New Irish Songs To Hear This Week

Shobsy, ‘Smalltown Boy’

Off of his new debut EP Own The Night, Shobsy has released ‘Smalltown Boy’.

‘Smalltown Boy’ is the final track of a wonderfully crafted project, and for a reason. It’s a version of the Bronski Beats song, a long-beloved anthem for the LGBTQ+ community.

“As a gay person, it’s a song that almost feels as if it holds you by the hand,” said Shobsy of the track.

“Whenever I sing it, I feel as if it's holding mine...the hand of a little boy who didn't want to be who he was.”

Shobsy's vocals are absolutely breathtaking, set over the iconic piano melody. It's a stripped-down version, but by no means boring. The track is a showcase of Shobsy's vocal range and talent, bolstered by string movements that blend effortlessly with layered vocal harmonies to deliver a stirring, cinematic rendition of the track.

Just Mustard, ‘SILVER’

Dundalk five-piece Just Mustard have released their highly anticipated third album WE WERE JUST HERE with track ‘SILVER’.

A highlight of their soaring shoegaze record, ‘SILVER’ encapsulates a joy exclusive to Just Mustard’s unforgettable live shows. Like the rush of a dance, the sound gives the sense of released inhibitions, rich with upbeat synthesiser, driving drums and scorching guitar lines. Dual vocals soar over the gritty instrumentals in a masterful expression of contrast. This is new territory for the band; they walk that beautiful line between delicate, gentle song craftsmanship and the beloved chaos of performance. This is Just Mustard at their best.

Hozier feat. Mumford & Sons, ‘Rubber Band Man’

Hozier has joined forces with English folk trio Mumford & Sons for new single, ‘Rubber Band Man’.

The iconic indie folk acts performed together in 2023 at the Austin City Limits music festival where Mumford & Sons invited Hozier on stage for part of their set. Now, they’ve reunited to create magic. The track builds gradually yet effectively, moving from a warm, gentle sense of nostalgia up to a vibrant crescendo that feels like coming home. Vocals from Marcus Mumford and Hozier dip in and out, intertwining between gentle acoustic guitar melodies. Hozier's talent for low, gentle verses and roaring hooks (à la 'Northern Attitude' with Noah Kahan) is on full display, lending to a folk anthem that is absolutely bursting with heart. With emotional, introspective lyrics, full of metaphors and vibrant imagery, this is the Hozier we know and love, plus the beloved indie growls of Mumford & Sons.

Charles James & The Rise, ‘About a Cow’

Off their recent debut album Crossing the Bar, Charles James & The Rise have released haunting track ‘About a Cow’.

The folktale-esque story of the track is, as you may have guessed, about a cow. The bovine narrator takes listeners along on a dark, pastoral fable, with introspective morals of greed and consumption. It’s all set to the band’s signature cinematic sound, rich with emotive vocals from frontman Charles James O’Donnell, punctuated by soft piano melodies from Catherine O’Donnell and haunted by the magical string section of fiddle player Steve Wickham and cellist Laura McFadden

“It’s a song that’s had a number of lives and has been with me for a long time,” said O’Donnell of the track.

“As abstract the notion may seem, the lyrics hit on the sacrifice that’s made in all forms to service greed and the longer term impacts this has.”

Lorc D, ‘I’m Away’

Donegal indie-folk artistLorc D has released new single ‘I’m Away’.

Lorc D is both artist and producer on ‘I’m Away’, and he has undeniable talent on all fronts. The track is infused with the trad influences of Planxty in its driving rhythm and vibrant storytelling, but also tinged with the modern indie rock edge of Fontaines D.C. and Big Thief. The frenetic guitar riff at the heart of the song is the highlight; Lorc said the entire track was built off of it. And rightly so. The soaring, anthemic catharsis of the guitar fades into a stripped back, satisfying ending, appropriate to introspective lyrics about the inevitable pull of time and the journey to accepting it.

A.S. Fanning, ‘Romance’

Ahead of his upcoming fourth album Take Me Back To Nowhere, Irish songwriterA.S. Fanning has released new single ‘Romance’.

The song is vibrantly immersive, undeniably beautiful, and just perfectly disorienting. It opens with layered synth sounds which, driven by steady drums, build gradually into an anthemic catharsis of a crescendo. Fanning’s signature baritone is in the spotlight, as he sings a disillusioned contemplation of love and connection. It’s stark and beautiful, raw and authentic. The love with which it was made is clear as day, despite its subject matter.

"This is a disillusioned love song," said Fanning of the track.

