Cork based duo, Briars, have just released their debut single, yes, in the middle of a pandemic. I caught up with the lads to find a bit more about their recording, how they are keeping their creativity going and how they’ve been working with other bands, helping them promote their work.
Who are you and where are you right now?
Paul: So we’re Mick Grace and Paul O’Shea, originally from south Kilkenny but living in Cork City for…a long time now..;) Mick: We’re long term blow ins alright.
Have you previously been involved with music or is this a first venture for you guys?
Mick: We’ve been playing together since we were both around 11/12 years old. I think that on this same Christmas, Paul got drums and I got my first electric guitar so it started there really. Since then we played loads, mainly around the South East, in different bands, sometimes together, sometimes not. This is our first original project together as a duo (accompanied by others). Paul: We’re pretty much joined at the hip..in a socially distant way of course!
You’ve just released your debut single ‘There There’, you recorded this before the lockdown, but the track has the line ‘Wish those days away’, irony no?
Mick: Haha yea. I guess those days were alright, thinking about it now. We’re blessed, actually, that we had a few songs recorded before everything stopped. I think when things went the way they did, it gave us a bit of nudge to put the finishing touches on, and finally get something out there. Paul: I think these days shouldn’t be wished away though. I feel it’s an amazing opportunity for people to reset and slow everything down.
While you have folk elements in your music, the drums and bass and production still make this a very contemporary track. Who / where did you record this with?
Paul: We recorded with the amazing Christian Best in Monique Studios in East Cork, we had known him from working on other projects and knew that he would add so much to the tracks. On the first morning in the studio we chatted about what we wanted to achieve and he would nearly finish our sentences, he just got it straight away. Mick: Yea, Christian was great. He got it from the word go. Paul: We grew up listening to such a mix of music and genres that it all finds its way into our writing in one way or another.
What instruments do you guys play and what other musicians were involved in the recording?
Paul: So I’m on drums and percussion, Mick is on guitar, bouzouki and mandolin. For the recordings we were lucky enough to have some great friends contribute: Hannah Fitzgerald on piano and keys, Peter Vogelaar on bass and Nigel Grufferty on fiddle.
Was this a one off session, or have you other material recorded, ready to release?
Mick: We have a couple more tracks that we’re currently mixing. Almost there now. Hopefully we’ll release a few more singles and build towards an album release down the line.
What’s your favourite piece of studio equipment and why?
Paul: Drums obviously..;) Mick: Anything but drums..!
No but seriously. In Monique Studios, there’s a kind of a pedal organ that sounds a small bit like a harmonium. It made it onto all the tracks that we recorded in that session. It’s almost a thread running through each song. We had no idea that we would use it but when we heard it, we knew right away that it would all over the songs. Paul: Christian is great, he has such an array of equipment in the studio that he can suggest things that you wouldn’t have thought of before.
It’s still very early days for you guys, how much has the pandemic effected your plans for the band?
Paul: It is early days but thankfully we had a lot of work done before the virus forced us all to stay at home. We’re lucky in that we had material recorded and ready to release over these quiet months. We had hoped to be back in the studio about now but that will have to wait another little while.
Mick: Obviously it’s a terrible situation, but we’re trying to look at the positives. We would have ideally been out there gigging by now, which wasn’t to be, but it does mean that we have a chance to get some stuff out there, and build to our first gig. We’re kind of doing it in reverse order. Also, it is a chance to get some new stuff written. There’s a certain guilt that comes with seeing other musicians knocking out singles that makes you (at least try to) get up and go.
Can you recommend three albums to check out which will show us how you got to here on your musical journeys?
Mick: I think regarding the kind of stuff that we’d like to put out, ‘The Trials of Van Occupanther’ by Midlake and Planxty’s self titled album are two records pushed us in certain directions, even if it might not always sound like that’s the case. Paul: To make it three albums I’ll say..Vekcatamest by Grizzly Bear
As a new project, creativity and a continuity in writing and playing together is really important. How have you guys been able to keep it going during lockdown?
