Existential Indie artist Roe returns with her blistering new single 'I Dare You'.

Released via the Music Federation, the track was inspired by Roe’s own experiences of an overwhelming touring schedule and late-night traveling. With a knack for succinct and observational lyricism, Roe can be heard embracing the emotional relief that song-writing can bring.

Expressing her thoughts on the track Roe explains “This song is about every unpredictable emotion that stems from adrenaline and exhaustion on the road and the parts of our lives as musicians that nobody ever gets to see..”

The track follows the roaring success of 2021 release ‘Cruel’, and a fruitful collaboration with fellow Northern Irish songwriter, Ciaran Lavery on ‘Destroyer’

The driving indie-pop anthem is elevated with a surging trumpet fanfare and soaring vocals, as are treated to an infectious and trademark Roe chorus.

Implementing her own brand of existential indie 'I Dare You' continues to usher in the new era of Roe.

Sophie Doyle Ryder takes us for a ride with new single ‘Don’t want No Boyfriend’.

On Monday this week’s Best Song in the World had us feeling single and ready to mingle. Dublin’s Sophie Doyle Ryder serves up a fresh slice of delicious pop with ‘Don’t Want No Boyfriend’, leaving us here at ATL HQ wanting more!

This release oozes sass, it’s playful, mysterious and really fun. Sophie said “Don’t Want No Boyfriend, is about (drum roll please) not wanting a boyfriend! It’s about wanting to have fun & not falling for someone. It’s a feel-good tune inspired by feeling free”. We felt free listening to this bop plus who doesn’t want to have fun?!

This is her second single from her upcoming debut EP. She dropped lead single ‘Hunni Hunni’ just before Christmas, leaving us wanting more and she definitely brought that on track number two. Team ATL are very excited to hear her debut EP, definitely one to watch.

So, if you love hypnotic bass line, need something to sing along too, this is for you. Take a listen to ‘Don’t Want No Boyfriend’, this week’s Best Song in the World from Sophie Doyle Ryder. We promise you won’t be disappointed!

Lighthouse:
Def: They serve to warn mariners of dangerous shallows and perilous rocky coasts, and they help guide vessels safely into and out of harbors. The messages of these long-trusted aids to navigation are simple: either STAY AWAY, DANGER, BEWARE! or COME THIS WAY!

Light can be a guide or a warning. A guide to the way out, offering hope and a passage to safety, or a flash in dangerous colours to make you stay away, soundtracked by threatening squawks. ‘Beach Light’ starts like the latter; panicking the listener with a wall of guitar-laden sirens, immediately dashing any threat that this might be a false alarm by singer Ewan’s first words to us “I’m dealing with a host of issues”. Axis Of… do not come in peace - they’re here to rally the troops, shine a light in your face and tell you to carry on, but no one mentions keeping calm. Fans of the N.Irish band’s previous two albums will know this. As the world retreated indoors, spending years working on ring light tans and indoor life, we had no reason to think Axis Of… might be the signal of light at the end of a long tunnel. However as we tentatively step outside again, hope again, embrace again, ‘Beach Light’ provides a fitting soundtrack. More forceful than their previous punk punts, and a refreshing honesty that may not be what we want to hear right now, but it’s what we need. Axis Of… aren’t here to comfort you, ‘Beach Light’ is a battle cry.

“Take a long deep breath...”

This year saw the 31st of January to 6th of February play host to a wonderful week of celebrations across Northern Ireland, Scotland, England, and Wales, for Independent Venue Week. We got a special treat here, with Northern Irish ambassador Soak holding a mini-independent venue week tour, travelling to some of their favourite venues, new and old across the country.

I was fortunate enough to catch them on the Belfast leg of the tour and what a night it was. The Oh Yeah Centre hosted the sold-out show on Saturday the 5th of February. Ailbhe Reddy, opened the show with an acoustic set, setting the tone immediately. She played songs from her Choice Prize nominated debut album ‘Personal History’ such as Self Improvement and between Your Teeth. Leaving me, and the crowd very impressed.

Then to the main event.