"Representing a feeling of hopelessness through imagery of a barren physical landscape. There's also some hint of room for hope or vulnerability in the line 'love lets you in…' but it's generally quite a cynical song suggesting that romantic feelings are just a confused mixture of fear, need, and desire."

Dea Matrona, ‘Magic Spell’

Rising indie rock duo Dea Matrona have released their mesmerising new single 'Magic Spell'.

True to its title, it's a hypnotic blend of classic rock attitude with the edge of modern alt pop. 'Magic Spell' is driven by bold guitar riffs and spellbinding vocal harmonies, with the unique sonic details of mixer Lee Smith. This is new territory for the ambitious duo, and we can't wait to see what spells they cast next.

"We hadn’t seen each other for about a month when we wrote Magic Spell, and it was one of the best days," the band said.

"Inspiration-wise we wanted to make something that was like ‘Man Eater’ by Nelly Furtado meets Shocking Blue ‘Venus’ meets ‘Rhiannon.’ I think both of us needed a bit of a confidence boost at the time, and so we poured that energy into creating the fierce female who is at the heart of this song."

Cell Games, ‘Lament Configuration’

Irish nu-metal outfit Cell Games have returned with new single 'Lament Configuration'.

The title references cult horror classic 'Hellraiser', in yet another example of the band's signature pop culture lexicon. The track opens with a mysterious radio intro, giving way to unrelenting guitar and thrashing drums. In the verse, it drops down to a simple and well delivered bassline, as the vocals veer into rap territory— though without losing the wild rage of metal. And the lyrics? Socially relevant as ever.

"The song is my thoughts on the rise of the far right movement and people’s sense of empathy gradually eroding away," said frontman Maximillion Foy of the track.

"Written pre-Covid it was supposed to be a cautionary tale that became, unfortunately, quite prophetic. It’s about the feeling that things are about to change for the worst, It’s like we’ve solved the Lament Configuration and the chains have dragged us to hell."

Florence Road, ‘Miss’

After the arrival of their Fall Back mixtape last month, Florence Road continue to deliver the goods. Already popular with their growing fanbase at live shows, ‘Miss’ opens up with some slow acoustic guitars and lamentations on heartbreak a lá Phoebe Bridgers.

That’s before the Wicklow band remind us all why there’s so much hype around them, smashing into a distorted stomp of crunchy, grungy riffs and a sledgehammer vocal performance from Lily Aron.

“This song is about missing someone not just in the quiet moments,” say the band on social media, “but when you are in a room full of people... and wishing you could experience it together.”

Dave Lofts, ‘Drunk’

It’s been an incredible and busy year for Waterford singer-songwriter Dave Lofts, who enjoyed howling support slots for Wolf Alice and the Wolf Tones, as well as selling out plenty of his own gigs.

‘Drunk’ is being pipped as his “most personal release yet". It's a candid, acoustic guitar-driven track, which showcases impressive storytelling ability as Lofts relays a period of his life that was overshadowed by addiction.

“‘Drunk’ is about a time in my life when alcoholism was at its full effect — loving somebody so much but having bad habits too,” he says. “The partner putting up with the man’s bad habit is only affecting her, hence the line ‘what’s gonna kill me is gonna kill you.’ It’s a nod to the reality of alcohol abuse, to wanting help, and to accepting the problem.”

Lauren Wallace & Blair Gilmour, ‘Didn’t Wanna Try’

Dublin singer-songwriter Lauren Wallace teams up with Scottish artist Blair Gilmour on ‘Didn’t Wanna Try’, a tender acoustic indie-pop track about communication and growing apart. The pair first met at an open mic night in London, connecting over their shared experience of growing up in the music industry.

“The first verse of ‘Didn’t Wanna Try’ lived in my head for months before I met Blair,” said Wallace. “It was meant to help me work through a messy situation, but it only made my feelings bigger. Meeting Blair gave me the clarity I needed — and the song finally came together.”

The track follows the release of her debut EP, Salt Stained Lungs, in September, as well as a sold-out debut headline show at Whelan’s Upstairs set for February 12, 2026.

Mark McCausland, ‘Waiting For The Sky’

Also known as one half of The Lost Brothers and his alias McKowski, Irish songwriter Mark McCausland returns with ‘Waiting For The Sky’, a warm, folk-leaning track from his new album The Spin. Built around gentle guitar and vivid storytelling, the song captures the cinematic tone that runs throughout the record.

Written alongside a feature film of the same name, The Spin sees McCausland’s two creative worlds merge.