Mick: We’ve been throwing around a lot of ideas. There’s a lot of Facetiming going on. We both have a small recording setup at home, so that’s another thing that the lockdown forced us to get sorted. I think we had kind of settled on the kind of vibe that we wanted to go with, and have been shaping that for a while now. Obviously it’s not the same as being in a room together with everything set up, but at least we’re building a foundation on some new ideas. Paul: It’s been great to get ideas finished. We’ve both accumulated so many different bits and pieces over the years with question marks over them, so being cooped up in the house has finally made songs out of those ideas.
There has been a resurgence in the popularity of folk music in Ireland over the past few years. Why do you think that’s the case?
Paul: I guess there’s been a resurgence of folk from all over, and it’s hard to talk about folk music without mentioning the influence that our own country has had on the genre. The artists that we’re surrounded by every day, from past and present, are so inspirational that it’s hard not to want to emulate those storytellers and that style.
Mick: Totally. The Irish folk scene has been heathy as long as I can remember, don’t see that changing any time soon.
Are you guys involved in Unemployable Records? Is it a vehicle for Briars, or what’s the connection?
Mick: We actually started Unemployable Records a couple of years back. We work as PR for some great acts (Míde Houlihan, Beyond the Wash, In The Willows, Sara Ryan), and set up a label as a way to put out some of their material. Playing music ourselves took a back seat to that for a while, so we decided that it was time to put something of our own out. It’s easy to be lead away from your own material when you’re working with other artists who are regularly creating and releasing. We were kind of inspired by their work ethic and had always been saying that one day we would get Briars off the ground. Thankfully we’ve finally gotten around to it.
What have you learned about yourselves during the pandemic?
Paul: I’ve learned that..time spent apart from each other isn’t the worst thing in the world..;) Mick: …..he says, in between FaceTime calls. I think that I was guilty of being okay with missing stuff that I knew I would enjoy. Definitely getting a bit of perspective now.
When we finally get to the ‘new normal’, what’s the main thing you’re looking forward to?
Mick: I’m going to try get to more gigs. When you’re constantly around music and more planning, PR side of it, it’s easy to forget why you got into it in the first place. I’m looking forward to those couple of crazy weeks that you sometimes get (it might be around Christmas, or even next summer at this rate), when it feels like there’s something going on every night. When it’s on your doorstep, there are really no excuses to not get out get into it. Paul: Yeah, pretty much the same: gigs, festivals, family, friends..the important things to take from the old normal.
In times such as these, it’s great to be able to sit back and chill, to take your mind off things and Irish in London musician, Hypnotyst makes the type of music which is perfect for that.
He’s a relative newcomer to London and moved to study music in London’s new music centre, Tileyard. We caught up to chat about his music, how where he has lived has influenced his music, adding your spiritual life to music and living a sustainable life in London.
Hello Hypnotyst! Who are you? Where are you and how are you?
Hello Nessy my good friend! I am well and you? I am currently in my home studio working on some new music! How is your handsome kitty Norman?
Norman is good, thank you, spoiled rotten! Anyway, on with the questions!
You’ve been doing online shows, just because you’re an electronic artist, doesn’t mean this is going to be a DJ set. What can we expect from a ‘Live’ Hypnotyst experience?
Normally I prefer to perform live rather than a DJ set, as I do love to sing and play instruments while performing. I find it very fulfilling and inspiring to do a live performance rather than a DJ set. Although I have enjoyed doing DJ sets in the past. My live performances are usually just done by myself. I sing, play synths and trigger all kinds of drum patterns and effect sound which are present in my music. I often feel like I need a spare hand to cope with the demands of my production.
You recently won a bursary which consisted of some Yamaha gear.. how did you manage that?
I was very fortunate to be chosen by Yamaha to work in partnership with any artistic brand, in addition to promoting both my music and their brand together. This is such a fantastic opportunity as Yamaha is one of the leading brands within the music industry globally. I was very pleased to receive this great honour and recognition of all the hard work I have done within the music industry. In conversation with Yamaha, they stated “we kept coming back to your music, it had a certain appeal we are seeking from artists”, which was lovely to hear. I do make a huge amount of electronic synthesised music and Yamaha have made some ground breaking synths over the years, so I feel this collaboration is perfectly harmonious. I look forward to using this bursary equipment in my new music and productions.
