish Rock Charts for two weeks and hit No.10 in the overall charts. ' Get Ready For War' also received play on RTE 2FM, Today FM, 2XM, Shannonside, Highland Radio, KCLR FM & Midlands 103. Scally took the track on tour which saw him support The Strypes, The Soap Girls, Fangclub, The Blizzards, Wolff, New Valley Wolves, Mik Pyro & Crow Black Chicken.

The 'Get Ready For War' B-side contains a track called - ‘Let’s Fuck’ released in June and was controversially banned off Facebook and also reached No.1 in the Irish Rock Charts. Scally & The Dirty Rats are on an Irish tour for September/October 2018, with new material ready to release next year.

"Energy, balls, pure rock n' roll" (Hot Press).

"More energy than a Duracell Bunny on speed.....everything you can imagine when you think of rock n' roll" (Indie Buddie).

"Sure to blow the cobwebs from your mind" - John Loftus (8Radio).

"Artistically brilliant" - (Mick Flannery).

"Loved the energy, the attitude....kick ass music! Iggy Pop meets Rage, fearless" (The Soap Girls).

"Rock with both balls and brains, a definite one to watch....the swagger was inspiring" - Stuart Clark (Hot Press).

"Full of attitude and verve...you can hear echoes of Arctic Monkeys and Rage Against The Machine" (joe.ie)

"1970's punk-rock throwback performance, anarchy on the stage, searing guitar riffs....high-end rock energy that makes you want to put your fist through a wall due to its angsty dirtiness. The Manc swagger of The Stone Roses" (Remy).

"Today rock stars are almost exctinct, Scally has every ingredient, he's entertaining, the swagger, tons of energy and the attitude" (Pure M Magazine).

"Best act of Friday night at Electric Picnic" - Olaf Tyaransen (Hot Press)

FALLEN LIGHTS

On the back of a strong year in 2018 which consisted of the band releasing two
singles “It’s too Late” and “Last Train Home” both receiving 14 million impressions on Irish radio, numerous live shows including the Olympia Theatre and the 3Arena and finishing off the year on a high with their first appearance on RTE’s Late Late Show. Fallen Lights have followed up with their strongest release strongest single to date titled Extra Time.

The band spent most of 2018 focused on writing and recording new materials, defining their sound and working tirelessly on putting together a high energy and memorable live show. The latest single Extra Time came from these writing sessions it was produced by London based producer Eliot James (Two Door Cinema Club, Bloc Party, The Coronas). The single is the first of three singles planned for release during 2019 with an EP due to be released in October of this year.

In the first week of release 'Extra Time' racked up 1.5 million radio impressions and was added to Spotify's New Music Friday and has been backed as Irish single of the week by Beat 102-103, iRadio & FM104 to name a few.

2019 has already seen the band land spots at Irelands biggest summer music festivals & with a follow up single and their own headline Irish tour planned for May of this year the summer looks big and bright for this Irish pop outfit.

Fergal Darcy of Today FM - "It's a very unique sound there is not another Irish band that sound like that"

Today FM - "Hardest working band in Ireland"

Michaela iRadio talking on air of 'Extra Time' "possible Irish song of the year"

  •  Please note all ticket prices include a booking charge.

  •  No exchanges or refunds.

  •  Over 18s only (unless advertised to the contrary)

  •  On street parking

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Jun
29
9:00 PM21:00

Roll With It

Tickets €15 - (strictly over 18's)

Tickets €15 - (strictly over 18's)

Roll With It formed in 2013 to bring the music of the Gallaghers to the live stage in Belfast and beyond.

 Their setlist spans all seven albums and includes the hit singles right through to the acoustic B-sides.

 The band is made up of experienced musicians with a passion for the greatest band of the nineties, who aim to give audiences the best singalong since Knebworth.

  • Please note all ticket prices include a booking charge.

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Jul
4
8:30 PM20:30

Blas Presents Dónal Lunny & Paddy Glackin

Tickets €21/ €16 conc. - (strictly over 18's)

Tickets €21/ €16 conc. - (strictly over 18's)

The 23rd Blas International Summer School of Irish Traditional Music and Dance proudly presents Dónal Lunny & Paddy Glackin as part of their public concert series.

Dónal Lunny is popularly regarded as having being central to the renaissance of Irish Music over the last three decades.  Since the seventies Dónal has had involvement with some of the most innovative bands to emerge from Ireland including Planxty, the Bothy Band, Moving Hearts, Coolfin, and more recently Mozaik. He has toured across the world, collaborating with musicians of many different cultures. Dónal co-founded Mulligan Records and produced 17 albums for the label. Since then he has produced tracks for, and collaborated on albums with Kate Bush, Mark Knopfler, Indigo Girls, Clannad, and Baaba Maal among others. He produced the internationally acclaimed album for EMI, ‘Common Ground’, featuring such artists as Bono, Neil and Tim Finn, and Elvis Costello. He also has appeared on the BBC TV series, Transatlantic Sessions alongside the likes of James Taylor, Eddi Reader, Diana Krall and others.  Dónal was MD of the House Band on the "Céiliúradh" concert in the Royal Albert Hall, part of President Michael D. Higgins' state visit to the UK. He continues his work in studio production, also occasionally composing music for theatre, television and film. 

Paddy Glackin, also a founding member of Bothy Band, is widely regarded as one of Ireland’s leading traditional fiddle players of his generation. Being reared in Dublin, Paddy was exposed to a wide variety of regional styles that influenced his music and was hugely encouraged by such players as Sligo flute player John Egan, and Clare fiddler John Kelly. Paddy is also a noted commentator and lecturer on Irish music. He has etched a reputation as one of our premier fiddlers, steely yet divinely delicate. He adopted his father’s Donegal stylings and has taken a unique route from 1973 All-Ireland fiddle champion to the groundbreaking experimental-trad treasure Hidden Ground with Jolyon Jackson in 1980.He has also recorded extensively and collaborated with a range of musicians including avant-garde composer John Cage, Micheal O Suilleabhain, piper Liam O Flynn, and Dónal Lunny. He also played in groups such as Ceoltoiri Laighean and LAPD and is currently a member of Ushers Island.Paddy spent many years as a radio producer with RTE Radio and recently retired as head of the Radio Sport department.

  • Please note all ticket prices include a booking charge.

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  • Over 18s only (unless advertised to the contrary)

  • On street parking

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Jul
6
7:00 PM19:00

Carach Angren / Wolfheart / Thy Antichrist / Nevalra presented by Bad Reputation

Tickets €21 - (strictly over 18's)

Tickets €21 - (strictly over 18's)

Bad Reputation presents:
Dutch masters of horror Carach Angrenn will hit Dolans Warehouse, Limerick on Saturday 6th July 2019 alongside guests: Wolfheart, THY ANTICHRIST & NEVALRA.

  • Please note all ticket prices include a booking charge.

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  • Over 18s only (unless advertised to the contrary)

  • On street parking.

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Jul
11
8:00 PM20:00

Mikaela Davis proudly presented by Seoda Shows

€10-strictly over 18’s.

€10-strictly over 18’s.

 “This record is kind of about writing a record,” Mikaela Davis says. The 26-year-old is home in her native Rochester, New York, reflecting on Delivery, her highly anticipated full-length album, as well as the hard journey the classically trained, defiantly original harpist had to travel to become the writer, performer, and band leader she was meant to be.

 “A lot of these songs came from feeling stuck and also like people were pulling me in a bunch of different directions,” Mikaela says. “I wanted to say, ‘Just wait for me. I’ll figure it out.’”

 Mikaela’s plea for patience––a little bit sweet, a little bit angry and raw––fed a fierce 10-song collection. A joyride that pulls from folk rock, 70s and 80s pop experimentation, and muscly funk, Delivery manages to be both daring and comfortable, full of not just risks, but hooks.

 Produced by Grammy winner John Congleton (St. Vincent, Angel Olsen, David Byrne, Clap Your Hands Say Yeah), Delivery is a triumphant next chapter. “John tries to find that moment instead of the perfect take,” Mikaela says. “That made it all sound really special.” Childhood friend Alex Coté (drums, percussion) and Shane McCarthy (bass) play on the record - already close from years of touring. Recently, Mikaela’s ensemble became a family affair with the addition of Shane’s older brother, Cian McCarthy on guitar

 Mikaela’s unconventional path to working singer-songwriter began before high school, growing up in Rochester. With plans to join a symphony, she studied the harp in college, but halfway through, she decided the traditional harpist’s path wasn’t for her. She longed to perform her own compositions rather than pieces written by others in an orchestral setting. Her break with convention was cemented when she embarked on her first tour the summer of her junior year, singing her own pop-savvy songs.

 Following graduation, Mikaela moved to Brooklyn, following in the footsteps of indie artists who’ve come before her. But in the city, she could never quite find her footing. She kept busy, toured, and recorded an album that would eventually be shelved. Feeling confused and alone, she retreated back to Rochester, unsure of her next move.

 Then, the last place Mikaela wanted to be saved her. Rochester’s artistic community embraced her, and encouraged by bandmates including Alex Coté and the group Joywave, she hit her stride. Rochester became Mikaela’s sanctuary.

 Delivery benefits from it all. “Now, these songs kind of wonder what I should be doing––it’s me trying to get myself back to why I started writing in the first place,” Mikaela says. “Writing made me feel better and safe when the world around me was falling apart.”

