Tayne on the influence of his dad on debut album LOVE; plus Irish tracks of the week
CMAT, Daithi, Adebisi Shank and more feature - plus links and reads to click through
Tayne are a three piece rock band based in London who released their debut album LOVE on January 31. They’re led by Matt Sutton, who I talked to for the TPOE podcast (TPOE 335) around the record coming out. I loved our chat, which touched on Irish identity when you’re based abroad (obviously a lot of stout talk (splitting the G!)), his art and his tattooing career. You can listen to the full 50-minute chat here or just search for TPOE 335 wherever you get your podcasts. I’ve pulled out a little bit from the interview about the influence of Matt’s dad on both him and the record as a whole. I thought it was fascinating. You can read that excerpt below.
It sounds like your dad is a big influence on the album. I don't know if you want to talk about that?
Absolutely. The album's called LOVE, and in essence, it's called Conflict. It's about conflict in love, really. That concept started from my side and just grieving love, grieving being in relationships, and feeling a little bit broken and like I don't fit in. And I think when we were recording, or when we were about to record it, I was talking, just shooting the shit with my dad on on the phone and telling him all about it, this idea of conflict in love. And I think a lot of that really resonated with him. So my dad's story, he was married to a woman, had four kids in a heterosexual relationship but ultimately was a gay man, and was living a lie, so to speak. My mom and dad separated when I was quite young. I had this big lightbulb, like, 'holy shit, my whole existence is from a conflict in love!' That was really eye opening. I think I said that to him. We were both just like, whoa; you could feel the air in the room, it was cool. And I was just like, well, maybe we can do something with that, maybe there's something there. The song 'Down' is probably the main one on the album that's tapping into to him. There's a lot of lying to yourself and lying to another person to make them happy. I think a lot of that is probably channelling my dad. I said, 'Well you want to work with me and do something for the album?' And he was all for it. The visual side was really the focus point for like, this is all about my dad, and telling my dad's story. That's what the music videos do.
There's three parts that are basically telling a little bit abstract story of my dad. The first one is 'Down'. It's about sexuality; we themed them so the first one is the conflict, right, and so that being my dad's sexuality. And then, it goes to the second video, which is 'In This Trend', and that one is really the transformation. And it's a very literal video. It's a man transitioning into a drag queen. That was just a very literal, very cool, obvious thing to do. But also my dad, his livelihood, he's a drag queen, he does that for a living. So it tapped into that. And then the third video is the acceptance and the celebration and that one is basically just a bunch of people having a dance and embracing themselves and being free and all of that. That was the vibe that we went with for the music videos to hone in on my dad's side and get that as part of the album.
Did it take a long time personally for you to come to terms with that and come to a good place with your dad again?
No, I don't think so. I think I was really young when they split up. It was mid 90s, so I would have been four or five. I never really understood it, but also was too young to really question it, it was just a factor in my life. But I think I was maybe 11 when we had the conversation of my dad being like, 'You know I'm gay?', I was like, Oh, OK. And I think for me, at that time, I could contextualise it and I was just like, OK, cool, alright, that adds up, that ticks that box of why you separated. I guess it was probably a little bit of a conflict in my life with him up until then. But I was so young that I just didn't really understand it. But when I could understand it, I think I was so cool with it. And being an 11 year old that was already listening to weird music and had long hair and living in the arse end of nowhere in Kerry, where everyone plays football or and if you don't, you're a weirdo - I was the weirdo, you know - and so to have a gay dad at the age of 11, in a weird way, I was like, This is so cool, my dad's gay, I have a reason to be a weirdo. Every teenager wants to be different and wants to have their own cool thing in an individual. With having a gay dad, I was like, Man, I'm so different. And I loved it because my dad brought me into that world, into his world. At the time, he was producing a lot of the AMIs, the Alternative Miss Ireland, which was a drag competition in Dublin yearly. We would go to these and just hang out with loads of drag acts. It was mad; my teenage years, when I'd go to Dublin to hang out with my dad from Kerry, which is, again, arse end of nowhere, if you don't play football, if you're not into football, no one cares - going from there to Dublin to hang out with drag queens was just so cool. And definitely massively impressionable on me, and just becoming, accepting and tolerant and understanding everything's not just black and white and there's so many different people and different kind of scenes and cultures in the world that is super, super exciting and cool to be part of. So I loved it.
It must have taken ages to figure out what exactly is going on with all the drag queens, because obviously, it's in the last 10 years or something that it's become super mainstream, people know what it's about. But I'm guessing the first couple of times that you must have seen it, you had no idea what was going on?