I was awarded the following equipment:
HS7 Studio Monitors
HPH MT8 Studio Headphone
Reface DX Synth
Reface CS Synth
One of the great things about Tileyard is that is seems to have opened you and your music up to lots of collaboration with other artists. Are these collaborations going to be released at any point?
Yes indeed, I have always been a great fan of collaboration with artists, singers, songwriters and top liners. Moving to London and then studying in Tileyard has really opened all kinds of doors for collaboration, and working together with some extremely talented and lovely people. My music and indeed other collaborations have been warmly received here in the UK, and indeed I am planning several exciting releases in the works over the next few months. I have so many at this point, my audience will be hearing excellent music for years to come!
You’re Irish, and were living in Cardiff before moving to London. Have the places you’ve lived influenced your work?
I certainly think that these locations have influenced my sound and artistic vision. When I was living on the peaceful beaches of Garretstown in Ireland the amazing ocean scenery would inspire me to compose very summery, watery sounding music, which heavily contributed to the spacey watery sound of my debut EP “Lose Control”. Upon moving to Cardiff I noticed a similar way of life to Ireland, which lead to the next stage of my artistic development. However this location did not last long in my journey and then a move to London happened. I moved to London to really focus on my music and give it the best opportunities I could, which I am thankful has lead to being in the amazing community that is Tileyard. I have never had my music heard by so many influential people, and the feedback so far has been great. Of course there is always work to be done in the never ending quest for perfection!
Upon moving to London I really started to soak up the city atmosphere and the influential electronic sounds of all the great UK artists that I love and admire (such as Gorgon City and Disclosure). My new sound is now like a combination of Ireland, Wales and London: still channeling the watery beaches of Ireland, but with via the Welsh mythology and the futuristic electronics of London. I very much look forward to sharing my new music with the world, and of course when it is ready I shall contact you first!
Your music always seems to be upbeat and kinda meditative, how do manage to strike a balance with that?
In general, I am quite a spiritual and balanced person (as much as one can be!), and it is my artistic vision to incorporate all aspects of my spiritual life into my music. I started composing my music for HYPNOTYST with the intentions of healing anyone who listens to the music. All of my music is tuned to specific keys which heal mental, emotional and physical imbalances within the body and mind of anyone who listens to the music. I was very happy when we first spoke and you instantly understood this vision, as I could see it was working! In these crazy times it has been a bit difficult to remain constantly positive, and of course music has been a great help to get me thought these tough times. I often get messages on Instagram from fans saying that they have used my songs as a kind of meditation and it has helped them in some way. The best example is my song Let It Go. I composed this for myself and others who need to let the older aspects of themselves go and become the best most excellent version of ones self. I find this song in particular has struck a chord in the hearts of many of my fans for this reason, it is very uplifting and healing, indeed it is like a celebration of focusing on a new journey in life.
You’ve previously been a guest on The London Ear and we chatted about your ethos, of being conscious of the the world around you. Is this more than living a green life, being as sustainable as possible? Is it possible to do that, from your point of view, in a city like London?
I do find it quite challenging in the world in general to stand up and be the conscious human we should all strive to be. My hope is that through my music many fans will understand this world view and slowing think about expanding their hearts and minds, as well as having compassion for both themselves and others. I am viewed by many as a “big hippy” as I believe that connection, love and respect for all our fellow humans and species on earth is important to our evolution as a whole consciousness. London presents both a huge amount of opportunities and a huge amount of challenges, in this regard. I try to make the best possible choices to lead my to ultimate happiness, and so far my experience of London has been quite amazing. I have met a huge amount of spiritual people in vast spiritual communities which did not exist in Ireland, and of course an ocean of musical connections! My plan is to continue to grow this network and connect with as many people who would benefit from the healing I offer within my music.
From following you on social media, I know you’re pretty much always making music anyway. Has lockdown been a help or hindrance to your creative process?