 If a sad smile made a sound, it’d be like the lilting piano that kicks off the album’s title track, which is also the project’s opener. The initially pared-down instrumentation gradually swells as the lyrics move from self-doubt and disillusionment to grateful acknowledgement of steadfast love. “I was starting to feel like I was going down this rabbit hole of, ‘Well, I just need to be successful! I need to write a song labels are going to like!’” Mikaela says. “Then, I wrote ‘Delivery’ for myself. That felt good.”

 “Get Gone” vamps in next. “I’d been listening to a lot of Joni Mitchell when I wrote ‘Get Gone,’” Mikaela says. “I went into the studio thinking it’d sound one way, but John said, ‘I’m thinking real funky, dirty––70s porn!’ That’s how my band heard it too. I was like, really?” Mikaela laughs, proud of both the creative process and the gritty gem it produced.

 On harp or piano, Mikaela wrote or cowrote all of the album’s tracks save one, the beautifully forlorn “Emily,” penned by Alex. Bewitching harp kicks off the track, which pulses with empathy and grace, and features moody background vocals from The Staves. “A Letter I’ll Never Send” is innocent and starry eyed before morphing into buzzy chaos, tracing the arc of a doomed relationship. “It started as fun and no big deal, then it turned into a disaster––and that’s how the song ends,” Mikaela says. “I always wanted to make amends, but I’m wondering, is it worth it?” “Little Bird” is another song that both ponders and undergoes transformation: its delicate beginning builds into full-bodied swagger. Haunting “Pure Divine Love” soars on psychedelic strings and vocals, again with background harmonies from The Staves.

 Danceable “Other Lover” puts what Mikaela can make her harp do on brilliant display––funk has never sounded so angelic and swampy all at once. With its dreamy staccato, “Do You Wanna be Mine” also reimagines what a harp can do, while singalong “In My Groove” captures the challenges, confusion, and freedom that comes with finding your own way. Mikaela’s favorite track, “All I Do is Disappear,” explores the struggle to be seen for who you truly are instead of what others want you to be: “But how can I make myself clear / when all I do is disappear?” Mikaela sings.

 While most of the songs began as personal mediations and even acts of defiance, Delivery’s messages of resilience and embracing what makes you unique lands universally with the listener. “I hope people can relate these songs to their own lives and that they can help them in some way,” Mikaela says. “Just let my songs resonate with you somehow. That would make me so happy.”

  • Please note all ticket prices include a booking charge.

  • No exchanges or refunds.

  • Over 18s only (unless advertised to the contrary)

  • On street parking

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Jul
18
8:00 PM20:00

THE SKATALITES proudly presented by Seoda Shows

Tickets  € 25 - On Sale Friday April 19th 10am (strictly over 18's)

Tickets 25 - On Sale Friday April 19th 10am (strictly over 18's)

2019 marks the 55th Anniversary of The Skatalites. The original members had played on hundreds of recording sessions before forming the band in 1964. They backed most of the vocalists in Jamaica at that time, including Bob Marley, Toots and The Maytals, Jimmy Cliff, Alton Ellis,Ken Boothe and many more. Their unique infectious brand of real Jamaican ska pleases audiences of all ages across the globe year after year. "We hope you will enjoy listening to our music as much as we enjoy performing it for you. "

  •  Please note all ticket prices include a booking charge.

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  •  Over 18s only (unless advertised to the contrary)

  •  On street parking

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Jul
19
8:00 PM20:00

Mick Flannery

Mick Flannery Dolans Limerick July 19th

Tickets €25 - (strictly over 18's)

Mick Flannery is widely regarded as one of the finest singer-songwriters to comeout of Ireland in recent years. 

An award-winning, double platinum selling artist, Mick has released five albums to date (including two number ones) and received widespread airplay. He became the first Irish musician ever to win awards at the International Songwriting Competition in Nashville, aged 19.  His critically acclaimed live performances have seen him sell out shows in Ireland’s Olympia Theatre and Cork Opera House.

Mick first picked up a guitar at age of 14 under the musical influence of his mother’s family in their old farmhouse in Blarney, Co. Cork where he grew up listening to Tom Waits, Bob Dylan, Joni Mitchell, Van Morrison, and Jim Croce. Mick wrote songs throughout his teens, while training as a stonemason, which culminated in him signing to a major label at just 21 and releasing his first album “Evening Train”. 

2018 has seen Mick Flannery step out of his comfort zone both musically and geographically, touring new cities across UK, Europe, North America, Australia and New Zealand whilst working with a number of celebrated producers along the way. What has transpired over the last year is one of his strongest bodies of work in his fifteen-year songwriting career.

His debut award winning “Evening Train”; which is a concept album, has recently been adapted for a musical and will be premiering in Ireland in June 2019,

“astute and sophisticated lyrics”  RTE

“ song-writing force to be reckoned with”; The Times

“intense and moving”; The Guardian

  • Please note all ticket prices include a booking charge.

  • No exchanges or refunds.

  • Over 18s only (unless advertised to the contrary)

  • On street parking



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Jul
20
7:00 PM19:00

Bell X1

bellx1.jpg

Tickets €42 - (strictly over 18's)

Get set to ‘blink in the light’ of one of Ireland’s biggest live performers and most popular bands next July, as Bell X1 return to King Johns castle, limerick

The Irish rock band, who supported Ed Sheeran at his massive Croke Park concerts in 2015 and played a sold-out gig at the festival in 2016 following one of the most memorable concerts in festival history in 2011, will play King Johns Castle on Saturday july 20th.

In what is sure to be one of the best live gigs of the festival, the crowd can expect to hear hits from Bell X1's critically-acclaimed albums, which include ‘Rocky Took a Lover’, ‘The Great Defector’, ‘The End is Nigh’ and ‘Flame’ amongst others.

Heineken Big Top audiences can also expect to hear tracks from their latest studio album, Arms, which, in true Bell X1 style, sounds like nothing else in their canon.

There is a reason this Irish rock band has been nominated on four occasions for the Choice Music Prize for Irish Album of the Year and had three albums debut at #1 on the Irish Album Charts! Not a night to be missed.

  • Please note all ticket prices include a booking charge.

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  • Over 18s only (unless advertised to the contrary)

  • On street parking

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Jul
26
7:00 PM19:00

Hermitage Green at King Johns Castle plus special guests Ham Sandwich, Moxie & Sean O'Meara

Tickets on sale April 19th at 10am-Strictly Over 18’s  €30 plus booking fee

Tickets on sale April 19th at 10am-Strictly Over 18’s

€30 plus booking fee

Hermitage Green confirm King John’s Castle return as new single is released

Hailing from Limerick, Ireland, Hermitage Green have made a large impact in a short period of time. After having released their first full length album Save Your Soul via SONY Ireland and watching it climb the charts, they followed it up with a powerhouse EP, Gold & Rust which was produced by Grammy Award winning producer Matt Lawrence (Amy Winehouse, Adele, Mumford & Sons).

2019 has already witnessed the band selling out tours across Australia, Canada, The United States, The Middle East, Ireland and Europe. Check out www.hermitagegreen.com for more updates to come.

 

“Gold & Rust - the title was inspired by a lyric that Darragh Griffin wrote in the song 'Bring It On Down'. I suppose as an album title it represents the many contrasts of being in a band in 2017. The ups and downs, highs and lows, whatever you want to call it... From playing the mainstage at Electric Picnic, to getting laughed out the door of a bank when looking for a mortgage. From walking out of a sold out Olympia Theatre in Dublin, to playing to 7 people in a town somewhere in the U.S. From telling your bandmates you love them and would do anything for them, to trying to kill your bandmates because they piss you off sometimes. 'Gold & Rust' is the dichotomy between the struggle and the absolute privilege of doing what you love for a living.”

SPECIAL GUESTS

HAM SANDWICH, MOXIE & SEAN O’MEARA

ham sanswich.jpg

Ham Sandwich are one of the most enthralling live acts in recent times, HamsandwicH are well known for their incendiary live performances which has put them right at the top of the live acts to see today. With the combination of Niamh Farrell's powerful yet sweet vocal and Podge McNamee's juxstaposing baritone the band are given it's signature calling card. If ever there was a band to feed off their audience it is HamsandwicH. Each show is bona fide celebration with everything from balloons and confetti to their unique crowd interaction on display. 
Number 1 album Stories from the Surface is out now.
Ham Sandwich will join Hermitage Green Live at the Castle on Friday July 26th

Moxie pic from newsletter.jpg

MOXIE, 5 Irish musicians with traditional backbones delivering a new brand of Irish music heavily influenced by Electro, Jazz, House, and Rock putting them at the forefront of new music from Ireland. Delivering an energetic, wild and unique live show, Moxie have been inspiring audiences and musicians with their new palette of 21st century Irish music. The band includes Cillian Doheny (guitars), Jos Kelly (accordion/keyboard), Darren Roche (accordion), Ted Kelly (tenor banjo/electric tenor guitar) and Josh Sampson(drums)
’Irresistible, revolutionary energy’ – The Irish Times ★★★★★
'MOXIE is the music of a new era, where fluidity, cross-pollination, and innovation are the future and salvation of Irish music'. - The Irish Examiner ★★★★

  • Please note all ticket prices include a booking charge.

  • No exchanges or refunds.