The lights dimmed, the crowd burst into a roar of applause and SOAK took to the stage; accompanied by The Villager’s Tommy McLaughlin on electric guitar and backing vocals. The first words the star uttered were, “This is quite scary”, and the honesty was appreciated by the crowd. They explained how it was great to be back on the road again after such a long time not being able to perform. Soak’s set consisted of a lot of new material taken from the 3rd upcoming album If I Never Know You Like This Again. I always think it’s such a brave thing for an artist to showcase their new music, as an audience won’t be as familiar with the new material. But the crowd loved it. Songs like ‘You’re full of S***’ and most recent single ‘Last July’ were stand outs on the night. It really encapsulated what the new album was all about and made you feel a part of the artist’s story and experiences as they played out through the song.

It was great getting to hear SOAK in an intimate, stripped back setting. It brought me back to seeing them perform when they were around 16 years old and it really showed the progression they’ve made as a songwriter and performer over the years. They performed some of my old favourites such as ‘B a noBody’ and ‘Sea Creatures’. I even managed to catch SOAK after the gig, for a quick chat. They mentioned what it was like to perform ‘Sea Creatures’ again, “It hit something in me, a little tear was there. You see how much it means to other people. Now I play it, it’s more about the people in the room, and the people who are singing it back to me”. SOAK hit the nail on the head, you really could see how much it meant to people in the room at the gig. There was a real sense of joy among the crowd as everyone sang together. All in all, two spectacular performances from Ailbhe Reddy and SOAK.

We are so lucky to have such special artists on this isle we call home, and I couldn’t have asked for a better Independent Venue Week!

Indie Kids Shine

Who: The Florentinas

Where: The Karma Valley Stage

For Fans Of: The 1975, Catfish & The Bottlemen, Nothing But Thieves

Roisin says: Indie Newcomers The Florentinas lit up the Karma Valley Stage, with a young crowd gathering just to hear the band soundcheck. An eclectic set that according to the band contained some of their debut album

Mind Blowing Lyricism

Who: Conchur White

Where: The Air Stage

For Fans of: dreamy pop

Gemma Says: Definitely a must to go and see. Conchur White took to the stage at Stendhal with just an acoustic guitar. His Soothing vocals captured the audience straight away. Soft but bold, his lyricsm is sure to stand the test of time. He even found time to showcase some new tunes, a stand out was a slow ballad called deadwood - fingers crossed this one is on the album!

Ash Are Back

WHO: Ash

Where: Kama Valley Stage

For Fans Of: Great Pop Rock with a Kung Fu Edge

Gemma Says: Bursting on to the stage with everything to give. The audience were ready; Ash were ready as this was their first gig back since March 2020. Playing all the hits such as 'Girl From Mars' and 'Goldfinger'. It was so surreal to see them back in action. Celebrating their career of 25 years as a band, the excitement and energy is still there.

Good Vibes Only

Where: Stevie Martin Stage

For Fans Of: Trap Soul, Rock & Hip Hop

Gemma Says: Jordan Adetunji lit up the Stevie Martin stage at Stendhal festival! With R&B, funk and rock influences coming through in each song - the vibes were FAB. This is a first for Jordan as he performed a brand new set, and the Stendhal goers lapped up. If you haven’t seen Jordan Adetunji perform live before, make sure to make time to. He’s phenomenal.

Glorious Pop Goth

Who: Sasha Samara

Where: Stevie Martin Stage

For Fans Of: PJ Harvey, Indie pop

Rory Says: The stage adorned in flowers, Sasha bounds about with an unexpected energy for this time of day. her died red dress makes her unmissable,  against the black backdrop, made all the more dramatic by the greying skies that now frame the festival. What really stands out here though is how accomplished a songwriter Samara is. The songs are polished, catchy and just different enough to stick in the mind. From the stage Sasha jokes that she hasn't reached the level or stardom that affords her a "Britney mic", but with a performance like this and songs to match, it's only a matter of time.

Voice That Soars

Who: Rosborough

Where: Air Stage

For Fans Of: JC Stewart, Joni Mitchell

Rosbourough is arguably one of the finest song writers in the country. he's been quiet of late, taking time off to raise a family ("i was trying to re-learn the words to this song but my daughter kept interrupting with 'The Wheels On The Bus'). There's a relaxed confidence with this performance, armed with simply a voice and a guitar, it feels right that Rosborough is here, in this moment, at this time. There's a great crowd for the return of Rosborough, and the set we're watching is a glorious mix of songs old and new. "I nearly stopped making music", he exclaims from the stage before launching into one of his finest songs 'Burn Blue', "but I just couldn't do it". This crowd are very happy you didn't. Viva la Rosborough.