Indeed I am a self proclaimed studio junkie, and if I had my choice I would be in the studio 7 days a week, working on music being inspired, and collaborating with my super talented artist friends. In Tileyard there is a running joke that my name should be painted in the door of Studio 5 has I spend most of my life in there at the moment (well certainly before lockdown began!). Unfortunately lockdown has not served me well in this regard. It has been a bit disheartening to not be able to attend studio daily and meet the people I work and collaborate with. As a musician, songwriter and producer, we need to be around others and interact with them in a studio environment. There is absolutely no substitute for being in studio in real person. Zoom writing sessions, which are the current new craze, are not as exciting, as the moment or vibe is often lost in translation over the internet. I have however been mixing and producing my own tracks during this time, so they are closer to completion and unleashing upon the world! I hope we return to normal as soon as we can I very much look forward to being in the studio all the time again!
Music is not only a creative outlet for you, it’s your work. What plans, although they may change now, are you working towards?
A yes, music is my reason for life! I always say this to everyone. Music has been the most constant aspect of my life and I have spent so many years working so hard on it, as I am sure you know, a lot of this industry survives on hard work! I have enjoyed it immensely being employed in a job that I love to do, creating art for other to enjoy and experience. My current goals are to release this enormous backlog of music in my archives and get back touring when we are allowed to. Yamaha have several stages around the UK and they said I would be a featured artist on these stages as soon as gigs are allowed to start again, and I am very excited about this opportunity. Since attending Tileyard other songwriting opportunities have entered my work arena. We constantly write songs to brief for artists, labels, advertising agencies and film makers. These areas of work have expanded my horizons in regards to sustaining a career within the music industry, which is very important to my personal growth as a human.
What has lockdown taught you about yourself?
This lockdown has been very challenging in many ways. I think the best thing I have learned is my ability to pick myself up and just keep going on! I have faced many human adversities in my life, like most of the planet, and in order to live the successful life I desire I must go out there and create it into existence. I have to focus on this and remember this whenever I have dark days during these unprecedented times. Lockdown has also taught me that having a large amount of free time does not help me finishing my music! I need to be in the studio for that creative inspiration and vibe to bring songs to completion. I do feel much better at the moment, and will continue to strive towards my new few releases.
The new normal is something that people are both embracing and scared of. What are you most looking forward to doing when we have a bit more freedom?
One of the first things will be to have a nice cup of coffee at my favourite coffee shop. You never realise how much for granted we take these things! Many of my fans will know that I am a serious devotee to the art of coffee and how it contributes to my music. And of course seeing my friends is high on the list, but most importantly I will be the most delighted to return to my natural habitat in Tileyard Studio 5! As an avid gig goer I also highly anticipate the return of being able to watch live music again. You can find me front and centre when it’s all back to normal!
Send us a lockdown selfie?
My new studio assistant has been featuring in my stories on Instagram recently. His name is Drew (the giraffe!). He says hello too!
Finally where can we find you online?
Where’s the best place to check out your music?
These days I am all over the internet, all social media platforms and all streaming platforms. I will include the top destinations below:
Over the past eighteen months, The Clockworks have been building up their reputation on the UK music scene and when gigs were still happening, were one of the hottest tickets in town. Following a move from Galway to London, the band signed to Alan McGee’s Creation23 record label. They are now due to release their new single ‘The Future Is Not What It Was’ on June 12th.
I caught up with the band for a chat.
Howya lads! Who are you and where are you?
We are The Clockworks. James McGregor, Seán Connelly, Damian Greaney & Tom Freeman. Normally we’d be in North West London. Now, thanks to Covid19, we’re home in Loughrea Co Galway.
You’re signed to Creation23, run by the legendary Alan McGee. It seems that McGee picked you guys up really early on? How much of a leg up was that?
It was huge for us. It was a big decision to move to London last year and it really paid off. McGee is ferocious, everybody knows that – he loves music and he loves us. We’re very fortunate to have such a legend in our corner.
You guys are from Loughrea in Galway and Tom from Limerick? How much has your hometowns and upbringing influenced your music?
I think our upbringing heavily influenced us. James and Tom grew up in London, so there was an element to which London was home too, and as a band we always had that romantic notion of “making it in The Big City”. And I think forming a band in Galway, which doesn’t really have any precedent of bands coming from it and working really hard to make it happen was exciting to us. We were in our own little bubble in Galway, with a small musical community of artists with differing musical styles and levels of diligence. We just wrote about what we wanted to write, and played what we wanted to play, without any clique or scene to conform to, until we were ready to move.