  • Over 18s only (unless advertised to the contrary)

  • On street parking

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Jul
27
7:00 PM19:00

Hermitage Green -SOLD OUT plus special guests Ham Sandwich, Moxie & Sean O'Meara

- (strictly over 18's)

- (strictly over 18's)

Hermitage Green confirm King John’s Castle return as new single is released

Hailing from Limerick, Ireland, Hermitage Green have made a large impact in a short period of time. After having released their first full length album Save Your Soul via SONY Ireland and watching it climb the charts, they followed it up with a powerhouse EP, Gold & Rust which was produced by Grammy Award winning producer Matt Lawrence (Amy Winehouse, Adele, Mumford & Sons).
            2019 has already witnessed the band selling out tours across Australia, Canada, The United States, The Middle East, Ireland and Europe. Check out www.hermitagegreen.com for more updates to come.

 

“Gold & Rust - the title was inspired by a lyric that Darragh Griffin wrote in the song 'Bring It On Down'. I suppose as an album title it represents the many contrasts of being in a band in 2017. The ups and downs, highs and lows, whatever you want to call it... From playing the mainstage at Electric Picnic, to getting laughed out the door of a bank when looking for a mortgage. From walking out of a sold out Olympia Theatre in Dublin, to playing to 7 people in a town somewhere in the U.S. From telling your bandmates you love them and would do anything for them, to trying to kill your bandmates because they piss you off sometimes. 'Gold & Rust' is the dichotomy between the struggle and the absolute privilege of doing what you love for a living.”

SPECIAL GUESTS

HAM SANDWICH, MOXIE & SEAN O’MEARA

ham sanswich.jpg

Ham Sandwich are one of the most enthralling live acts in recent times, HamsandwicH are well known for their incendiary live performances which has put them right at the top of the live acts to see today. With the combination of Niamh Farrell's powerful yet sweet vocal and Podge McNamee's juxstaposing baritone the band are given it's signature calling card. If ever there was a band to feed off their audience it is HamsandwicH. Each show is bona fide celebration with everything from balloons and confetti to their unique crowd interaction on display. 
Number 1 album Stories from the Surface is out now.
Ham Sandwich will join Hermitage Green Live at the Castle on Friday July 26th

Moxie pic from newsletter.jpg

MOXIE, 5 Irish musicians with traditional backbones delivering a new brand of Irish music heavily influenced by Electro, Jazz, House, and Rock putting them at the forefront of new music from Ireland. Delivering an energetic, wild and unique live show, Moxie have been inspiring audiences and musicians with their new palette of 21st century Irish music. The band includes Cillian Doheny (guitars), Jos Kelly (accordion/keyboard), Darren Roche (accordion), Ted Kelly (tenor banjo/electric tenor guitar) and Josh Sampson(drums)
’Irresistible, revolutionary energy’ – The Irish Times ★★★★★
'MOXIE is the music of a new era, where fluidity, cross-pollination, and innovation are the future and salvation of Irish music'. - The Irish Examiner ★★★★

  • Please note all ticket prices include a booking charge.

  • No exchanges or refunds.

  • Over 18s only (unless advertised to the contrary)

  • On street parking

View Event →
Aug
4
8:00 PM20:00

Bad Reputation Birthday - King Witch / HYOM / Shardborne & more

bad rep 12th birthday aug 4th.jpg

Bad Reputation - 12th Birthday Party
Featuring:
King Witch (Scotland)
Hundred Year Old Man (England)
Shardborne
A Burial at Sea (England)
Hope is Noise
Slung From A Tree
---
DOLANS WAREHOUSE, Dock Rd., Limerick
August Bank Holiday Sunday - 04/08/19
Doors: 8pm

18+ event - R.O.A.R

  • Please note all ticket prices include a booking charge.

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  • Over 18s only (unless advertised to the contrary)

  • On street parking

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Aug
14
8:00 PM20:00

Durand Jones and The Indications proudly presented by Seoda Shows

- (strictly over 18's)

- (strictly over 18's)

American Love Call – Durand Jones & the Indications

 Durand Jones & the Indications aren’t looking backwards. Helmed by foil vocalists in Durand Jones and drummer Aaron Frazer, the Indications conjure the dynamism of Jackie Wilson, Curtis Mayfield, AND the Impressions. This young band of twenty-somethings are students of soul, including guitarist Blake Rhein, who moonlights doing research for The Numero Group. Even with that background, and an aesthetic steeped in the golden, strings-infused dreaminess of early ‘70s soul, the Indications are planted firmly in the present, with the urgency of this moment in time.

 On American Love Call, Durand Jones & the Indications’ soulful sophomore LP, the band reckons with how to balance love and fury of modern day America. A fierce, fully-formed thesis, American Love Call is as grand and cinematic as it is focused on fleeting details.

 Recorded for $452.11, including a case of beer, the Indications’ 2016 self-titled debut was the product of five friends who met as students at Indiana University in Bloomington, Indiana. Having met in 2012, the project was initially intended as a standalone recording project, with vocalist Jones, a native of rural Louisiana, joined by Frazer, Rhein, bassist Kyle Houpt, and keyboardist Steve Okonski. The album was released by renowned Midwest soul label Colemine Records, and quickly picked up steam on the back of the band’s booming live show and the enthusiastic recommendation of independent record store clerks across the country — who moved thousands of copies by simply playing the hell out of the LP in their shops for their discerning customers. The album was given another boost in early 2018 when Dead Oceans teamed up with the band and Colemine to bring the Indications to global audiences.

 “Did I expect to do this shit once I got out of college? Hell no,” Jones relays, laughing. “Totally not. But this is what God is telling me to do – move and groove. So I’m gonna stay in my lane.”

 American Love Call is the sound of Durand Jones & the Indications arriving. Opener “Morning in America” traverses the bleakest motifs of modern American life, channeled through the band’s own bold vitality: an old-soul croon made new, a glimmer of youth and hope burning at its core. Continuing into American Love Call’s widened scope, “What I Know About You” offers a true-blue, platonic love song while the dreamy, bossa nova groove of “Sea Gets Hotter” is about finding the person you want to be with at the end of the world. “Long Way Home” undulates with a funky bass line, sonics at odds with its somber subject, while “Court of Love” ripples with heartbreak, brooding and swaying. Jones oscillates between high-energy soul, pensive deep ballads, and harmonies, a sharp contrast to Frazer’s falsetto.

 A vibrant through-line helping flesh out the Indications’ sound is the band’s love of sonic mish-mashes. Rhein and Frazer initially bonded over a love of crate-digging for rare 45s, and that vast musical appreciation and flexibility injects an accessibility into the veins of American Love Call. Frazer is as quick to point to Nas’ Illmatic and Jay-Z’s Reasonable Doubt as formative listening as he is to gospel, while Rhein is as likely to pull influence from a ‘70s folk-rock song, and Jones has a background in classical music paired with a longtime love of soul, R&B, and pop.

 “Soul music’s been a part of my life for as long as I can remember,” Jones says. “I remember being a little kid and being in my dad’s truck, and whenever ‘Devotion’ from Earth, Wind & Fire would come on the radio, he’d swerve into the left lane, then into the right lane.” He laughs, pausing to clarify just how rural the part of Louisiana they’d be driving in was. “I remember that just being the most fun experience, when that song’d come on the radio, because he’d do that every single time. Soul music’s just always been present.”

 Rhein explains that the Indications use their inspirations the same way hip-hop producers do, borrowing from the sampling mentality. Rhein and Frazer, along with bassist Houpt, all studied audio engineering at Indiana University’s Jacobs School of Music, and Frazer credits that to how they craft the Indications’ sound: the ability to listen at a component level, to zero in on what makes a record electrify the listener, and synthesize that with their own work.

 As much as the diversion in taste is responsible for American Love Call, it’s where the Indications come together that’s just as vital to their songwriting. From a shared Dropbox the band used to circulate music in 2012 to their current Indications Inspiration streaming playlist, that group-think mentality and collective brain trust is what makes the Indications work, with each song proving a collaborative process.

 The resulting American Love Call is a record made the way the Indications dreamed it’d sound, a sprawling and limitless equation. Recorded at Brooklyn’s Studio G throughout a few sessions last July and August, the focus here is on vocals as much as it is a newfound confidence in songwriting. The split leads between Jones’ husky howl and Frazer’s dulcet falsetto and a chorus of backing vocals lend a dynamic punch to the sound, fleshed out by the elegance of strings and an ambition to prove and push themselves.

 American Love Call may make sprawling strides both stylistically and sonically from its debut, but thematically, the songwriting is a leap, too. Its title harkens back to “Creole Love Call,” a 1927 jazz standard popularized by Duke Ellington.

 “We’re in a time when so many in this country romanticize the past - wishing to return to a place of simplicity and former glory. But the reality of our history can be disillusioning,” Frazer explains. “For so many in America, the past represents violence, oppression, fear and colonialism.”

 “As America grows more diverse, we have the opportunity to form the strong, interwoven tapestry that we’ve long claimed. When we find a way to unite across our various movements and see the commonalities of our struggles, we can begin to push forward together. We can begin to see the threads connecting our goals as disparate rallying cries blends into a single song. An American Love Call.”

  •   Please note all ticket prices include a booking charge.

  •   No exchanges or refunds.

  •   Over 18s only (unless advertised to the contrary)

  •   On street parking.