Yeah, yeah. And even the first time seeing my dad in drag, I was like, Whoa!
What age would you have been, 15, 16?
Maybe, yeah. I think the first time I seen my dad as drag, that was a weird one, but I had already been around it long enough. I thought it was always funny when - like, my dad is really good friends with Rory - Panti Bliss - and Shirley Temple Bar and Veda and all of these amazing artists. And it would be so funny. I always thought,, when you'd meet them at that and it was like, 'This is Panti', and then a few hours later you'd be going for dinner with Rory; because when they're in drag, you better not call them Rory. Navigating that, as a teenager, was the confusing part, but I got what they were doing. I think it was just the early days of pronouns.
New Irish music (March 14-28)
New Jackson - ‘Metamorphosis’/ ‘Last Dabs’
New Jackson on Instagram: “metamorphosis featuring jape backed with last dabs out everywhere today. the first time me and rich collaborated on a track many moons ago it was on one of his most iconic songs 'floating'. it took 2 days in my modest home studio and it went on to be a smash hit, got covered by the raconteurs opening up for bob dylan night after night and led to a frenzy of london AnR folk around one of crumlin's finest. this track took 10 years start to finish and will most likely languish in relative obscurity but hey we're still here and for the most part haven't had to get another job. there's definitely an alternative reality where we're winning grammys as some kind of irish thomas bangalter and guy-manuel but this one will have to do. thanks to rich for all years of friendship, support and inspiration. a proper legend of irish music who continues to push things forward and find ways to stay close to the things he loves. big love.” New Jackson plays the Button Factory TONIGHT, March 28 - tickets.
Adebisi Shank - ‘Start a Band’
One of the bands key to the growth of a whole scene in Dublin 15-plus years ago (lets say 2008-14?), Adebisi Shank are back with their first new music since their second album in 2011. ‘Start a Band’ picks up where the three-piece (Lar Kaye, Vincent McCreith and Michael Roe) left off. It’s a thrill ride. Their new EP, This is the Second EP of a band called Adebisi Shank, is set for release in summer 2025. They play the Button Factory on August 22 and 23.
Side 4 Collective - ‘Me & Vincent’ ft Colm Quearney and Keith Margo
Side 4 Collective are led by drummer Dave Hingerty. The ethos is to bring together Irish and international artists, sculpting songs from scratch using Hingerty's pre-written melodic and primal drum patterns. Colm Quearney and Keith Margo helped create ‘Me & Vincent’, which they call a love letter to the urban and suburban communities of Dublin. Quearney says: “When Dave explained his concept for making this album, I honestly never heard of a better idea. Dave is someone who has brought his creative support and patience to so many songwriters compositions. The whole Side 4 Collective project has given his many song writing peers the chance to reciprocate their talents to his creations. The innovative thing about the project is that it turns the song writing process on its head. Dave invited songwriters to compose a song from an opposing perspective. He started out the project by sharing original drum parts with various songwriters and performance artists. Then, they got to enter the process of writing from a rhythmic perspective. The results have yielded an incredible cornucopia of songs, music and spoken word; with the common thread being Dave's gift for finding an infectious pulse."
Daithi - ‘Ferry2Aran’
Clare producer and one part of HousePlants, Daithi follows up recent single ‘Valentine’ with another on-the-nose title in ‘Ferry2Aran’. He says it’s a “a love letter to cherished holiday escapes, inspired by three distinct journeys I’ve taken in recent years: A pirate-ship cruise across Japan’s Lake Ashi in Hakone’s mist-shrouded mountains, an unexpected inflatable bouncy castle floating on a lake near Les Bariousses in Treigniac, France, and the blustery sea foam of the ferry crossing from Doolin to Inis Mór—just a short hop from my current home.” It’s off his fourth solo album, due in September.
Daniel Luke - ‘My Father’s Son’
Dublin pianist Daniel Luke releases his first new track since debut album Shadow Dance in 2023 - and his first beyond solo piano as cellist Lizzi Murtough also features. Luke says it’s an intimate reflection on his relationship with his late father. "Rather than dwelling on tragedy, this piece reflects on everything I’ve done since my father’s passing—how he might feel about my life, my family, and the person I’ve become." Daniel Luke has organised a fundraiser gig for direct provision residents to mark International Piano Day this Saturday, March 29, at O’Regan’s in Dublin. Other acts to feature include Brian Crosby, Lōwli and Johnny Taylor.