Shellsuited Melodic Banjo

Who: Dani Larkin

Where: Stevie Martin Stage

For Fans Of: laid back, melodic folk.

Rory Says: With one of the strongest looks of the afternoon, Dani stands centre stage sporting a shaved head and yellow Shell Suit. "It's getting hotter and hotter, I'm regretting my choice of jacket". She's styling it out though. Dani's songs come to life on the stage, building from little before swelling to huge indulgence. This is the sort of performance best enjoyed on your back, eyes closed allowing the images the music creates to swirl around your head. Inevitably the jacket comes off "it's coming off, it's too warm" says Dani. And with that I lie down, close my eyes and let the music wash over me.

Back With Bite

Who: Roe

Where: Karma Valley Stage

For Fans Of: Clairo, Baby Queen.

Rory says: As the opening chords of current single 'Cruel' roar to life it's hard to believe that this is Roe on stage. It is though, the new version of the electro pop performer we used to know. Gone are the loop pedals and drum triggers, and in its place stands a live drummer and bass player. Roe is comfortable as lead singer and guitarist of this new angry, rock trio, and the songs sound better than ever.  More vitriol sure, but the melodies that were perhaps lost in the previous incarnation now shine through. Roe is on the road to stardom. 

What A Voice

Who: Cormac Neeson

Where: The Air Stage

For Fans Of: blues, rock and soul

Rory Says: "6 weeks ago I played this same stage, wearing the same clothes. I should have just stayed on site but they wouldn't let me" says Cormac Nesson to a busy Air Stage. He's referring to the more low key "trail run" Stendhal that happened in July. The question then was, 'will it work?' Would we be allowed out of our houses to once again mingle with fellow fans and celebrate the return of live music? As the sun shines down on the crowd, who embrace loved ones while they sway soulfully to Cormacs blend of blues and soul, while they listen in awe to the power behind his voice, I look around and take in the celebration of the moment, and the pure joy of the event. Will it work? The answer has to be, yes...it will. 

Donald Trump. Kanye. Elon Musk. Those four lads from the meme.

No it’s not the 2024 US Presidential nominees, but just some of the celebrities photoshopped into Derry pop band Lavengro’s clever new music video for their track ‘Get Out’.

It may well be the funniest Zoom call you’ve had since the ongoing pandemic/apocalypse, as celebrities far and wide come together to belt out every word of Lavengro’s brand new single. Sort of...

‘Get Out’ is a sharp, charming pop song, dripping in harmonies and primed for sing along moments. Their infectious, uplifting song writing arrives just in time for much needed spring optimism. No dramatic reinvention by any means, but nor is that the point. The point is to run into your garden, feel the heat on your face and dance in the face of a year long lockdown. Freedom is coming, Lavengro can hear it!

Keep the sunshine coming boys, and bring Adam Sandler, Britney and the lads along for the ride too.

 

21 year old singer-songwriter is yet to release a track into a pandemic free world. Her debut single ‘Taurus’ arrived with a flurry of media hype last Summer, providing immediate relief to a nation locked in to their own four walls. It’s a bizarre environment for a burgeoning young artist to launch a career, yet something about Coulibaly’s head bobbing rhythms, conversationalist 90’s throwback flow, and casual social media approach (her reaction to landing in the top 20 of the Irish Charts? “YEOOOOOO”), marks her out as the perfect modern pop star. That she’s been able to build a fan base without yet playing live is testament to the quality of her songwriting.

‘Long Nights’ is a collaboration with close friend and confidant Moyo, who provides a Lauryn Hill inspired beat for Coulibaly to paint a verbal picture of women tearing each other down, instead of picking each other up. It was inspired by a true life encounter and you feel it in her delivery, frustration and acceptance seeping through in equal measure. The lyrics are pointed and sharp, “It’s really been a long night, why are you so hurt you take it out on me? Insecurity so loud, it feels like you’re shouting me,” as she takes aim at the negative people she’s trying to free herself from.