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Aug
15
8:00 PM20:00

Derek Ryan

Tickets €27 - (strictly over 18's)

Tickets €27 - (strictly over 18's)

Derek brings his Unplugged, Songwriter Session Tour to Limerick. The up-close-and-personal event has now become a regular fan-favourite in Derek’s touring schedule. A multi-recipient of Songwriter of the Year, Derek has reached a pinnacle point in his career with his songwriting taking centre stage, in a stripped back, acoustic environment. Derek is joined on stage by acclaimed musicians Kane O’Rourke and Ray McLoughlin. 

  • Please note all ticket prices include a booking charge.

  • No exchanges or refunds.

  • Over 18s only (unless advertised to the contrary)

  • On street parking.

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Aug
15
8:00 PM20:00

Anais Mitchell

Tickets €20 - (strictly over 18's)

Tickets €20 - (strictly over 18's)

Anaïs Mitchell is a Vermont and Brooklyn-based singer-songwriter who comes from the world of narrative folksong, poetry and balladry. Among her recorded works are Child Ballads, Young Man in America, and Hadestown, the latter of which she expanded into a musical. Hadestown opened at London’s National Theatre in November 2018 before transferring to Broadway where it will open in April 2019. Mitchell has headlined shows around the world, and opened tours with Bon Iver, Josh Ritter, Punch Brothers and Patty Griffin. She is the recipient of a BBC Radio Two Folk Award, and the Folk Alliance International Spirit of Folk Award. If there's a common thread in Mitchell's work it's that she's as interested in the world around her as the one inside her. As the New York Times wrote, “Ms Mitchell’s songs address contemporary angst with uncanny vision….a formidable songwriting talent”. 

 “Ms. Mitchell’s songs address contemporary angst with uncanny vision...a formidable songwriting talent” New York Times

“The most engaging, and in some ways, most original artist working in the field of new American folk music” Independent on Sunday

“One of the greatest songwriters of her generation” NPR

“A national treasure, one of our great modern singer-songwriters” Time Out

“Mitchell is a skilled storyteller...and her delivery gives an emotional complexity that welcomes and even demands repeated listens.” Pitchfork

“Currently a well-kept secret, Mitchell is writing material that stands comparison with the great singer-songwriters of the past few decades” Daily Telegraph  

 “A charismatic live performer with an idiosyncratic style, and a songwriter of exceptional imagination and perception” The Guardian

  • Please note all ticket prices include a booking charge.

  • No exchanges or refunds.

  • Over 18s only (unless advertised to the contrary)

  • On street parking.

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Aug
17
7:30 PM19:30

Bring Your Limericks to Limerick Final

Entries are now been taken for the competition and local, national and international wordsmiths are encouraged to take part. You can enter on-line at  https://limericksfest.wixsite.com/limerickliteraryfest  or pick up an entry form from your local library and various venues around the area.

Entries are now been taken for the competition and local, national and international wordsmiths are encouraged to take part. You can enter on-line at https://limericksfest.wixsite.com/limerickliteraryfest or pick up an entry form from your local library and various venues around the area.

We’re a bit 'limerick' so join in the fun!

To win the 500 you can do with a pun

Just five lines of verse

Something funny and terse

Give it a go you could be the one!

 

 

Yes, it’s back!

Bring Your Limericks to Limerick Competition 2019 and it takes place Saturday 17th Aug in Dolans Music Venue, Dock Road, Limerick.

Up for grabs is the chance to become this year’s champion limerick writer and walk away with a cheque for €500, not bad for a five line poem.  The event now in its seventh year has attracted entries from all over the world from fans of the funny (though  often ribald, irreverent, and  sometimes vulgar) five line poem.  Again this year the organisers stress the connection between the verse and the place.  The limerick has bestowed on our city and region a unique natural advantage which, up to now, we have failed to capitalise on.

But why is the limerick so popular and compelling for both the general public, who may show no particular interest in poetry or literature, and writers alike? Festival director Lisa Gibbons explains, “The delightful simplicity of the limerick verse, with its five lines and an aabba rhyme scheme has given it the moniker of ‘the People’s Poetry’. At its core lies humour and a sense of the absurd, this is its defining feature  and through which it has maintained its popularity. This and the playful subversiveness of the limerick combine to make it an ideal vehicle for parody and mockery of modern society”, she said.“The hope is to make the competition an integral part of the cultural life of the city and region and further the aim of making the Limerick verse form synonymous with the city of Limerick and its hinterland, our ultimate aim is to make Limerick the world centre for this famous verse form”.

“In the longer term, I think we should explore the idea of having a Centre for The Limerick here in the city. Such a premises would house books and exhibits relating to the ‘Limerick’ and as a venue would occasionally host readings of ‘limericks’ and workshops for visitors,” Ms Gibbons added.

Previous winners of the event include North of England performance poet Christine Robinson (2013), Co Clare based US poet Knute Skinner (2014), Killaloe based writer Fiona Clark Echlin (2015),Darragh Roche won with a Limerick about Brexit in 2016, the winner in 2017 was community theatre facilitator Monica Spencer and last year Limerick domiciled Americal Jim Macleod from castletroy took the crown (and the cheque).This year we hope to have an equally exciting contest with again flamboyant local actor Myles Breen hosting the final.

In 2010, the Limerick Writers’ Centre ran a ‘Limerick’ writing competition. This competition took on a higher profile in 2013 when it formed part of The Gathering celebrations and again in 2014 when it became a Limerick Writers’ Centre City of Culture event.  They continued to run the competition in 2015, 2016 and 2017. 

In 2013,  The Limerick’ Writers’ Centre commissioned local historian Dr Matthew Potter to write The Curious Story of the Limerick, a history of the Limerick verse and its association with the area.  Outlining the reason for the book he explained that “The aim was to create an awareness of the connection between the place and the poem so that Limerick can establish itself internationally as one of the few places that gave its name to a literary form. Think Shakespeare and Stratford, Joyce and Dublin, Burns and Scotland, Limerick and the Limerick”.  The book was reprinted and updated two  years ago.

Entries are now been taken for the competition and local, national and international wordsmiths are encouraged to take part. You can enter on-line at https://limericksfest.wixsite.com/limerickliteraryfest or pick up an entry form from your local library and various venues around the area.

For further information contact, Lisa Gibbons at limericksfest@gmail.com or Dominic Taylor at limerickwriterscentre@gmail.com

 

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Sep
7
8:00 PM20:00

Memoriam / Ten Ton Slug / Zealot Cult presented by Bad Reputation Ireland

Tickets are €18 plus booking fee-strictly over 18’s.  On Sale Monday 20th of May

Tickets are €18 plus booking fee-strictly over 18’s.

On Sale Monday 20th of May

Bad Reputation presents:
The mighty Memoriam UK come to Ireland for the first time this September. Coming to Dolan's Warehouse Limerick on Saturday 7th October. Joining them are Ten Ton Slug and Zealot Cult.

New Memorial album 'Requiem For Mankind' out June 21st!

MEMORIAM was primarily developed to fill the void that was left following the tragic death of Martin "Kiddie" Kearns, the drummer from BOLT THROWER, back in September 2015.

BOLT THROWER subsequently placed all activity on hold for the foreseeable future which gave Karl Willetts an opportunity to develop a new project with friends that had expressed interest in forming a band for some time.

MEMORIAM are an old-school death metal band, maintaining the high standards set by their previous bands, focusing on the themes of death, loss and war. Initially the band members got together to play covers of songs that had influenced them throughout their careers within the death metal scene, however it soon became apparent that the new songs that they created were of a superior standard.

The band has a full album of material scheduled for recording during the spring of 2017, titled »For The Fallen«. But before their label debut is released, a brand-new EP will shorten the wait for all death metal fans. The EP called »The Hellfire Demos II«, out on January 2017, will contain two demo versions of new tracks from this Old School death metal machine and taking the same line as BOLT THROWER and BENEDICTION.

As the year ticked on beyond the album’s release it became ever more apparent that the band was nowhere near taking a breather, and after several successful shows including Wacken Open Air, Graspop Open Air and Roadburn Festival they once again knuckled down to writing new material. This work has now been collected into eight merciless tracks in the form of a new work titled »The Silent Vigil«. The second album is less affected by sadness compared to its precursor, and their aggressiveness has increased manifold. »The Silent Vigil« exudes their inimitable old school flair once again and has not abandoned their merciless groove for even one split second.

  •   Please note all ticket prices include a booking charge.

  •   No exchanges or refunds.

  •   Over 18s only (unless advertised to the contrary)

  •   On street parking.

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Sep
12
7:30 PM19:30

Peter Hook and The Light

Tickets are €22.50 plus booking fee - (strictly over 18's)

Tickets are €22.50 plus booking fee - (strictly over 18's)

Peter Hook and The Light performing New Order’s ‘Technique’ and ‘Republic’ Live.

Plus an opening set of Joy Division Material

Having successfully toured the albums from Hooky’s previous bands for over eight years now, Peter Hook & The Light have now reached the late Eighties and early Nineties albums of New Order, & ‘Technique’ and ‘Republic’ in their consecutive run and have announced a raft of dates for September 2019 with including Irish & Scottish dates.

The Light’s dates begin return to Dolans in Limerick Thurs 12 th Sept.