“The music and the movie were both written simultaneously,” he explains. “At times the music and the story fed into each other, informing one another where to go next.”

Luz, ‘the minute you’re gone’

Half-Irish, half-Argentinian singer-songwriter Luz makes a return with her new single ‘The Minute You’re Gone’, a tender apology wrapped in heartfelt lyricism and her trademark, delicate vocal delivery.

The track follows a surprise performance at Dublin’s Ruby Sessions alongside Lewis Capaldi and Aaron Rowe and signals the start of a new chapter for the 2022 Ivor Novello Rising Star nominee.

“It’s about a time when I made a big mistake that nearly ruined my relationship,” said Luz. “It’s me apologising and hoping for forgiveness — a mix of sadness, regret and hope.”

Áine Tyrrell, ‘BITSEACH’

Irish singer-songwriter Áine Tyrrell returns with her new single 'BITSEACH', an anthem celebrating women who refuse to be silenced or controlled.

“This song is for us difficult, disobedient, ungovernable women full of misneach who have been deemed a bitseach by colony, church, and patriarchy.” said Tyrrell.

Inspired by Sinéad O’Connor's words — “Mise Éire” (“I Am Ireland”) — the song pays tribute to O’Connor’s legacy and her fearless defiance of expectation. “Sinéad embodied why women are seen as bitseachs — and a bit shocking — to spaces that don’t know how to honour us,” Áine explains.

'BITSEACH' is taken from her forthcoming album MISE ÉIRE, out spring 2026. Following the first single, ‘SINGING OUR WAY HOME’, the album explores identity, resilience, and belonging, marking Áine’s return to the west of Ireland after a decade living in Australia.

Lyterian, Cassette

Indie trio Lyterian have released their new single 'Cassette', a shimmering blend of bedroom pop intimacy and indie rock edge.

The band continues to carve out their unique sound from their hometown of Limerick, Ireland, blending heartfelt storytelling with sonic textures inspired by acts like Twenty One Pilots, Depeche Mode, and The Cure.

'Cassette' was mixed by Neal Avron (Twenty One Pilots – Blurryface) and mastered by Howie Weinberg (Nirvana – Nevermind), marking a major step forward for the young band as they gear up for their debut album, due in early 2026.

“It’s hard to believe the cassette you hear on streaming is the same song written on my bedroom floor last year,” says frontman Samuel O'Shaughnessy. “The idea came to me after I got a cassette for my birthday. I didn’t have a cassette player, so it was useless, and going through a breakup at the time, the parallels between it and myself played on my mind until the song was born.”

Tracking drums, bass and guitar in the studio, and vocals/synth at home, that blend of raw intimacy with a polished finish gives 'Cassette' its commercial edge in bedroom pop.

Since forming a few years ago, Lyterian have built a cult following in Limerick, playing venues like Pharmacia, Dolans, and The Record Room. With a growing reputation for originality and honesty, they write and perform all their own material, each track a reflection of their shared creative chemistry.

Travy, ‘Bully’

Travy is back with his new single, ‘Bully’, the first track from a run of singles set to drop over the next year. Hard-hitting and incredibly rousing, the track mixes bass-heavy, fast-paced yet relatively minimal production with heavy and deft bars for an incredibly compelling tune.

Speaking on the track, Travy says, “I created ‘Bully’ with Honeywood in his studio. I want people to feel that boss energy. I was really bullying a bully at the time, so it made sense, this being my first single back, I’m ready to bully life again.”

Big Sleep, ‘Crude’

Dublin rock quartet Big Sleep have put out the first single from their newly announced upcoming debut album Holy Show, ‘Crude’, a tender, searching tune that captures the band's emotive songwriting and reflective depth. Built on hushed instrumentation and poetic vocal delivery, the track evokes hopeful yet hurt sentiments.

"It's about someone whose innocence remains intact, and whose heart stays open, even after the world hasn't been kind to them," the band say.

Ispíní na hÉireann, ‘Johnny Jump Up’

Dublin trad-rock firebrands Ispíní na hÉireann release their last single from the upcoming album Poxtail Soup, a blistering rendition of the Cork classic ‘Johnny Jump Up’, making for the perfect representation of the band’s fearless blend of trad, storytelling, and satire.

“Written by Tadhg Jordan in 1934, this Corkonian classic has been a favourite of ours from the very beginning. In fact, it was played at our very first gig – the day Ispíní na hÉireann was christened. Back then we had only a silly name and a handful of songs; thankfully now we’ve a few more songs…and the same silly name.

