St. James’s Gate is the centre of the action, pubs lining Dame Street and in Temple Bar are full to capacity. In the Olympia and Vicar St. there are some fine acts playing. You’d be forgiven for thinking that Arthur’s Day was only celebrated on the South Bank of the Liffey, but you’d be way off the mark. Those gathered on Middle Abbey Street will tell you a different story – for many, tonight, The Academy is the place to be.
We have our now customary toast at 17.59 and we’re immediately greeted by Ireland’s own Ryan Sheridan. The Monaghan man has been steadily raising his profile this year and his accomplished set eases us into proceedings. By the time our next act arrives, the place is heaving. Unexpectedly, one of the night’s marquee names is second on the bill. Intro’d by Ruth Scott as the sharpest dressed men playing Arthur’s Day (they are sartorially excellent to be fair), Miles Kane and his band take to the stage. They’re met with rapturous applause and immediately raise the tempo of the evening, Miles proving, if any proof was needed, that he’s more than a mere wingman for Alex Turner.
After that burst of exhilaration, it’s time for Joshua Radin. The singer-songwriter (and perennial TV show soundtracker) from Cleveland brings a nice campfire feel along with him. His acoustic tunes make everybody feel a little warm and fuzzy and are instantly recognisable, even if you don’t know the face. Plenty of “Oh, I know this one!” exclamations are overheard in the crowd, particularly for his premier anthem ‘Brand New Day’. Radin, by the way, is a dead ringer for comedic actor Stephen Mangan. Just thought we’d put it out there. The ‘late-night session’ feel does hamper him slightly, as people are content for him to slip into the background. He comments on it himself, dedicating ‘Winter’ to “the seven people who are listening” but the sincere, wholehearted applause he gets at set’s end confirms he’s very much appreciated.
What better way to get eyes stage-wards then Ireland’s own answer to Scissor Sisters? Bitches With Wolves arrive in suitably camp fashion. Jake Shears may be gigging elsewhere in town, but who needs him when we have James O’Neill. High '80s, insidiously catchy and contagiously enthusiastic, everyone’s very much onboard by the time they skip off stage.
Adding a little guitar weight are Big Talk – side-project of The Killers‘ drummer Ronnie Vanucci. There’s a million jokes to be told about drummers fronting bands but, to Vanucci’s credit, he veers more towards the Dave Grohl side of things. He’s no Brandon, but he has presence and his cohorts do a quaint turn as an olden times Californian rock band. Continuing this evening’s trend of frontmen-as-semi-famous-actors, Vanucci and My Name Is Earl actor Jason Lee must have been separated at birth. Just saying. His band provide no small amount of classic crunch and FM radio rock –watch out for them on Radio Nova’s playlist in 20 years. They do put their foot in it once (more on that in a second), but their no-nonsense brand of guitar music is perfect for this occasion.
And then to tonight’s headline act, the batty, loveable and extremely talented Paloma Faith. She comes out in a top hat and sparkly purple top, looking like the Artful Dodger’s long lost twin sister and she has that cockney gift of the gab to boot. She is immediately apologetic for Big Talk’s “British” faux pas when addressing the audience and assures us she’s given them a telling off – “they’re only Americans, they don’t know” she smirks. To the music then, which is based in the blues but takes many wild, enjoyable detours along the way. The better moments bring to mind Amy Winehouse’s Back To Black with a playful twist and the irresistible ‘Upside Down’ is an obvious highlight. She’s been hobnobbing with the likes of Prince lately and The Purple One’s influence is evident in her onstage set-up – exotically dressed backing singers? Check. She rounds things off with an uncharacteristically tender version of Nick Cave’s ‘Into My Arms’, with the intention of bringing our heart rates down to a normal level. It’s a ruminative, reflective moment and the perfect epitaph to an enjoyable Arthur’s evening on the northside.