For an artist who’s biggest concern pre-chart success was the removal of her braces (“once they come off I’m getting grillz STRAIGHT away,” she tweeted recently), Aby Coulibaly has so much to look forward to. When she is allowed to finally take her music to a festival stage, expect ‘Long Nights’ to go off.

Taylor Johnson

 

With Rebekah Fitch, you’re never quite sure what’s coming next. Her new single opens with a mix of electronic soundbites, that furtively transport you to the inside of a computer game. With funky, thrilling synths, it’s immediately full of drama.

Rebekah bursts in with her captivating vocals, and throughout the song skilfully weaves in and out of her impressive range, creating haunting, emotive and angry tones.

The lyrics and delivery will resonate with all of us, as we manoeuvre our way through 2020, “I am going insane, in a life so mundane I need to be entertained...”

We hear ya REBEKAH, we hear ya!

The elements of Game Over are expertly blended together to create an interesting song that holds your attention until the end. This track has similar emotive qualities as her recent single ‘Dust’ but it more pop storm than pop ballad.

Can’t wait to hear this one live and what other bangers Rebekah has up her sleeve.

Game Over is out now.

Normally when we get a press release to ATL Introducing Towers, it’s full of the usual info – ‘best release yet’, ‘sure to impress’, ‘comes from the heart’…that kind of thing. Not so for Belfast based singer songwriter Own Denvir. With his new EP ‘Stones’ arriving on the 29th of May, forming the second part of a trilogy which will form the basis of his debut album, Owen has gone a bit more philosophical.
According to the man himself, “The album and EP trilogy idea is based on Sigmund Freud's theory that personality is a sum of 3 parts: the Id (acting on raw impulse), the Ego (being terrified of consequences) and the Superego (the balance between the two). The first EP ‘Sticks’ deals with loss and delusion and the impulsive decisions we make while in the spell of 'love'. The second ‘Stones’ being a more confident but brash take on love, and finally the last EP ‘Bones’ is when you have the balance between the two, which mostly leads to more healthy relationships .”

Regardless of the psychology behind it all, he continues to wow on this EP. Full of hooks, booming vocals, and a clear influence of indie-pop and soul, what’s really noticeable about this is EP is Denvir’s approach to songwriting, and how he adopts the role of an observer. Paired with his gift for melody, it truly makes for a great EP.

Opening with his most recent single ‘This Could be Love’, an acapella vocal section creates an immediate atmosphere, grabbing the listener’s attention immediately. It’s full of hooks and boasts a soaring chorus, which could easily be seen in the charts. The song itself was produced during lockdown and is about suddenly seeing a friend differently after dropping your guard during a weird dream.

Following that up, ‘I Want You So Bad’ is a complete tonal shift, transporting you to an era of soul and blues. The track is mainly driven by staccato guitar, organ, and Denvir’s soulful vocal really allowing his voice to shine. He refers back to his EP’s theme with lyrics such as “I can’t keep lying to myself” and “I want you so bad”.

‘Stones from Paris’ is definitely a favourite, beginning immediately with lush guitar licks and an infectious rhythm. The melody is really easy on the ear and wholesome, and the addition of strings throughout really adds depth and colour to the piece, echoing what the lyrics are saying.

‘Like Nobody can See’ is a classic piano ballad and probably the most timid track off the EP, yet it possesses a rawness. With a sense of tension building during the verses towards the chorus, the repetition and concept of the lyric “Dance like nobody can see” is really effective, and resonates with the listener.

It all adds up to an impressive package, and with 100,000 streams on Spotify, combined video views of over 2 million, music shared by Coldplay, and supporting the legend Dodie…it’s safe to say this debit album is going to be worth the wait.

 

A band name can tell you a lot about the kind of music you’re going to get. The Ramones were a family (well, a made up one, anyway), The Queens of the Stone Age rock hard, with a twinkle in their eye, and with And So I Watch You From Afar, you just knew that something epic was on the horizon, hulking and unwieldy, but raw and full of electric energy.

With main-man Rory Friers’ new side project Beach Comber, that name gives away so much of what you’re going to hear. Appropriately enough for a record that was made in a little farm house off the North Coast of Northern Ireland, there’s something tidal about this music. It ebbs and flows, it sparkles and it shines. These songs are like objects half buried in the sand, catching your eye as they reflect the sunlight on a crisp and clear day.