Your lyrics are very observational, you talk about everyday life but the rhythm in which you talk about these things is very poetic. Did the lyric writing start as poetry?
My writing started as just words or lines on a page. I didn’t call it poetry, although it wasn’t prose. I would usually approach one of my parents with a single line to see what they thought. I was obsessed with couplets and neat little punch lines. To be honest I still am. Once I got really into music then the lines became songs. And that was when I realised how good some other people were at writing poetry and lyrics.
‘Can I Speak To A Manager Please?’ was released as a B-Side to ‘Bills and Pills’. If you listen to the lyrics, you’ve every right to lose your temper as you’re singing. But, you never do and that’s a thing of beauty. You never raise your voice with the customer service rep when you sing ‘Can I Speak To A Manager Please?’ Who have you been working with on the production for the tracks?
Thank you, I think our songs are rarely about losing your temper. There is often frustration or angst involved but it’s usually trying to describe a feeling rather than having a go at someone.
We’ve worked with a number of producers over the last couple of years, it’s been great to see how different people work because everyone has their own way of doing things. That B-Side was recorded by Paul Tipler in a studio in South London.
You were living in Galway together before the move to London, what prompted the move?
We always knew we’d move some day. It felt like a necessity. We set a goal; sell out the Roisin Dubh (our local music venue) in 6 months, and get out of there. We did it and we left.
Living in London, chances are that you have actually been ‘Stranded in Stansted’ at some point. What are your tips for passing the time before flights?
We tend to cut things quite fine… we haven’t had a lot of waiting, we’ve had a lot of running. We don’t necessarily recommend that, though.
What’s the biggest thing you had to get used to when you moved to London?
The noise of the bakers who work under our apartment 24 hours a day. They really make a racket.
You’ve been played on radio across Ireland and the UK, playing bigger gigs all the time, and have been on Soccer AM also. What achievement are you most proud of so far?
Soccer AM was a childhood dream, so that was great. Seeing our songs be sung by people in a crowd. There’s a certain magic in those moments that I’m most proud of, no matter the size of the crowd.
I saw you guys at Notting Hill Arts Club a while back and the energy on stage was amazing. Is there a pressure to keep a high intensity set going?
Thank you. Not really, no. We enjoy high intensity gigs. I think it’s a product of how we are rather than a choice. Short, sharp…it’s how we like to do things.
You’ve got a new single ‘The Future Is Not What It Was’, coming out on June 12th Good timing with a name like that. What’s the inspiration behind this single?
The song was inspired by two things. Firstly, it was trying to put words and music to the feeling that everywhere you look, things are wrong, and the cynicism that follows. There’s also the idea that the present looked better in the past than it does in reality. Like when you look at the early sci fi films and stuff you see that a lot of people really thought we’d be in some technological utopia by now, but in reality technology has come a long way, but a lot of our major problems are the same.
You released ‘Bill and Pills’ as a 7inch, will this track get a vinyl release?
This song is digital release only for now.
What way do you consume music now? Do you buy CDs or Vinyl, stream?
Streaming is number 1. We have a record player at the house, and we do pick up vinyl now and then if something catches our eye. It’s nice to have something to hold.
Obviously, with festivals and gigs cancelled, you’ve had to change some of your promotional plans for this summer. Have you had to rein in some of your expectations for this year because of lockdown?
Yes, but I think that everybody has. Gigs are out, probably until 2021 at this rate.
We’re happy at home, writing, sending each other demos. Keeping the releases coming via Creation23. We’re going to hit the ground running when venues open their doors again.
What are you looking forward to doing in ‘the new normal’ world?
Getting on the road with the band, playing our music in front of real people. That’s what we miss the most, and one thing we won’t ever take for granted again.
Gráinne Hunt is an Irish singer songwriter, who’s talents have seen her tour across Europe and the US and release three full length albums in total, two solo, one in collaboration with Brendan Walsh on ‘Songs From Ireland’.
So how is one of Ireland’s hardest working musicians finding the imposed chill time? I found out from a totally more than 2 metre safe distance.
Hello, who are you and where are you right now?
Hey there! So I’m Gráinne Hunt. I’m singer and songwriter (and oft times knitter!) based in Kilcock in Kildare Currently I am at my kitchen table.