About Technique & Republic

‘Technique’ New Order’s fifth studio album chronicles the impact of acid house on the band, marking the clearest statement of the rock and dance influences which were shaping their output. Released in January 1989, just after the bands infamous G-Mex gig and aftershow downstairs at

The Hacienda in December the previous year, it became New Order’s first album to go to number one in the UK. It was also hugely successful in the United States where the influence of Quincy Jones Qwest label regularly got the band’s singles to the top of the American dance charts,

‘Technique’ was driven by the classic acid house single ‘Fine Time’ which rivals ‘Blue Monday’ as probably the most openly dance orientated record the group ever produced whilst other tracks on the LP ’Round And Round’ ,’Mr Disco’ and ‘Vanishing Point’ also reflect the dance sensibilities then fusing their way into New Order’s sound. Yet like on its predecessor, ‘Brotherhood’ these are balanced by the vocal led, more rock leaning ‘All The Way’, ‘Gulity Partner’and ‘Run’

Legendarily recorded in Ibiza in 1988, Technique has often been observed to capture the sound of that summer and the heady period back them both on the island and in the UK and of course, Manchester. As is widely known, the band didn’t actually do much work in Ibiza, a jaunt that Factory label boss Tony Wilson once told Peter Hook ‘was the most expensive fucking holiday you’ve ever been on’.

The band returned to the UK to finish the LP at Bath’;s Real World Studios later in 1988, itself the scene of another legendary New Order party when recording was completed. In many ways, ‘Technique’ epitomised its time and the culture surrounding it. It came out to generally ecstatic reviews from the top notch echelons of the music press. In the UK, Melody Maker called it ‘a rare and ravishing triumph’ whilst NME proclaimed the band ‘had fashioned an LP of rare and unflinching honesty’ Across in the States, SPIN called it New Order’s best ever album, Rolling Stone referred to its ‘sonic presence with immaculate playing’ and Pitchfork sum up the album simply as ‘magnificent’ Placed in the perfect position to deliver the definitive alternative take on house music, the band produced another classic record All Music Many consider ‘Technique’ to mark the high point of New Order and as they went on from the album to headline Reading Festival in August 1989, before going on hiatus and also pursuing their solo projects, this is generally thought of as the golden period for the band.

Due to the well documented history surrounding ‘Republic‘, it is remarkably difficult to characterise it as sharing the same sunny outlook as ‘Technique’ but Hooky’s decision to include it in these concerts underline his commitment to perform all of his catalogue that he has committed to record. Not that ‘Republic’ wasn’t hugely successful. Again it went to number one in the UK and became the band’s biggest ever selling album in America, narrowly missing the Billboard album chart top ten peaking at number 11.

However it is not unknown that it was New Order’s most difficult album to make. Factory Records had hit financial trouble and needed a New Order album to bail themselves out so the band were coerced into recording the album in to save Factory. Something that didn’t entirely work out as Factory was then to go bankrupt in November 1992 and New Order then signed to London Records, an offshoot of Warner Bros with ‘Republic’ released in May 1993. The band roared back with first single ‘Regret’ still thought of as one of their finest ever, and subsequent singles ‘Ruined In A Day’ and ‘World’ did well, both in their original versions and as remixes which again dominated the dance charts. Yet it’s not hard to deduce that the demise of Factory, coupled with the ongoing difficulties surrounding the band’s involvement in Manchester’s Hacienda as well as internal friction within New Order and due to the band members’ solo projects, all had an impact on the recording sessions and mood that lies behind ‘Republic’, something that Stephen Hague did his utmost to assuage in producing the LP. Still considered a worthwhile addition by fans to New Order’s catalogue, yet, if not perhaps hitting the standards they had previously set for themselves, ‘Republic’ did receive some strong reviews. NME’s Dele Fadele awarded it 8/10 on release whilst All Music commented that ‘Republic simply borrows elements of contemporary innovations in club music to frame a set of effortlessly enjoyable alternative pop songs’.



  • Please note all ticket prices include a booking charge.

  • No exchanges or refunds.

  • Over 18s only (unless advertised to the contrary)

  • On street parking

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Sep
14
8:00 PM20:00

SAINT SISTER proudly presented by Seoda Shows

Tickets on Sale 9am Friday May 17th-strictly over 18’s  Tickets €20

Tickets on Sale 9am Friday May 17th-strictly over 18’s

Tickets €20

Saint Sister are a duo from the North of Ireland. Since forming in 2014 they have quickly established themselves as one of the most talked about bands in Ireland. 2015’s 'Madrid' was a breakout success, playlisted on BBC Radio 1, RTE and across European radio, enabling them to tour extensively around Ireland, UK and mainland Europe. Festival highlights at Glastonbury, Electric Picnic and Latitude and support slots with The National, Lisa Hannigan and Hozier have secured their reputation as a phenomenal live band. Critically acclaimed, they have won support from key tastemakers at NPR, The Guardian, The Independent (UK) and Billboard Magazine. At home they were voted the “Best Irish Act" by the readers of The Irish Times, and nominated for the Choice Music Prize Song of the Year in 2016. Their debut album 'Shape of Silence’ was released last October to rave reviews and they embarked on a 50 date world tour, across the USA, Canada, Australia and Europe to promote it. The band were nominated again for the 2018 Choice Music Prize, both for Song of the Year and Album of the Year. They return to the USA in May for a month long tour with Henry Jamison. 

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Sep
20
7:30 PM19:30

Cloudbusting - The Music of Kate Bush

Tickets €21 - (strictly over 18's)

Tickets €21 - (strictly over 18's)

If you missed seeing Kate herself, Cloudbusting are the next best thing!’   Simon Mayo, BBC Radio 2

 Cloudbusting have been championed by BBC ONE as one of the most authentic tributes in the world. Their passion for Kate’s music has won over sceptical fans everywhere, challenging perceptions of what a tribute band can be and resulting in sell-out performances across the UK.

‘There can only be one Kate Bush’ says vocalist Mandy Watson, who never attempts to mimic Kate on stage. ‘When you sing her music the characters in the songs take over - they are what you become, not Kate. We're just fans, amazed at this opportunity to perform this music we love so much’.

Many of Kate’s original collaborators from stage and studio have been inspired to join the band on stage, including bass player Del Palmer, drummer Preston Heyman and dancer Stewart Avon Arnold, all of whom performed with Kate on her legendary Tour of Life live shows 40 years ago.

‘I could have been listening to Kate herself!' - Preston Heyman

Running Up That Hill, Wuthering Heights, Hounds of Love, Babooshka, This Woman’s Work, Wow… Cloudbusting can’t wait to whip up a storm of love for Kate’s music once again in 2019, their new show featuring all the hits you’d expect as well as many songs you wouldn’t!

Accompanied by eye-popping visuals that highlight the drama of Kate’s music, a Cloudbusting concert is an event no Kate Bush fan will want to miss. In the words of Kate herself, ‘We’re Cloudbusting, daddy!’

’Utterly, surreally brilliant’ - Mick Wall, Classic Rock Magazine

  •   Please note all ticket prices include a booking charge.

  •   No exchanges or refunds.

  •   Over 18s only (unless advertised to the contrary)

  •   On street parking.

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Oct
3
7:30 PM19:30

Danny O Brien

Tickets €13 - (strictly over 18's)

Tickets €13 - (strictly over 18's)

Danny O' Brien: Reformer

(plus support)

 What happens when a touring stand-up comedian can no longer stand up?

A food obsessing cheese lover tries veganism for a month?

After a near career-ending knee injury O' Brien is too young for pilates and too unbalanced for yoga. This award-winning performer brings you his brand-new hilarious hour of stand-up where self-destruction and self-discovery meet!

Following in the footsteps of Tommy Tiernan and Dylan Moran, Danny was handpicked this year to perform as part of the iconic ‘Best of the Edinburgh Fest’ show touring Australia, he has also featured on The Comedy Channel and is a regular on Irish TV and Radio. He has supported Today FM’s Dermot & Dave on three live tours and last year was asked to open for American comedian Bill Burr in front of over 7,000 people in Dublin.

 “He opened for me at the 3Arena and he f*cking murdered it!”- Bill Burr

"A perfect mix of brains, banter and brilliance"-Great Scott ★★★★★

 "Danny O' Brien absolutely nailed it!" - David Cross (Arrested Development)

  • Please note all ticket prices include a booking charge.

  • No exchanges or refunds.

  • Over 18s only (unless advertised to the contrary)

  • On street parking

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Oct
3
8:00 PM20:00

Dermot And Dave

Tickets on sale Friday May 17th at 10am

Tickets on sale Friday May 17th at 10am

DERMOT & DAVE ANNOUNCE BRAND NEW COMEDY TOUR FOR 2019!

Today FM duo, Dermot Whelan and Dave Moore, have just announced a 10-date nationwide tour of their brand new hilarious comedy show, Dermot & Dave Live!

 

Having toured to full houses all over Ireland in 2016 and 2017, the radio duo once again bring their bonkers comedy antics to a stage near you in 2019! The lads toured the length and breadth of Ireland with sell-out crowds in venues like Vicar St in Dublin and the INEC in Killarney. They’re ready for even bigger crowds this time around.

When the 2018 Vodafone Comedy Carnival line-up was announced, Dermot and Dave were the first act to sell out their shows, with tickets disappearing in a matter of hours. Now, they’re ready to hit the road again with a brand new show that brings together stand-up comedy, hilarious characters and a whole load of rocking musical performances.