Taking a break from the day job, the sound of Parting Cuts is predominantly acoustic. Indeed, maybe ‘organic’ is a better word, with rustic sounding tones and melodies colouring a collection of songs that is deceptively simple on first listen, but reveal new layers the longer you spend in their company. The most obvious touchstone would be the rural delights of Mercury Rev’s 1998 masterpiece Deserter’s Songs or Broken Social Scene’s unassailable You Forgot it in People. Occasionally, on tracks like ‘Kicking Back in Saquerama’ or ‘South Pacific’, hints of the ASIWYFA grandeur and intricacy creep in, spindly guitar figures taking you on a journey. But for the most part, these songs are simple and direct, plainspoken and emotionally resonant.

Friers’ voice isn’t the most expressive tool in his arsenal, but he makes it work, knowing its limitations, and how to use them. He’s not going to win The Voice any time soon, but frankly, he doesn’t need to.

Ultimately, as a diversion from his work with ASIWYFA, Parting Cuts is a satisfying listen, but it wholeheartedly stands up as an album in its own right. And for anyone who is alienated by the complex and labyrinthine guitar architecture of ASIWYFA, this is a perfect showcase for an incredibly talented musician that will no doubt leave plenty of listeners praying it isn’t a one-off.

Following the success of their last single ‘Abigail’, Cherym are back with their newest track ‘Weird Ones’.

With a new style spearheaded by their last single in November, ‘Abigail’ embraced a new direction for the band, a bouncier, more fun approach than their previous efforts.

Following that up, ‘Weird Ones’ is a fantastic statement release from the Derry three-piece. The track retains the classic, in-your-face punk that we’ve grown to love, with a new, more pop-orientated sound.

This musically dynamic track notably shows their 90s-inspired anthemic, pop-punk roots, which is evident in the melodic sequence of the guitars as well as lyrically. A new fiery flare, it’s a burst of energy with a kick.

‘Weird Ones’ will surely have you screaming ‘You don’t even know her!’ right back in their faces.

Kildare artist April Lawlor releases her debut EP New Conditions.

Starting off as mellow bedroom recordings on SoundCloud in early 2019, April Lawlor has transformed her music into a fully developed live act, with a talent that is accessible for everyone.
Following the release of the title track in late March, 'New Conditions' is an intricate, yet bright representation of a young artist.

Easy on the ears, April's style of songwriting is minimalist, allowing her vocal talent to take centre stage. Both empowering and delicate, her voice is accentuated beautifully by the simplicity of the music behind her. Touching on topics even the most accomplished of lyricists find hard to address, Lawlor’s writing brings a touch of warmth to the hearts of even the coldest listeners. Her words, while optimistic in love, yield to her desires of introspection and finding peace within herself.

Her debut single ‘The Impossible Task Of Feeling Complete’ is a highlight of the EP. With siren-like harmonies, April’s emotional maturity shines through in these lyrics, reminding the listener that seeking direction to navigate life’s hardest paths is okay.

New Conditions is a promising EP from April, and could well be the release that solidifies her place in the world of ethereal pop.

2020 will forever be remembered as the year that didn’t so much as tear up the rulebook, as fake it’s death and feed it to Joe Exotic’s tigers.

The Covid-19 lockdown has left even the most diligent heads amongst us feeling lost and uncertain, but for those in the music industry it has been particularly tough. With release schedules and live dates coordinated months in advance, the lost momentum caused by the pandemic has been a blow to many, including singer-songwriter Aoife Boyle, AKA Reevah. Due to embark on her first headline UK and Irish tour this month, she’s now had to postpone plans until later in the year; with this in mind, it would have been so easy to hold on to new EP, ‘A Different Light’, for a while longer. However, one listen to the record later and the bold decision to follow through becomes clear. Here we find an artist in transition, hovering above her native Derry and looking solely skyward.

From the opening gallop of ‘You Said, Tell Me’, with its blustering tubthump, it’s clear this record shows not only a different light, but a tougher skin than Reevah’s previous work. She has a shiny new band for a start, and one not afraid to let her songs reach for festival crowd singalongs in some distant future. She sets the tone from early on, “You told me I wear black all the time, well it’s just me mourning my own life...I don’t care, this is me, I’m free and I’m back”.