Firstly, you’re a proper working touring musician. How are you coping with lockdown?
‘Proper’ is an interesting word choice!! But yes, I am definitely a working touring musician, though now it feels like it’s all a bit unknown. I’ve had gigs cancelled from the first weekend of the country beginning to lock down, when I was supposed to travel to London with Kila for the Patrick’s Day Festival at the London Irish Centre, and since then it’s been a bit of a domino effect. I had a German tour in April cancelled, Swiss tour in May, and going forward 3 short German tours that would have been 9 gigs over June and August cancelled. Not to mention the only other work I’ve done the last couple of years – Festival Admin – out the window! I’ve looked at rescheduling some of the gigs for later this year, but am not sure if even that will happen at this stage.
I’m sort of resigned to that fact now, and am trying to use my time well. I’ve just started The Artist’s Way with a group in the US and I’m really enjoying that so far. This week I had a singing lesson with an amazing Irish singer, Gemma Sugrue. I’m doing some online collaborations too. I’m lucky enough that I’m helping my sister out with my nephews too, so I’m getting some family time in too, which is great!
You did a livestream with the hashtag #IrelandPerforms in conjunction with Culture Ireland, FMC and Facebook. With this new norm, how do you make a livestream memorable not only for the viewer, but also yourself. You don’t want to feel like your just singing to a camera.
I was so delighted to have been chosen as one of the artists for #IrelandPerforms – I think it was a great initiative. I had applied hoping to be accepted so that I could do the stream as a replacement for my German tour that had been cancelled, but didn’t get the confirmation in time for that. I ended up doing a stream about 10 days before my #IrelandPerforms one in line with my German dates. While it wasn’t ideal to have two quite close together, I think it made me way more comfortable in front of the camera, and with the idea that there was no audience and there would be no interaction at all.
I live on my own, so there was no one here to tell me who was tuned in, or what people were saying, so it was literally just me and the phone! I was definitely more comfortable for the #IrelandPerforms gig, and actually enjoyed it way more than the first gig.
As they were so close together time wise, I wanted to figure out a way to connect with the audience, so I really looked at my set and decided to tell different stories and introduce people to some of my co-writers. Set up wise, I took the whole thing quite seriously and did a sound and lighting check to make sure that the room looked well and that the lighting worked. I moved furniture about and created a little nook and I have kept the corner of the room that way as I quite like it! I definitely think that as artists we need to treat it like a proper gig, think about the staging, the setting, the lights and even how we dress. I have to say it was lovely to get my gig-face on for it!
You’re from Co. Monaghan but you live in Co. Kildare, what’s the best thing about both places?
I think the best thing about Monaghan, specifically my hometown Carrickmacross, is family and friends – you can be away for a while, but always come back to open arms and catch-ups like you’ve never been away!
As for Kildare, I’ve been living here for about a year and a half. I lived in Dublin for long periods of time over the last 17/18 years, and I loved it, but I thought getting away from the city but still being close would allow me to be more productive. While I’m still working on that, I love being here. I’ve got some really great friends living nearby, I have lovely neighbours and live in a quiet cul de sac and the village is small but friendly. We’re on the banks of the Royal Canal and I get out along that as much as I can.
Has Germany become a home from home for you? It seems to treat you well.
Germany has been really good to me over the last couple of years! I did about 20 shows there last year, and I’ve discovered that everytime I go, I meet more people, and make more connections for more gigs. It’s constantly expanding, slowly but surely, and it’s made me realise that to get further there, I need to spend more time there, which I’m happy to do. What’s also happened is that I’ve made real friends in the people I’ve met there which is something really special. I haven’t managed to pick up much German though, thanks to their impeccable English!
‘This Secret’ your latest album, was released in late 2019. It was recorded in Nashville. What was your Nashville experience like?
Nashville was nothing short of amazing! I had an incredible experience. I met the producer Thom Jutz at the seminars at Belfast Nashville in early 2018. He was so laid back and cool, and talked about how easy it was to record in Nashville – how quick it was, how great the musicians were and how he worked and he totally sold it to me. I messaged him afterwards and told him I’d be interested maybe in coming over, but had no idea when, but would keep in touch with him. He was keen and liked what I’d sent him so that was a good start! A few weeks later, and months before I had even decided to actually go to Nashville, I randomly met a couple, Sharon and Chris, at the Rubysessions (the night Theo Katzman played!) and they were from Nashville. We were chatting and I said that I might go to Nashville to record, and they immediately invited me to stay with them.