"Made famous by Jimmy Crowley and Christy Moore, the song is comic on the surface but carries a darker edge, warning of the dangers of drink and the chaos that follows a day on the world’s most widely consumed drug. The culprit here is a bad batch of cider – strong enough to poison some, kill others, and send the rest into temporary madness.”

Cardinals, ‘The Burning of Cork’

Cardinals share the biting and politically-charged new single ‘The Burning of Cork’, the second song to be taken from their much-anticipated debut album Masquerade. Emotionally expansive and simmering with an undercurrent of violence, cynicism or fervent discontent, the track is set to gritty guitars and powerful rhythmic sections, highlighting plaintive and incredibly compelling vocals.

Frontman Euan Manning had to say the following about the latest release from their record: “The song takes its name from the act of terror inflicted upon Cork City by the British Army's Black and Tan forces in December 1920. It's the record at its heaviest and most menacing.”

J Smith, ‘Hand Me Down Kid’

Hailing off of J Smith’s new album I Stood There Naked, ‘Hand Me Down Kid’ is a soft yet incredibly soulful tune, mixing soft spoken and honey-smooth vocals with gentle percussions and gorgeously transporting trumpets and piano melodies. The track offers a taster to an album written after the birth of Smith’s daughter Connie, carrying the intimacy of family through grandiose arrangements.

Smith explains: “Connie brought a huge inspiration to my life, and it can be heard across the record. Our bond, the silliness we share, the love that has filled my life — that’s what this album is about.”

Aisling Urwin, ‘Flying Colours’

Irish harper and songwriter Aisling Urwin releases her new single, ‘Flying Colours’, the second glimpse into her forthcoming album The Other Place. A song about the soul leaving the body and taking flight with another through the night sky, ‘Flying Colours’ is vibrant, playful, and rich with movement and texture, carrying the listener through dreamlike soundscapes.

“‘Flying Colours’ is about slipping beyond the ordinary - that moment of weightlessness when you’re carried somewhere else, somewhere bigger than yourself,” says Urwin. “It’s playful, fantastical and full of motion.”

KIDD, ‘Saddle Up’

KIDD’s newest single ‘Saddle Up’ is inspired by the shenanigans a young man might get up to on the night of the student races. With a hard hitting beat by long-time collaborator, Podge Collins, KIDD uses jokes and punchlines to create a juxtaposition between the light lyrics and powerful production.

Eamon Brady, ‘Half Light’

Eamon Brady releases the luminous title track of his upcoming album ‘Half Light’. Built around a gentle acoustic guitar, the song unfolds patiently, layering piano, strings and ambient textures into a warm, slow-burning arrangement, with Brady’s voice sitting close and unhurried.

Spearside, ‘No Such Thing’

The closer to Spearside’s new EP Couldn’t Be Told, out today, ‘No Such Thing’ is a rousing number of gritty electric guitars and powerful rhythmic sections, paying homage to one of their favourite bands, Agent Orange with this rambunctious take on their track.

“We almost feel we need to get as much new music out there as possible, to make up for a year of relative inactivity,” says Spearside’s Oisín Walsh of the EP. “With Couldn’t Be Told we’re doubling down on the heaviness of the last EP while also reintegrating some of the influences that got us excited about writing music in the first place, back when we were teenagers.”

Caoimhe Weakliam, ‘Period Poem’

Spoken words artist Caoimhe Weakliam releases her new bold and atmospheric single ‘Period Poem’, a spoken word piece exploring the mundane annoyances of a period, before evolving into and exploring their more weighty aspects; cost, shame, misrepresentation, all set to stirring string instrumentation.

Some Images of Paradise, 'when i'm gone'

The first single off of Some Images of Paradise’s newly announced debut album, 'when i'm gone' sees the group translating their often violent expressions of misery and obsessive-existentialism into a more intimate palette, finding a balance between ambient pop and gabber.

Ger Eaton - Season Changes

Having issued a series of singles during the 2020s, Ger Eaton’s stunning debut album Season Changes has finally arrived via the Dimple Discs label. Housing thirteen songs that include several interludes plus all six singles – highlights include ‘The Time It Takes To Fall’ and ‘Hollow’ – the album carries echoes of both the melodic heyday of the late '60s (Jimmy Webb, Scott Walker, and Brian Wilson) and early ‘70s work of Colin Blunstone and Nick Drake, yet it is also shot through with a contemporary slant and edge.

Ger Eaton describes his sound as ‘Renaissance Pop’, with the album being “an old-fashioned break-up record”.