Since her tentative first steps on debut single ‘Daydreamer’, Reevah has been slowly shedding the campfire folk innocence of her early writing. In its place, the light and shade is more clearly defined, like on the Kacey Musgraves-esque ‘Older Now’. Bouncing along a bluesy guitar lick, it's a lush, fuller sound than we’ve heard so far from the young songwriter, who feels completely at ease within ‘A Different Light’s bolder arrangements. Reevah is in a reflective mood throughout this record, talking at one time or another to past lovers, family and even her younger self. Here we’re reminded that though ‘our faces change, our minds remain the same…’.

On ‘Weight of the World’, the sky caves in on the world Reevah has built so far. Her voice rises and falls, going toe to toe with the chaos around her. They trade blows, pushing the track ever forward. “She’s ready to jump, she’s ready to fall….can you feel the weight of the world?”. There’s a brief calm, before tribal drums and haunting harmony return us to the grey skies. We’ve barely time to catch our breath before ‘Real Enough’ comes crashing in, just Reevah’s voice and a lone piano tasked with closing the record.

Melancholic and moody, ‘Real Enough’ wastes no time dragging a former friend over hot coals as she asks, ‘Was it real enough for you? It was real enough for me…”. Though soulful and captivating (I’d imagine watching Reevah play this live would be epic), her band playing such a vital role throughout ‘A Different Light’ only to drop out at the final hurdle is the only slight blip on an otherwise courageous forward step. You expect the track to kick into life, instead it burns slowly like a fire at dawn. Perhaps that’s the point - a comma, rather than a full stop. The next chapter will have a lot to live up to.

It’s a Friday night on Ormeau Avenue, and the Limelight is full of love for the band that turned a generation of young Northern Irish people into music fans. If you grew up in the early 2000’s, there’s a good chance your parents had Final Straw or Eyes Open on the car stereo. The songs are ingrained in our collective memories, the soundtrack to countless childhoods. Tonight, the room is one, and as ‘You’re All I Have’ drifts into life, the Limelight choir prepare to sing their hearts out.

This is the first of two shows Snow Patrol will play in one night, in the same venue, just an hour apart. It’s the final date of their Instore Acoustic tour, organised by HMV and serving as a ‘thank you’ to those who flocked to buy their latest Reworked album. The mood is jovial, the venue probably too small for a band of their stature, but Snow Patrol soak up the intimacy and radiate it back. It’s a stripped back line-up, with frontman Gary Lightbody, guitarist Nathan Connolly, and original member Iain Archer on piano, bringing the songs back to their roots.

Those who have experienced the full live show will know that Snow Patrol are a real rock band. Formed at university in Dundee in the 1990’s, the band formerly known as ‘Shrug’ were once more interested in making you mosh than sing along. The idea of an acoustic set was once an alien concept for the band making Songs For Polar Bears, but over the years Snow Patrol have mastered the art of quiet reflection. Even their edgier songs are given a dreamlike face-lift. ‘Crack the Shutters’ shimmers in the dark, the opening lyric, ‘You cool your bitter warm hands down, on the broken radiator’ hitting home like a poetry reading, while the one-two sucker punch of ‘Run’ (“Our only number one, and we didn’t even sing it!” laughs Lightbody, a nod to Leona Lewis’ X-Factor cover) and ‘Heal Me’ take things to an emotional pinnacle.

In a moment of vulnerability, Lightbody exclaims, “This next song is dedicated to the feeling that we’re better together than apart,” and then ‘Chasing Cars’ takes us right over the edge. It’s an all-encompassing tidal wave, the biggest radio hit of the 21st century so far. The band from Bangor don’t have to play another note, the crowd willing the lyrics to life.

‘I Think of ��������’ is another highlight, with references to Belfast and Fountain Street provoking huge cheers, before cutting out completely for the final verse. Lightbody’s voice is the lone noise in a silent room.

“The punched-out teeth of Irish history, mistakes were made, let’s leave it there. But there’s one thing we can all agree on…there’s beauty North, South, East and West’.

This gets the biggest response of the night; if this was a seated show, a standing ovation would be warranted. Lightbody works his way around the room thanking people for their time, a final touch of characteristic kindness. ‘Open Your Eyes’ is then tasked with closing a beautiful evening. In just over an hour, Snow Patrol will be back to do it all over again, and you know they’ll be up for it.