When asked what people can expect from their new stand up show, neither of them actually answered the call but their message minder said, “”Hi, you’ve reached Dermot and Dave and we can’t take your call right now but the show is going to be amazing. We sing, we dance, we take our tops off. And there’s even more craic and lunacy than last time. *BEEP*”

Even though the show is brand new, you needn’t fear, all of the lads’ favourite characters will make a return including internet sensation, Noni, Limerick’s infamous chocolate seller and Tony “Club Classic” Cascarino.

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Oct
4
8:00 PM20:00

All Tvvins

Tickets  € 23 plus booking fee.  (Strictly over 18's)

Tickets 23 plus booking fee. (Strictly over 18's)

All Tvvins duo Conor Adams and Lar Kaye enjoyed a phenomenal start to their career. Their debut album ‘IIVV’ shot into the Irish charts at #2, earned a Choice Music Prize nomination for Irish Album of the Year and smashed the 15 million streams landmark. Meanwhile, gigs in the UK and Ireland included a life - affirming sold - out show at Dublin’s historic Olympia Theatre as well as a tour as guests to Metric.

Eager to build on that momentum, they dropped three new tracks in quick succession in the shape of ‘Alone Together’ (featuring James Vincent McMorrow), ‘Anything’ and ‘Crash’. From the outside, it appeared as if their second album would rapidly emerge.

By the winter of 2017, however, their ideas simply weren’t flowing and their confidence was low. As Kaye recalls, “We were questioning the whole thing.

Is it worth exploring more? Or do we not do it anymore?”

All Tvvins were formed after Kaye sent Adams an excitable message suggesting that they should collaborate on something “real fresh and real new.” And it was another surprise message that put them back on track, this time from their previous collaborator McMorrow: “Let’s try to beat that last track we did together.”

Over the course of a two - day schedule, the trio created ‘Hell of a Party’, the ominous but seductive first single from their forthcoming second album ‘Just To Exist’. As Christmas approached, McMorrow had a second intriguing proposition. “I’m free in January and February. Do you want to come into the studio to make a record?”

“That felt really exciting to us,” remembers Kaye. ”It seemed ridiculous but we knew he could make it happen.” They spent a week compiling a mammoth file of all of the uncompleted material they’d been working on over the past two years, and McMorrow soon responded with his choice of the best ideas to start building from.

January came around and everything else was put on ice to focus their energy on the project. Their home for the next two months would actually be a large open studio space in Dublin – surely the ideal venue for them to revitalise their mojo in.

Not that things immediately reverted to normal, but McMorrow’s small suggestions ultimately made a world of difference. He encouraged Kaye to adopt a back -to -basics approach, which helped to give the music a freshly streamlined impetus without losing his innovative signature style. Meanwhile Adams did everything he could to keep his voice on peak form, which resulted in vocals that are far more versatile and nuanced than before, especially with his newly deployed falsetto.

An early challenge emerged with a vocal loop that was too manic and aggressive to use, but too intriguing to ignore. After drastically dropping its BPM and lowering its pitch, it resulted in the opening groove for ‘Build A Bridge’. The rest of the song –buoyantly optimistic and exuding summer vibes –was finished that same night.

“It was a high point of the album,” grins Adams. “We realised, cool, we can smile again!” Lyrically it reflected the duo’s changing attitude too, as Adams continues, “I wanted to convey the feeling of a summer evening sunset when you’re driving out in the mountains and anything feels possible.”

Suddenly All Tvvins were fighting back and firing on all cylinders. They’d rediscovered the pure joy of making music and would soon be rewarded with the best songs of their career to date. As producer, co - writer and effective third member,  it’s no understatement to say this process wouldn’t have happened without him. His vision was apparent from the start, but All Tvvins were astounded by his work ethic. Each week consisted of six days of ten hour sessions, after which McMorrow would fine- tune the day’s progress before the band returned the following day.

The ideas kept flowing. There’s ‘Infinite Swim’, with its muscular funk and outrageous solo, which touches on Prince, Talking Heads and TV On The Radio while remaining recognisably All Tvvins; female vocal harmonies from Sorcha Richardson on the moody, slow -burning ‘No One Is Any Fun’; glitchy electronica on ‘Better Than Here’; and ‘In The Dark’, which possesses a driving energy reminiscent of Springsteen-meets - Future Islands.

The strength of the songs is immediately apparent, largely the result of All Tvvins’ renewed instinct and McMorrow’s impeccable taste.

McMorrow’s dedication set a blueprint for the band’s future. “We work really hard in the studio, but to see someone a level beyond that was so inspiring. We realised that we really need to up our game.”

That philosophy saw them go straight into a European tour once the album’s recording was completed. It’s a lesson that keeps on giving several months later. Echoing that dedication, Adams has spent his downtime learning

the piano to continue to pushhis boundaries towards his full potential.

The end result is ‘Just To Exist’, which Adams describes as “a snapshot of where we were, what we were going through and where we hope to go next.” The title, adds Kaye, represents “an acceptance of what we had to go through” to make All Tvvins 2.0 not only exist, but to once again thrive. Adversity, it seems, is a potent inspiration.

All Tvvins have overcome an obstacle course of a year, but there’s no time to rest as new horizons are waiting to be conquered.

 Please note all ticket prices include a booking charge.

  •  No exchanges or refunds.

  •  Over 18s only (unless advertised to the contrary)

  •  On street parking

View Event →
Oct
12
8:00 PM20:00

Saarloos

Tickets  € 12 (strictly over 18's)

Tickets 12 (strictly over 18's)

Saarloos are a new Dublin band consisting of acclaimed songwriters Craig Gallagher and Brian McGovern (formerly Fallen Drakes). Saarloos released their debut single Changes in 2018 which received strong radio support in Ireland as well as reaching almost 4 million streams on Spotify.

Since Changes, the band have released singles Be Alright, Alive and most recently in early 2019, Fire Is Love.

Saarloos have shared the stage with Gavin James across his sold out European tour this summer and last Summer blew the roof off Electric Picnic’s - Cosby Stage! They had an incredibly successful run of EU dates last year, with two sold out nights in The Grand Social. Saarloos tour kicks off in October.

  •  Please note all ticket prices include a booking charge.

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  •  Over 18s only (unless advertised to the contrary)

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Oct
12
8:00 PM20:00

Bad Reputation presents: Bloodshot Dawn/ The Crawling / Becomes Astral

Tickets €10 with Booking Fee-Strictly over 18’s   On sale Wednesday May 8th

Tickets €10 with Booking Fee-Strictly over 18’s

On sale Wednesday May 8th

First formed in 2003, Bloodshot Dawn have evolved from a straight forward, groove orientated death metal band into a technically ferocious extreme metal outfit. Hailed by Terrorizer as a band that delivers “blistering live shows”, Bloodshot Dawn have become a household name in the UK underground.

In 2007 Bloodshot Dawn recorded and released their first effort in the form of “Coalition Of Terror”, a two track EP that received positive feedback both critically and around their local metal scene. The band then went on to win the 2009 “Metal To The Masses” competition, playing at Bloodstock Open Air Festival with the likes of influential bands such as Carcass, Arch Enemy and Kreator.

The band's current line up was solidified in late 2009 and they began preparing material for their follow up to “Coalition Of Terror”. This came in the form of the “Slaves To The Lie” EP, released in February 2011. This EP was self-financed and made available worldwide via all major online distribution websites. Bloodshot Dawn supported the release with tour dates in the UK, including gigs with Vader, Krisiun, and Cerebral Bore.

In September 2011, Bloodshot Dawn entered 16th Cellar Studios in Rome (Fleshgod Apocalypse, Hour Of Penance), to record their debut full-length release. The self-titled album has seen Bloodshot Dawn's writing style mature noticeably, becoming more intense and technical, while increasingly melodic and accessible. This unique writing sensibility, coupled with fierce production from Stefano Morabito, has resulted in an album that has seen Bloodshot Dawn claimed by many as one of the UK's fiercest Metal bands.

The Crawling was born following a few failed attempts at getting a couple of ageing metal heads into the same room to play some death metal. Finally, towards the close of 2014, the band settled on a solid line up.

The music created is a result of a trio of music fans that have enjoyed, and participated, in the local music scene for decades. Creator Stuart hailed from 90's death metal legends Severance, Andy fronted Honey For Christ for 14 years, and Gary Beattie is still blasting for Zombified.

The collaboration has resulted in a heavy, slow-death ensemble, forged against a back drop of misery and contempt for the world that surrounds us.


"There is no greater sorrow than to recall in misery the time when we were happy."

Becomes Astral is a progressive death metal band based out of Guelph, Ontario. Formed in the later months of 2013, they quickly got to work on releasing their debut EP, The Mind, which was released in October 2014. The Mind was recorded and mixed by Don Levasseur at Atlantic Studio. After their debut release, Becomes Astral toured heavily for the following year, covering west coast Canada, and two Ontario and Quebec tours. Playing steadily since, Becomes Astral has made themselves a force to be reckoned with, allowing the band to sell out half of their last tour in Ontario. In early 2016, Becomes Astral took a break from playing live to write a full-length record, and returned to shows in late 2016. In December 2016 the band entered The Grid Studios in Montreal, QC with Christian Donaldson of Cryptopsy as a producer and came out with a piece of music they are proud to call their own, Paleblood Sky. 

  • Please note all ticket prices include a booking charge.

