As an admirer of Hayes' new album, I’d been hoping for a more mellow and subdued performance, but she was playing with a full band. And it didn’t really work.
“Gosh... you’re all being very quiet,” Gemma Hayes nervously complained more than once during her Roisin Dubh set. In fact, the Tipperary singer said it almost as often as she changed guitars.
Actually, the Galway crowd seemed to be reacting in inverse proportion to Hayes’ set. The louder she got, and the harder she tried, the more muted and subdued her audience became. There was plenty of respectful applause, but nobody was tearing down the walls.
As an admirer of her new album The Hollow Of Morning, I’d been hoping for a more mellow and subdued performance, but she was playing with a full band and, at least half the time, their intention seemed to be to out-Pixie the Pixies. It didn’t really work.
Of course, it didn’t help that the crowd were unfamiliar with much of the new material. Having opened with reliable crowd-pleasers ‘Happy Sad’ and ‘Hanging Around’, her new single ‘Out Of Our Hands’ followed. Unfortunately, it’s probably the weakest song on the album.
Once she’d settled down a little, things improved. She makes a decent fist of ‘In Over My Head’ and ‘What A Day’. ‘This Is What You Do’ was quite gorgeous. I just wished she’d have done it that way more often.
As things progressed, though, she looked like she was trying to rock out with the lads. Indeed, they were obviously having a better time than the audience.
At several points, it came across like a musical masturbation session. Sounded fine, but you could have been listening to anything by the climax. All the subtleties, melodies and magic were drowned in noise.
Afterwards, I went home and listened to the album again. A far more enjoyable listening experience than the gig. But so it goes...
Her song 'To Be Your Honey' could be heard on Reign last week.Read More
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'Chasing', the first taster from it, is streaming now.Read More
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The popular singer/songwriter paid a visit to the Hot Press Storeroom to give the lowdown on her next record and more...Read More
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Despite a series of major label knockbacks, Gemma Hayes has not only survived but established herself as one of the country’s most individual talents. She talks to Olaf Tyaransen about her new album, Let It Break, falling in love, courting Hollywood – and dancing a jig for Ronald Reagan.Read More
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Like much of Haye’s second album, The Roads Don’t Love You, ‘Undercover’ is bland and distinctly average. The sense of intimacy, and indeed the delicate nature of Haye’s songwriting, which made Night On My Side so special is lost amid the bigger production. Often ‘Undercover’ sounds dead and lifeless; Hayes’ vocals, less subtle than before, lack honesty, with the previous sexiness to her phrasing now sounding forced. Dull.Read More
“Holy Shit!” Not the words you might expect to hear from the usually quietly-spoken Ballyporeen beauty. But that was precisely her reaction to the rapturous reception she received from a packed to the gills Vicar St. for what, I’m reliably told, was her biggest solo headliner to date.Read More
Irish singer/songwriter Gemma Hayes is to play a one-off date in Dublin next year.Read More
In a slightly unfathomable move, the lead single from Hayes’s second album makes its appearance a couple of weeks after that record’s release, by which point it will have become clear that the singer has managed to sidestep that difficult second album problem with aplomb. All of which leaves ‘Happy Sad’ a bit redundant and most probably with little chance of troubling the upper reaches of the charts. Record company tactics aside, though, this is a lovely, warm and fuzzy song that moves the Hayes sound forward, if not in giant leaps.Read More
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Jesus died for somebody's sins but not Gemma Hayes'. By Peter Murphy.Read More
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Hayes has a wonderful sense of melody - virtually every line she sings is memorable and unusualRead More
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you couldn’t ask for a more soothing accompaniment to late summer eveningsRead More
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