Zoé Basha - ‘Gamble’
The fifth single to be taken from the French-American, Dublin-based artist Zoé Basha’s debut album, ‘Gamble’ is also the title track. I chatted with her this week for a future episode of the TPOE podcast. Here’s what she said about this track in particular: “The song is about how, when you meet people that you might be interested in, people are a gamble, when you invest in a relationship, that’s a gamble. The song itself is about how we are carrying the baggage of whatever fucked us up from our lives and the past, and so are other people. And so you’re really just trying to find somebody who has baggage that can somewhat work with your baggage, so that’s a gamble. But calling the album Gamble, I love the word. It’s everything, life is a gamble, love is a gamble, our careers are a gamble, music is a fucking gamble; this album was pouring my savings into something and then ‘what the hell is going to happen with this!?’ It’s all a gamble!” (Listen to Zoé Basha’s last single ‘Worried’ and see her tour dates here). Zoé Basha on Bandcamp
Ways of Seeing - Idolise
Cork/Kerry four piece Ways of Seeing released their debut album End Comes to Light in 2022 - ‘Idolise’ is the first new music since then. Produced by Christian Best, mixed by Daniel Fox and mastered by Jamie Hyland (three of my faves!), they say: “This song explores the dangers of idolisation in a relationship or any other realm of society for that matter. It has the potential to lead to a loss of identity and an imbalance of power. Putting anyone on a pedestal means there is a good chance that you might miss the red flags attached, leading to a slow unravelling into chaos and destruction. Sometimes only seeing the good in something or someone can tear you apart more than acknowledging and tackling the messy parts of life.” It’s off their second album The Inheritance of Fear, due out later in the year.
CMAT - ‘Running/Planning’
CMAT has announced plans to release Euro-Country, her third album in four years, at the end of August (she wrote about the intent of releasing an album in 2025 on her Sinceremat Substack). It’s going to cap a busy summer of festival dates, including a headline-adjacent slot at All Together Now, and comes before a UK/European tour that culminates in a 3Arena show on December 5. Who would’ve predicted that when her first tunes started dripping out during lockdown 2020? She says of the first single, released this week: “Running/Planning’ is about having to chase your own tail to be good enough to exist. It’s an abstracted view of societal pressure on women - specifically through a relationship lens: You start dating someone, you get engaged, you get married, you have kids etc etc etc… everything has to follow this linear pattern. (That’s the reason for the repetitive chorus!). And the minute you don’t follow that path, your mam starts giving out to you. That narrow path that everyone is supposed to be on… the minute you get outside of that, it gets incredibly stressful. And I don’t know anyone who is like, ‘Yeah, love this!’"
Laura Duff - ‘21’
We featured the first single off Limerick act Laura Duff’s debut album Sea Legs here and ‘21’ is the second song to be taken from it. She says: “21 is one of those songs that seemed to just arrive. It feels like a communication with loss, exploring the passage of time and the distance that that creates when we lose a loved one. It looks at the tricks our brains can play on us in navigating grief, but also what grounds and centres us.”
Red Stamp - ‘Dancing With My Baby’
A new project from Aoife Nessa Frances, she collaborates with Núria Graham, and Brendan Doherty as Red Stamp - ‘Dancing With My Baby’ is their debut single. They first met in Austin, Texas, in 2023, “united by a shared sensibility for rhythm, texture, and melody”. They say it was serendipity when they reunited in Rotterdam later in the year, mutual admirers Aoife and Núria beginning to write together, underpinned by Brendan’s percussion which they say lays the groundwork for their sound. ‘Dancing With My Baby’ was recorded in upstate New York with Sam Evian. Red Stamp play the Workman’s Cellar on June 10 and Pot Duggan’s in Ennistymon, Co Clare, on June 12.
Roe - ‘The Moment’s Gone’
A lovely standalone track from Derry artist Roe ahead of a headliner at the Workman’s Cellar on May 22 (tickets). Roe released her debut album That’s When The Panic Sets In backs in 2022 (TPOE 236) before taking a break for a year or so. She says of ‘The Moment’s Gone’: “This song is about falling into a routine and trying to claw your way back out. There were a few months at the start of last year where no matter how hard I tried I couldn’t get out of the daze I was in. I didn’t want much of anything and every day bled into the next. I watched a lot of movies during that time and Groundhog Day eventually made the cut. A weird and oddly specific connection was formed and shortly after ‘The Moment’s Gone’ was written.”