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  • On street parking

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Oct
13
8:00 PM20:00

Jake Clemons

Tickets are €18 plus BF. - (strictly over 18's)

Tickets are €18 plus BF. - (strictly over 18's)

New York, NY:  On March 22, 2019, gifted singer and multi-instrumentalist Jake Clemons will release the timely and important single “Democracy”, his interpretation of the Leonard Cohen classic that was originally released in 1992.  The song (which is the first from Clemons’ forthcoming May 2019 album), was co-produced by Jake Clemons and Jake Hull and mixed by legendary Grammy winning engineer and producer Eddie Kramer. “Democracy” will be distributed through The Orchard/Sony Music on BFD and Sea Lemons.

 “My father, a man whose greatest pride lay within his service to his country, instilled in me a firm belief that our flag, our nation should represent the certain unalienable rights of all people, that we are all created equal, that we are stronger as a whole, and that our rights as a collective whole deserve to be defended. Democracy, a mighty ship that would sail for the people and by the people, well, it’s slow. It is here, but it’s not. We are both waiting for it and simultaneously seem to be warring against it. When then, will the identity that promised to bind us together in precious liberty finally ring true; ‘FOR THE PEOPLE, BY THE PEOPLE’? When will we resolve to become truly UNITED as that powerful force claiming that grander posture of ‘WE, THE PEOPLE’?  This was the promise made, one that I have to hold on to, be it desperately, one that my father would proudly sacrifice time & time again for. It is slow... but it’s coming. This is Democracy”.  Jake Clemons

Our first glimpse into the heart and soul of Jake Clemons came in 2013 with release of his debut EP, Embracing Light. With just a few original songs, this gifted singer and multi-instrumentalist offered a bewitching hint at how much he had to say and the intricate way he said it. Then came his full-length album Fear + Love in 2017 which allowed a deeper appreciation of what Clemons has to offer.

Dividing his time between touring the world, performing his own music and spending the last seven years as the tenor and baritone saxophonist with Bruce Springsteen’s E Street Band (stepping in for his Uncle, the late Clarence Clemons), Jake continues to make a deep connection in the present by living life to its’ fullest. 

 “Democracy” will be available on all digital outlets on March 22, 2019.

  • Please note all ticket prices include a booking charge.

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  • Over 18s only (unless advertised to the contrary)

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Oct
19
9:00 PM21:00

Le Boom proudly presented by Seoda Shows

Tickets on sale April 26th at 10am-Strictly Over 18’s

Tickets on sale April 26th at 10am-Strictly Over 18’s

Le Boom are one of Ireland’s new music success stories having garnered 2.1 million track streams for their five single releases so far. Christy Leech and Aimie Mallon have quickly become one of the most sought-after new acts thanks to their energetic live show at festivals at home in Ireland and since forming in 2016 have played The Great Escape, Primavera Sound Pro, Electric Picnic and cities such as New York, Reykjavik, and Bilbao.

Last November, they sold out the 1000-capacity District 8 venue in Dublin with much bigger shows to come in 2019 along with the release of their debut four-track EP All Of My Highs to coincide with UK dates in May 2019 and Irish and UK festivals across the summer.

Le Boom’s electro-indie-house-pop music is a rush, it starts dance parties at festivals, venues and wherever they play. Between Leech’s falsetto and Mallon’s manic energy, there’s an infectious buzz in their music.

Christy Leech’s songwriting and production endeavours mark him out as one to watch, for his ability to comfortably mix pop song structures with dance and electronic beats, bolstered and played live with an array of extra percussion, glass bottles and cowbells by the irrepressible livewire Aimie Mallon. What’s attracted thousands to Le Boom’s music so far is the effortless mix of melody and body-shaking music, that never loses sight of an earworm chorus.

The Irish duo met in Dublin after both grew up in Navan, County Meath after experience-building with session bands. Leech’s forays into music saw him live in an artist commune in New York where the occupants would perform a monthly show for their building’s patron in return for free rent. It was in here where Leech began making the music that would resonate with many as Le Boom. Mallon is a trained drummer and musician from BIMM in Dublin.

Le Boom’s debut single release, What We Do, received regular airplay on both US and Irish radio and was featured in an summer campaign for Vodafone as it approaches 1 million track streams. Singles such as Don’t Need It Now, Coma and Animal have brought them multiple prominent features on Spotify’s New Music Friday, Hot New Bands, Running UK and New Pop Revolution among others. Their biggest sell out show to date is the 1000-cap District 8 Dublin show in November 2018. Their tracks have soundtracked ads and had placements for Failte Ireland, Made In Chelsea, Vodafone, St. Patrick’s Festival and more.

  •   Please note all ticket prices include a booking charge.

  •   No exchanges or refunds.

  •   Over 18s only (unless advertised to the contrary)

  •   On street parking.

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Oct
25
8:00 PM20:00

Sinnerboy a Tribute to Rory Gallagher

Tickets €12 - (strictly over 18's)

Tickets €12 - (strictly over 18's)

Top international tribute band, Sinnerboy return to Dolans to play the epic music of the late, great Rory Gallagher, for the 17th year running!

Sinnerboy, from Manchester, have a huge reputation for faithfully recapturing the sound and excitement of a live “Rory gig”. They have played a major role in promoting the revival of Rory’s music in the last seventeen years and apart from gigging extensively in Europe, have headlined Rory Gallagher tribute events in Ireland, Italy, Austria, UK, Holland, Germany, Greece, Spain, Norway and the USA.

Rory Gallagher, who sadly passed away in 1995, was born in Ballyshannon and reared in Cork. He had a huge impact on the world of blues and rock and was Ireland's first real |”rock star” - blazing the trail for many major Irish acts to follow on the international stage. Apart from being recognised as one of the greatest ever exponents of the electric guitar, Rory Gallagher left behind an enduring musical legacy which has received fresh recognition over recent years. He was a prolific composer and in his lifetime recorded no fewer than fifteen albums of highly original and soulful blues and rock material.

Sinnerboy will bring out the very best of Rory Gallagher’s music at their upcoming gig. With a repertoire that covers every era of the late Rory’s career they guarantee another blistering performance!

“This is the proof that my brother’s music lives on” Donal Gallagher.

  • Please note all ticket prices include a booking charge.

  • No exchanges or refunds.

  • Over 18s only (unless advertised to the contrary)

  • On street parking

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Nov
2
9:00 PM21:00

LLoyd Cole

Tickets €23 plus booking fees - (strictly over 18's)

Tickets €23 plus booking fees - (strictly over 18's)

Some albums coalesce around a title. Lloyd Cole’s new album is one such record. Guesswork mirrors the uncertainty of the world as you enter your third act. Guesswork is consistent with a record whose protagonists seem reluctant to venture confidently beyond the moment. In terms of minutes, it’s his longest, but in terms of songs, it’s shorter than any of his previous eleven solo albums (fourteen if you count those he made with The Commotions). Guesswork is also his shortest in terms of total words sung. This might come as a surprise to those who primarily remember Lloyd for the precocious literary pop dispatches of 1984’s Rattlesnakes, the debut album which earned him an unlikely place alongside Wham! and Duran Duran in the following year’s Smash Hits/Panini sticker book. However, for other onlookers who have followed his progress in the interim – taking in the muscular urban art-rock of his solo debut X (1990), the delicate digital folk of Music In A Foreign Language (2004) and a succession of electronic albums culminating in 2015’s 1D – that may be less so.

Mostly constructed in his Massachusetts attic space, Lloyd’s first “songs” album since 2013’s universally acclaimed Standards sees him finally create a (mostly) electronic setting for his voice. “For a while,” he says, “it wasn’t clear if the project would ever come to fruition. I’ve always listened to electronic music, ever since hearing albums like [Iggy Pop’s] The Idiot and [David Bowie’s] Low. There’s a simplicity to those records – even the gentle songs are very brutally projected. As I’ve got older, I’ve become more attracted to lyrics that suit that delivery. Ageing is brutal and lends itself to a less ornamented way of writing.”

Once Lloyd had formulated a sonic picture of the record he wanted to make, the arrival of each new song gradually brought that picture into focus. Although autobiographical interpretations of his songs have always been discouraged, The Over Under might resonate with “empty nesters” casting their gaze around four walls that might once have paid host to the laughter of children. It’s an unflinching slow-reveal establishing shot: a sparse study of a life released from the tension but also the structure of duty. Much of what follows seems to hang weightlessly in the vacuum vacated by the “certainty” of youth (one of two nods here to Robert Palmer’s Johnny & Mary, the other being the rhythm of Violins). This is a place far beyond romantic idealism. This is a place where lovers ponder their options, turn to each other and float the notion that they “could pool together/And be half right all of the time.” A place where, on The Loudness Wars, partners seek to hammer out an accord between their failings and their feelings: “Yeah, I’m a cold fish/Nobody’s choice dish/And you’re on fire.”

At times, the experience of listening to Guesswork is akin to sitting in a sleek, state-of-the-art departure lounge, unsure of quite where you’re waiting to go. It’s a feeling that finds its purest expression amid the pensive stabs and brittle snare cracks that measure out The Afterlife’s hungover existential audit and Remains the latter one of two songs on the record co-written by Lloyd’s old Commotions colleague Blair Cowan. Over a synergy of rapt synths and exquisite saxophone, the song finds Lloyd riding the seemingly sudden realisation that “we’re nothing to no-one” – a rueful inversion of the sentiments parlayed on 1990’s Don’t Look Back (“When you’re nothing to no one/And you’re less than you can…”) “When I was 27,” notes Lloyd, “The concept of the washed up older guy seemed very entertaining.”