Each song deals with the complexities, both emotional and physical, that come with the ending of a very long and significant relationship. Mirroring the seasons, it charts the often-inevitable decay of a relationship, from the glowing bloom of its springtime right through to its wintry conclusion.”

Expanding on this concept, he adds, "The songs were written and recorded towards the end of my marriage. I decided from the off that the lyrics would be raw and honest; I felt I owed that much to myself. Musically, I wanted the arrangements and instrumentation to bring a lushness and drama that would wrap the words in an appropriate musical cloak. For me, music has always been a place where I can both lose and find myself; a solace and my phoenix.”

The Low Field, Canyon

The Low Field have released their new single titled 'Canyon'.

The track, recorded at Sonic Studios (Dublin), is the first taste of the quartet's second LP, scheduled for release in early 2026.

“'Canyon' came together quite quickly compared to some of our other songs. I recorded a demo as I was writing it and sent it to the rest of the band. The lyrics came out as I recorded, something that hasn't really happened for me in the past so I decided to leave them as they were. This felt like the truest representation of what I was feeling in that moment.” - Diarmuid

"We recorded 'Canyon' live, as we did with our 2024 album. Recording all instruments at once, in a room together, captures how the songs feel in our heads, and the dynamics and playing off of each other is a good demonstration of how we want 'Canyon' to be heard." - Danny O'Shea

The Low Field, formed in 2021, is a slow-core/experimental four-piece co-led by Danny O'Shea and Diarmuid O'Shea sharing vocal/guitar duties, accompanied by Mícheál Keating on bass and Brendan McInerney on drums. Their 2024 self-titled LP draws on influences from all four members' previous projects, moving from emo to post-rock and shoegaze to post-hardcore. "Canyon" sees the band embrace a more slow-burning and moody, yet confident side of their sound.

Niall Breslin, ‘The Place That Has Never Been Wounded’

Niall Breslin’s new album The Place That Has Never Been Wounded,was released today. The title track off this contemporary classical album offers listeners a safe place to lie awake at night as the mind untangles the beautiful woes of life.

The Dublin musician known for his sports career and work in pop group The Blizzards, has composed a 14 track introspective album which touches into the singer’s emotional vulnerability. ‘The Place That Has Never Been Wounded’ speaks softly to the soul, letting emotions crescendo into an overflow that can’t help but spill out.

Nell Mescal, ‘Lose You Altogether’

‘Lose You Altogether’ leads you in with gentle instrumentals only to torture you with heartbreaking lyrics, leaving you sick with feelings of loss and nostalgia. The song makes you wonder “does young love ever get better?”.

Nell Mescal promises “you could break my heart forever, as long as I don’t lose you altogether”.

Mescal’s ability to paint memories in her songwriting, is pure talent. ‘Lose You Altogether’ speaks at the complexity of intertwining romantic relationships and friendships, emphasising the pain of blurred lines. Her new EP The Closest We’ll Get, is out today.

Walshy, ‘Soulless’

‘Soulless’ speaks on the disparity between artistry and the realities of having to live a ‘normal life’ to survive in Ireland’s current economic climate. Walshy addresses the difficulty of having to work a 9-5 job when your true calling exists elsewhere. The low-fi textures layered vulnerable, confessional vocals from Walshy, come through on a relatable level.

The song dissolves into ambient sound, capturing the reality that these doomed thoughts appear cyclically - from addressing one's feelings, losing yourself in gloom, hoping for change until ultimately facing the fact that some circumstances are inescapable. Katie Phelan offers a haunting counter-melody in conversation with Walshy, which captures the complexity of an inner dialogue.

Lõwli, ‘Nocturne’ 

Galway composer Lõwli returns with ‘Nocturne’, off her debut album Window In the Woods. The classical instrumentals showcase an introspective journey from dark into light. There is a solemnness to the track, bringing about a contemplation only found in moments of solitary - though not lonely, it truly feels like peering through an open window and gazing upon a vast wood. The song is reflective, and compliments the album as a whole as it reaches towards the acceptance of difficult emotions.

CHALK, ‘Can’t Feel It’

Belfast post-punk group Chalk are letting all their secrets loose on their new track ‘Can’t Feel It’. The vocals express the pain of keeping things too close to your chest, the more feelings remain bottled up, the more you long for the release of confession. The song plays as a dance track with electronic backing tracks escalating emotions towards the point of breaking. ‘Can’t Feel It’ radiates raw sensuality and yearning, offering listeners a complex and cathartic track to sweat to. The band is set for US, European and UK tours to commence in November.