Ultan O’Brien - Dancing the Line
Chances are you’ve seen Ultan O’Brien playing something with someone over the years. I was captivated by his playing with the amazing Slow Moving Clouds at a show in Dublin’s Pepper Canister Church a few years ago. Fourteen tracks long, Dancing the Line is his first solo album of music played on an alternatively-tune alto fiddle. He says: “I found that the resonance and growl of this lower tuned instrument sat me perfectly into the sound-world I wanted to be in, giving vibrancy to my own compositions and nestling into the traditional music I grew up with.” It’s released on the brilliant Leitrim-based label Nyahh Records, who released two other albums in March: Roger Doyle - We Who Live Under Heaven, eight immersive ambient tracks played solo by Dotle on keyboards in his home studio in Co Wicklow,; and A Collection of Slow Airs by Some Very Fine Fiddlers.
Matthew Xavier Corrigan - Beast of Changing
FKA Ghostking is Dead (TPOE 159), Matthew Xavier Corrigan released his debut solo album on March 21. It’s an all-acoustic affair, Corrigan sometimes sounding like Jeff Buckley as he gets deep into his feelings. Per the press release, it was written in reflection of a tempestuous season of change across Irish coastlines, centred on Ballinskelligs, Co Kerry, Myrtleville, Co Cork, and Clare Island in Co Mayo. Beast of Changing follows a story of growth, of love lost and found, of crossing the threshold into dark, cold, saline water - of surrender. Themes of environmentalism and how we shape the coasts, of erosion and rising water, are woven throughout. Corrigan says: “"I spent years writing this record, I wanted to have one short explosive experience rendering it - I love his music, but it was Mike (Halls) as a person that made me trust him with this - we recorded the whole record over the course of five days."
Links and clicks
Premature Evaluation: Lucy Dacus - Forever Is A Feeling: “As for the Hozier collaboration “Bullseye,” the most interesting part about it is that it’s a Hozier collaboration.”
Jude Rogers interviews Clemency Burton-Hill: “I can say now, given how much it’s helped my recovery, that music can save a life, too. I really believe that the arts, generally, but particularly music, tap into something very innate in us. I also love that you can’t put any old music in a glass case. It’s always an evolving thing because every time a new pair of human ears hears it, it goes on. Music is almost like a joy transmitter – a sort of miraculous thing that we all have access to.”
Nice to see TPOE on this list of best Irish podcasts, by Lauren Murphy
Dirty Projectors Creates a Symphony for a Burning World - Anna Wiener in the New Yorker
Premature Evaluation: Deafheaven - Lonely People With Power: “There’s no real milieu in which to contextualize Deafheaven other than that of Deafheaven itself. They’re not part of any scene or movement. Where could they possibly be slotted?”
Good interview with Joe Armon-Jones (new solo album out today) on the Bass, Mids, Tops, and the Rest Substack
The Best Indie Rock Albums Of The 21st Century, Ranked: I very much enjoyed Steven Hyden wrestling with what exactly ‘indie rock’ is. I do that regularly myself too. He’s wrong about all these acts he lists though: “Arcade Fire’s Funeral is not on this list. Sufjan Stevens’ Illinois is not on this list. Nothing by St. Vincent is on this list. Neither are Death Cab For Cutie, The 1975, or Broken Social Scene. How could I do such a thing? Well, there’s two reasons. No. 1: My interest in this music ranges from “it’s okay” to “I actively don’t care.” I recognize their importance in the grand scheme of things, but 100 albums is not as many albums as you might think — this particular grand scheme can only include so much music, and I had to cut it off somewhere.”
Good interview with Aly Gillani, Bandcamp’s European artist and label representative: “For artists to carry on making the art you love, you have to pay them.”
Fundraiser gig for Stay Human Collective Gaza feat Irish artists Sack, Mundy, Brian Brannigan (A Lazarus Soul), Alice Jago, Novatone, Steven Murphy and MC Kevin Gildea.
More Irish music? Nialler 9’s tracks of the week include new Soda Blonde, Ispiní na hÉireann, and an introduction to Cork psych rock band the Guilteens
Eoin ‘Talos’ French’s family are supporting the Irish Cancer Society’s Daffodil Day today. His brother Brían remembered him: “I really admired his curiosity and his craft towards his work. It was just always incredibly inspiring that he’d always be learning a new instrument or a new software programme, always pushing and picking to almost turn his imagination into reality. So that was incredibly inspiring.”