And now? And now, he says, “I’m starting to think that old age could be a lot more fun than middle age. Because really what have we got to lose?” Certainly those sentiments are borne out by some of the brighter, poppier arrangements on Guesswork. With its neon Oberheim twinkle pushed to the fore, the unguarded intimacies of Moments & Whatnot seem to locate a blissful equidistant point between The Man Machine-vintage Kraftwerk and Robyn. Float that comparison past Lloyd Cole, and he’s anything but perturbed. “That’s great. Robyn has made probably my favourite music of the last fifteen years. I think she’s a genius; she’s almost the Prince of her generation.” Further ramping up the melodic quotient is an sublime slice of mid-life synth-pop which answers to the name of Violins. Were it not for the unmistakeable voice that hits the ground running with the lines, “The missile leaves the car/Flies through the window pane”, you might be forgiven for thinking you’d taken a left turn into the new Pet Shop Boys album. “Well, one of the glorious things about pop is that you have this wonderful uplifting art form which can actually deal with some fairly challenging issues and sometimes can do so quite elegantly. That’s what my favourite pop stars do.”

On the face of it, you might be forgiven for thinking that Guesswork finds Lloyd a universe away from the literate lyrical character studies scattered across his early records. The word count may have diminished, but you can attribute that to the authorial confidence that comes with the passing of time. Indeed, nestled among the still, sundazed ruminations that dominate Guesswork, is one of Lloyd’s most compelling narratives. When I Came Down From The Mountain sees its protagonist abandoning his home in the hope that he might finally cast off the weight of his sins. “How am I going to live down here?” he intones over a chorus urgently abetted by guitar work from the other ex-Commotion on the record, Neil Clark (who will also be accompanying Lloyd on his upcoming live shows).

Completing the rollcall of long-trusted associates on this record, alongside Neil and Blair, are New York drummer, programmer and producer Fred Maher who first worked with Lloyd on X, and executive producer Chris Hughes, whose association with Lloyd stretches back to the final Commotions album Mainstream on which he worked in an “informal” capacity. For Lloyd, the involvement of Chris Hughes provided some much-needed perspective in moments which saw him uncertain whether he had jettisoned too much of what was recognisably Lloyd.

“When I was making the record I felt like I was stretching myself artistically, perhaps even to breaking point, and Chris just laughed. ‘No-one else could have made this record,’ he said, ‘It’s soaked in Lloyd-ness’ You realise over time that however much you second-guess yourself or try and pull yourself in whatever direction, it’s still you. If you have a voice, you can’t un-voice yourself.”

 

Guesswork is released on July 26th 2019 by Ear Music Gmbh

  •  Please note all ticket prices include a booking charge.

  •  No exchanges or refunds.

  •  Over 18s only (unless advertised to the contrary)

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Nov
6
8:00 PM20:00

Four Men and a Dog

Tickets €25 - (strictly over 18's)

Tickets €25 - (strictly over 18's)

Four Men and a Dog captures the world’s attention through their living performances through out the years. can you imagine this traditional Irish band performing again? The spirit of this band does not go out and leave. There must probably the reasons why this band rings a bell to you. Well, this band produced songs that people can never forget. Why should you follow this band? Catch these men, Cathal Hayden, Donal Murphy, Kevin Doherty, ad Gino Lupari.

The song “Maybe Tonight” is absolutely the perfect sound of the band. The songs brings out an intense feeling of emotion and response. This must be the reason why people see the band as active. The musicians with all their fiddle and guitars produced contemporary sound. The traditional music must be from the western origin.

The band uphold its sound by producing the “Touch Me If You Dare”. This is truly incredible for its high-class style, by simply playing on bass, guitar and drums. “Baby Loves to Boogie” is another song of grace and have a melodious voice. This rocks the stage of silence. They might have demonstrated the moment of jumping for joy.

The most comfortable reason why people follow this band is the fact that they have that kind of reputation owing to traditional rhythms that give human the hallucinogens for music.

This is why its nice for this people to maintain their dignity as amazing musicians. These men tickle the ears of the fans in time their songs are heard. Many will be stunned by the souvenir these men had given to their masters.

  • Please note all ticket prices include a booking charge.

  • No exchanges or refunds.

  • Over 18s only (unless advertised to the contrary)

  • On street parking

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Nov
7
8:00 PM20:00

IMPERIAL WAX proudly presented by Seoda Shows

Tickets on sale April 19th at 10am-Strictly over 18’s  €14

Tickets on sale April 19th at 10am-Strictly over 18’s

€14

IMPERIAL WAX are the longest serving and last line up of legendary Manchester band The Fall. The 11 year veterans Keiron Melling, Dave Spurr and Pete Greenway have teamed up with frontman Sam Curran and have already recorded forthcoming album "Gastwerk Saboteurs" scheduled for release in May 2019. The album was produced by Mat Arnold (Noisettes, The Coral, Peter Gabriel, The Fall) Ex in-house engineer at Real World Studios.

Mastered by award winning mastering engineer Andy Pearce who has remastered works for (Elvis Presley, Motörhead, Black Sabbath, Frank Sinatra, Lou Reed, Bo Diddley, X-Ray Specs, The Kinks)

  •  Please note all ticket prices include a booking charge.

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  •  Over 18s only (unless advertised to the contrary)

  •  On street parking

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Nov
20
8:00 PM20:00

Wallis Bird proudly presented by Seoda Shows

Tickets €25 plus booking fee.- (strictly over 18's)

Tickets €25 plus booking fee.- (strictly over 18's)

“The sheer visceral energy of Wallis Bird could kick-start an entire economy.”

●      The Irish Times

 “A tsunami of emotion… magnificent ”

●      MOJO

 “The intensity of Wallis Bird’s live sound will pin you to the wall.”

●      Sydney Morning Herald, Australia

 “Discovery of the year..Wallis Bird at Woodford folk festival f***king destroying it..“

●      Amanda Palmer, Artist

 Acclaimed Irish artist Wallis Bird is back. The string-shredding singer-songwriter - once described by the Irish Times as having enough energy on stage to be able to “kickstart an entire economy” – has announced over 40 live dates and will be touring across Europe in celebration of her new album. “I’m calling it the New Moon Tour because of its symbolism; transition, femininity, the passing of time and new beginnings; the dark side of light. All of this amounts to how I feel at this point in my life. This is my new moon”.

 The new record - which will be her sixth studio album – will be out in autumn 2019. Folked-up and infused with brute soul, the album is heavy in beats and bass. “It’s built on a quite different tonal and chordal structure than usual”, says Wallis, “and I’ve tried to flood it with love, questions and understanding. I’m trying to make sense of the socio-political new world that we’re living in, and finding a way to heal myself”.

 Wallis’ career has drawn respect from critics and audiences alike. She’s played hundreds of headline shows over the past decade or so all over the world. She’s a two-time Meteor Award winner (national Irish music prize), a two-time Irish Choice Prize nominee, and a nominee for Artist of the Year at the American-based Folk Alliance International Awards 2019. Well known for her energetic performances, she has an unusual ability to bind audiences with her musical spells; inciting the crowds to join in rousing sing-a-longs as she shares her happiest emotions, or observe pin-drop silences as she expresses her deepest hurts. A Wallis Bird concert is unlike any other, and festival performances or support shows in front of brand new audiences always result in a slew of new fans.

 While Wallis has frequently toured with a band, she’s one of those rare artists whose stage presence - and jaw-dropping musical prowess - can fill huge rooms and venues on their own. With this in mind, and the heightened intensity that a solo performance brings to audiences, the 2019 New Moon Tour will be completely solo. “As much as I adore playing with a band,” says Wallis, “I've decided to finally plant a flag in the ground, go completely solo and highlight what I'm best at. I'm in my element when I can fill the stage and bring the audience together. I love it and I love working hard at it! I can’t wait to share new anthems and songs, and of course reminisce over the golden-oldies. I cannot wait!”

  • Please note all ticket prices include a booking charge.

  • No exchanges or refunds.

  • Over 18s only (unless advertised to the contrary)

  • On street parking

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Dec
20
9:00 PM21:00

TALOS proudly presented by Seoda Shows

Tickets €20 - (strictly over 18's)

Tickets €20 - (strictly over 18's)

Hailed by the Irish Times as “a spectacularly assured debut,” Talos' debut album was met with raves on both sides of the pond upon its release in 2017, with The Independent calling it “stunning” and the New York Times’ T Magazine praising the songs’ “taut, chilling complexity.” The record garnered love from BBC Radio 1, racked up more than 25 million streams on Spotify, made the shortlist for the prestigious RTÉ Choice Music Prize for Irish Album of the Year.

For his next album - Far Out Dust , Talos knew he couldn’t rest on his laurels, and pushed himself to write some of his most expansive, exciting music to date. French and his longtime production partner Ross Dowling (James Vincent McMorrow, Bell X1) shouldered much of the instrumental load on the album, in addition to working with producers like Doug Schadt (Maggie Rogers, Wet), Valgeir Sigurðsson (Sigur Ros, Feist) and Damian Taylor (Bjork, Arcade Fire), who also contributed a number of mixes.

  • Please note all ticket prices include a booking charge.

  • No exchanges or refunds.

  • Over 18s only (unless advertised to the contrary)

  • On street parking.

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