Hilary Woods is a lady who trusts her instincts. So far, it has seen her right. As a teen, it thrust the Dubliner into the spotlight when she agreed to become the bassist for turn-of-the-century contenders JJ72 with little in the way of technical experience. She went on to bolster their promising, Joy Division-indebted sound and make indie boys swoon.

“We had a lot of laughs on the road,” she says today. “It was very eventful and I learnt loads. It introduced me to the whole idea of being in a band. I sort of... ‘ended up’ in a band at 17. I’m sure I never schemed it that way! There was no master plan. The success surprised me as much as everyone else.”
JJ72’s is one of those unfulfilled rock ‘n’ roll stories. After a skyrocket start, Woods left the band in 2003 when their second album, I To Sky, failed to build on their eponymous debut’s momentum. It says much about her nature that she returns to that period when asked about her stand-out moment from the time.
“I think the finest memory was recording with Flood on the second album,” she says without missing a beat. “That was a real eye-opener. It was then that I decided I wanted to do my own thing.”
A free spirit going on instinct, Woods ducked the spotlight, became a mother, and delved into the arts. Focusing chiefly on her painting, she undertook fine arts courses abroad and ultimately earned a Masters in Philosophy And Film at Trinity.
“When I stepped away from the band first, it was the only thing I’d known from school. So I was really relieved to get back to painting
and other things.”
Still, the music was always on
her mind.
“I always had the impulse to write, but it took off when I found my feet on my own. When I started to focus on painting, I started to focus on writing simultaneously and they sort of ‘spoke’ to each other. Delving into two disciplines really helps because they bounce off each other and they have conversations. It keeps everything light and playful and fluid.”
Her debut solo album, The River Cry, slipped out in early ‘13 but still caused a stir with its Celtic-tinged dream-pop. She namechecks John Grant and Linda Perhacs and belongs in the company of Chelsea Wolfe and Mazzy Star. Woods says the positive reaction was a shock.
“I didn’t even think about how it was going to be received, it was just something I had to get out of my system. Dipping my toe in the water, so to speak.”
The reaction has spurred her
on. Forthcoming EP, Night, is more ambitious in terms of recording
and release.
“I worked with a mixing engineer, Jack Glacken, and he was great. We did a lot of guitar and drums together and built on that. The recording process this time was far more complex, there were more people involved. The live band set-up was intrinsic to that. Last year’s project was quite quiet. I put it out quietly and I didn’t do a lot of dates. This EP has a different feel to it, so I’m looking forward to gigging it.”
Night’s arrival will be heralded by three Smock Alley shows this month, followed by further autumn dates.
“They’ll be my first big solo shows in Dublin. There’s also going to be some of my own film work in the piece. I feel very much at home in The Fringe. It's definitely a good fit.”
The audiences these days, she says, don’t bear much resemblance to the JJ72 crowds of yore.
“It’s a different crowd, a very different crowd. I still see my mam there, of course! JJ72 had a very strong teenage following and it’s a different ballgame now. I’m enjoying the journey. Making a little film. Recording the EP in many different places, like nomads. It’s very different doing it on a small budget. In saying that, you can do it your own way.”

Hilary Woods plays Smock Alley Theatre, Dublin from September 18 – 20. Night is out on September 18.