Fast forward to August, things had changed financially, I had to move out of the apartment I was renting in Dublin and had moved in with my sister and her family. I was trying to figure out what to do – if I should set up as self-employed or get a ‘real’ job. I opted for the former when a couple of music things came along, and looked at my calendar for the rest of the year and realised I had a window when I could travel to the US (about 6 weeks later) and I got in touch with Thom. We discussed budget and instrumentation, then dates and made a plan. I would be in Nashville for about 7 days, and we’d scheduled 5 of those for studio, knowing we had some additional time if we needed it. I booked flights! I also made a trip of it, heading to LA for a week before and Portland for a week after. Travelling to the US is always an interesting one, as I have been stopped and questioned before, so I get serious anxiety in the days leading up to departure and full on do no believe that I will actually make it at all. Thankfully the Immigration Official was lovely and sent me on my way with ‘Maybe next time you’ll be famous!’ as I told him I was going to record.
After a week in LA, I was Nashville bound. I flew in, picked up my rental and headed for Sharon and Chris’ house. In true serendipitous circumstances, they live only 30 mins from the studio on the East side of Nashville. I couldn’t have been better located! Sharon and Chris played a huge part in my Nashville experience – they were so welcoming and I spent any time that I was not in studio with them. I didn’t have a typical Nashville experience, but I had a really special one staying with them. Anyway!
On day one, I headed over to Thom’s studio and we spent a couple of hours charting out the songs for the musicians arrival the next day. Day 2 was drums and double bass, Thom on guitar and me, all playing live together for the morning, from 10-1 for 7 tracks. I had said that I would like to lay my guitar and vocals separately, so that I could focus on each fully so with the band all laid down we spent the afternoon laying down my guitar parts, and Thom adding some additional guitars and keys here and there. Day 3 we did 4 live songs, just Thom and I, two guitars and my vocals, and we spent the rest of the morning on the remaining vocals and harmonies. Thankfully I had a good vocal day! We spent the afternoon mixing 7 or 8 of the tracks, and finished them off the next morning. It was a whirlwind, but an easy comfortable one! I really think of the record as a snapshot of that time there!
Not only are you a solo artist, you’ve recently collaborated with Brendan Walsh to release ‘Songs from Ireland’. How did the project come about and how did you choose which Irish classics would be included?
So Brendan and I met at NUI Maynooth in 2000 when we both started our BA (Mus) there. We struck up a friendship that mostly involved me calling by his house daily on the way into class to wake him and bring him with me to class. We never actually played any music together while we were there. Over the years we fell out of touch, but about 5 years ago, with the wonder of the internet we came back into communication. Brendan had been living in Switzerland for years, playing music with his band The Led Farmers, but it was like we’d never been out of contact once we started chatting. Knowing I was playing more music than I had been since university, he asked me would I be interested in singing some songs with him for a festival his father organised in Co. Clare, the Shannonside Winter Music Festival.
Over whatsapp and email we picked a repertoire and Brendan arranged songs for the opening concert of the festival. We played a mix of some folk songs and a couple of my songs. On the night, we nailed it. It went down a treat, and Brendan decided that maybe it would be a good idea for us to record some of the songs and release a record together.
In choosing songs, we both brought different songs to the table, and some made the cut and some didn’t! It was easy to be fair – there are so many songs that could have been included, that we’ll look at including the next time. We did think initially that we would pick songs that were in the public domain and stay clear of any licencing issues, but then some of the songs we really wanted to include needed licencing, so I just dealt with it and sorted it out! In May 2018 I travelled over to Luzern for a week to record and make some promo videos for the record. It was another quick process. We were in the gorgeous Soundville Studio and recorded live over 2 days. We had a special set up in studio with perspex walls between Brendan and I so we could see each other, but as much as possible not have the sound bleed into each others’ mics.