The Stunning, ‘Stand Up in This Wicked World’

The Stunning have released their first song in 8 years ‘Stand Up in This Wicked World’. The song addresses the painful reality of the socio-political state of the world. Still, the band peers towards the bright side, reaching towards glimpses of light through a world which seems overtaken by villains.

They speak directly to those rising above injustice, commanding that they use their voices to fight the power. Urging that there is strength in protest and retaliation, they paint activists as the true heroes.

"The song is a rallying call to remind people that we should not become accustomed to the atrocities committed against the Palestinian people." said the band.

The band released an accompanying video featuring news clippings, clips from protests and the flotillas which set sail to bring aid to the people of Gaza in September. The chorus echoes “Shout out let your voice be heard, you’re a flame burning bright, never give up the fight.” 

All proceeds from sales and streaming of the song and video will be donated to Medecins Sans Frontieres Gaza.

Puck, ‘Caricature’

Fresh off their recent signing with Blowtorch Records, Galway punk band Puck have dropped ‘Caricature’, their first ever song to be released across streaming platforms. The up-and-coming group describe their sound as ‘noisy-psychedelic’, noting ‘Caricature’ is inspired by a state of psychedelia. It's reverbed vocals echo through hauntingly, echoing distraught feelings regarding the current state of the world, growing up and witnessing a vile reality rising towards the surface. Powerful guitar riffs gear you up, as vocals shout from far away - in truth the woes of life are not so distant. You can catch Puck at the Deer’s Head in Belfast on November 21. 

Fake Saint, ‘Flatline’

Fake Saint has released his new single ‘Flatline’, an alternative pop tune about the line between love as a lifeline and love as an addiction.

“Flatline is about that terrifying dependence you feel when someone becomes your oxygen,” said the artist.

“It’s like they reach inside your chest and pull you back every time you start to fade.”

‘Flatline’ opens with delicate vocals and accompanying soft piano notes. As the tune continues, it picks up speed as the somber lyrics abruptly grow into powerful, belted vocals. Deep drumbeats and eventually electric guitar join in, bringing increased depth to the track.

Pebbledash, ‘O, The Wind’

Pebbledash have released their new single ‘O, The Wind’ ahead of their November EP.

The tune blends traditional Irish folk, shoegaze and post-punk.

“I think we all felt that this song represented a major departure for Pebbledash in terms of the barriers of genre we were willing to cross,” said band member Cormac Donovan O’Neill.

“We were incredibly excited to share this song as a statement of our development, attesting to the outer reaches of our sound we sought to explore in recording this EP.”

‘O, The Wind’ is an airy tune with gentile, ethereal vocals and delicate guitar notes.

It builds a stronger rock feel as the track picks up rhythmic drumbeats and a heavier guitar riff while still maintaining its light, traditional feel.

HUGSIE, ‘Push It Out’

Alternative folk artist HUGSIE has released his new single ‘Push It Out’ ahead of his upcoming album.

The song is “about the torture of a life lived under the influence,” according to a statement.

Based on the artist’s time spent in London, the track was first thought up in 2015, and then fully formed from a retrospective perspective 10 years later.

The tune was recorded live in one take using six microphones.

‘Push It Out’ is a traditional tune with powerful, passionate vocals. The lyrically heavy track is paired with stabilising traditional guitar chords.

JUNE, ‘Explodes’

Laois singer-songwriter JUNE has released her new single ‘Explodes’ ahead of her upcoming album.

The track discusses the artist’s experience with cancer.

The release comes after the singer’s previous tracks 'Up', 'MerryGoRound' and 'Will We Dance'.

‘Explodes’ is an upbeat, futuristic sounding track full of lively, staccato drums and vocals.

The tunes choppy yet flowing lyrics disguise its somber theme.

Seán Mac Erlaine & Caoimhín Ó Raghallaigh, ‘Cantantor’

Seán Mac Erlaine and Caoimhín Ó Raghallaigh have released their new single ‘Cantantor’ ahead of their upcoming album.

The two have worked together for 20 years, with Mac Erlaine’s musical style rooted in jazz and sonic experimentation, and Ó Raghallaigh emerging from an Irish traditional music.

The new release captures the duo’s unique expertise by allowing for empty space, allowing the instrumentals to carry the weight of the tune.

The instrumental tune opens with soft strings, creating a folk feel, and deep, melancholy percussion.

As the track builds, it gains a slightly jazz-like sound.

Despite having no vocals, it delivers a lasting emotional impact.

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