Once the record was finished we decided to launch a FundIt campaign as a means to pre-sell the album. It was a massive success, reaching our target quickly and going beyond. Songs from Ireland was released in April 2019 with thanks to many funders!
Is this a project that you will both take into the future?
Absolutely! This week we released a video that we worked on over the internet and we used it to launch our Facebook page. We’re going to do a song a month like this for the foreseeable future, and we’ll be looking at making another album in 2021. We have some ideas for expanding the project too, so we’ll see what happens!
You released your first long player, Firing Pin, in 2015. Releasing a debut is a big thing. What were the most important things you learned from the process?
The record came about because I’d met a guy called James Cramer, from the band Tupelo. He’d reached out to me on Twitter about me doing a guest vocal with his band (which we never actually did!) and we ended up chatting about writing together. A few weeks later and we’re hanging out and writing. He’s a really motivated forward moving guy, always thinking and he really just encouraged me to get it recorded. It hadn’t really occurred to me that I could just do that, and he really just made it sound so simple. So I would definitely say to anyone who is thinking about getting into studio to do it. What are you waiting for? If you’ve got the songs, get in and get them down so you can start working on the next ones!
Also I’ve learned not to be precious about things – don’t spend days listening to mixes and focusing on small things that might not be perfect. There’s beauty in imperfection, and the recording captures a moment in time, so allow that moment to be represented!
What albums from other artists would you suggest we check out to see how you got to here on your musical journey?
I tend to accumulate ideas, loads of little small melodic and chord ideas and record them in my phone, while adding bits of lyrics here and there if I’m feeling something at the time. Sometimes they can be complete songs from a structural point of view, with all the melody parts and chords, but little or no lyrics. They tend to hang out on the phone for a while before I come back to them really, as I feel I have more musical ideas than lyrical ones. I’m currently doing the Artist’s Way which encourages morning pages (a three page brain dump before you start your day) and I’ve found this in one thing that gets me writing – the more I write, the more I write – if that makes sense.
If I can, I’ll take myself away somewhere to write – I’ve taken some gorgeous Airbnbs in remote places without distraction to just focus on finishing some of the things I’ve started and feel that helps. I’m always trying to figure out a way to do that at home – but there are more distractions here. I also do co-writes which is a whole other story really, as you’re inviting someone else and their process into the equation – so it ends up being a balance of how I do it and how they do it, with some give and take (and hopefully not a tug-of-war!)
You’ve been on tour with a number of artists, what’s the most amazing place you’ve played so far?
I have to say, the first time on the Olympia stage still gives me the feels. I was asked by MCD last year to open for Ms Gladys Knight (for two nights!) and I honestly spent two days on the verge of tears ahead of it. It was amazing! I’ve also opened for Eagle Eye Cherry (him and his band were beyond sound!), The Bay City Rollers (great craic) and Kane Brown (didn’t meet him, but great show!!). I’ve also been lucky enough to share the stage with our own Glen Hansard on a few glorious occasions at home and abroad – impromptu shout outs, stage crashing as I’ve come to call it and serious harmony fests!
You’ve launched a Patreon page to help support your artform. What will supporters get from this?
So I launched my Patreon a while back, and haven’t really been pushing it very hard! It’s one of those things that I struggle with!! But, anyone who signs up for my Patreon will get access to Patreon only content. All videos that I’ve uploaded have been created specifically for my Patreon subscribers, so it’s completely exclusive content! I’ve been doing my own songs and throwing in a cover or two here and there. My plan is to provide better video content and expand on how I make the videos – recording the audio and video separately and editing it all together.
If people can purchase an album, where is the best place for them to buy it, so it will benefit you?
My solo records are available on Bandcamp – https://grainnehunt.bandcamp.com/
But due to licencing, Songs from Ireland is not available online to download. We only have the licence for physicals and streaming, so if anyone would like a Songs from Ireland record, drop us an email at grainnebrendan@gmail.com and we can work it out.
The world landscape has changed, what are you looking forward to doing once we reach the future normal?
From a musical perspective I’m looking forward to being able to play gigs, of course, and being in rooms with people where we chat and move about without restrictions.
Personally, I’m looking forward to seeing friends and getting some hugs – heading out for some brunch and coffee and catching up with people in real life and not on a screen!
