Live at Castle Mills (Photos)

Public Image Ltd. Live at Castle Mills:

Public Image Ltd Gridlock Kilkenny with Chaos and Charm Live at Castle Mills! Inherently ridiculous, totally infectious and completely magnificent is the only way to describe John Lydon headline an elegant, boutique big-top tent nestled in the scenic riverside parklands of Kilkenny. Decades after setting the rulebook on fire with the Sex Pistols, Lydon’s Public Image Ltd (PiL) arrived at the inaugural Live at Castle Mills series to prove that post-punk’s elder statesman hasn’t lost an ounce of his venom, even if it is now seasoned with a strange, professorial dignity.

Flanked by a stellar billing that included Kilkenny's own alt-rock heroes Kerbdog and the indefatigable ASH, the night belonged entirely to an infectious guitar driven rock, post-punk pipeline.

It was a special evening for Kerbdog's drummer Darragh Butler as he pulled double duty as a co-founder/organiser of the new event and taking the stage to open the show. Kerbdog treated their set like a triumphant homecoming. Delivering on their promise of a "swift, hard, and exciting" performance, they tore through an hour of blistering, riff-heavy alternative metal. The local crowd matched their intensity note-for-note, proving exactly why their mid-90s cult status remains firmly intact in Kilkenny. It was loud, unapologetic, and set an incredibly high bar for the rest of the evening.

ASH shifted the energy toward timeless, hyper-melodic guitar pop and indie rock. Decades into their career, the Northern Irish trio proved they are still one of the most reliable and energetic live acts on the circuit. They balanced a career-spanning set flawlessly, weaving massive legacy anthems like "Girl from Mars" and "Burn Baby Burn" alongside tracks from their recent material. Tim Wheeler’s soaring hooks and the band’s relentless energy transformed the big top into a massive singalong, perfectly bridging the gap between Kerbdog’s heavy edge and the post-punk main event.

Lydon took the stage matching his current 2026 tour aesthetic: sporting his signature cropped hair, clinging to his lyric lectern like a rogue academic preparing a deeply unhinged symposium, he immediately commanded the tent.

The set kicked off with the industrial, heavy-thumping "Home," establishing the sonic landscape that PiL has mastered since reforming in 2009. Backed by Lu Edmonds unleashing eerie textures from his guitar and woodwinds), Mark Roberts flawless mastery on drums, and Scott Firth ultimate control on bass, the band bypassed standard nostalgia. Instead, they leaned into the heavy dub, reggae baselines, and disco-fusions that made them pioneers in the first place.

The mid-set ran thick with heavy bass and theatrical antics. "This Is Not a Love Song" got the big-top tent bouncing, turning a jagged piece of nonconformity into a massive, arms-aloft singalong. Meanwhile, "Flowers of Romance" was stretched out into a brilliant, droning, avant-garde trance that tested the patience of casual listeners but absolutely thrilled the purists.

Between tracks, Lydon was classic Lydon: sipping from his glass, trading sharp quips with the Kilkenny crowd, and periodically clearing his nose with a theatrical, unhygienic flourish that has become as much a part of the show as the music itself.

The political vitriol of "Warrior" and the anti-clerical fury of "Religion" felt remarkably potent echoing off the canvas walls. Lydon kept demanding the bass be dialed up louder and deeper, using Firth's low-end frequencies like a physical exorcism to purge the tent.

They closed the evening on an absolute high. The historical bite of "Public Image" bled into a towering performance of "Rise." Hearing a packed tent under the shadow of Kilkenny Castle roaring "Anger is an energy" back at a grinning Lydon was a genuinely transcendent moment.

Matt Berninger Live at Castle Mills:

Matt Berninger Brings Brooding Baritone to Inaugural LIVE Castle Mills. Headlining the second night of Kilkenny’s inaugural Live at Castle Mills series, The National’s Matt Berninger brought his solo show to the picturesque setting in the shadow of Kilkenny Castle, delivering an evening marked by stunning intimacy, sudden bursts of chaotic energy, and exceptional sonic clarity.

Local power-pop legends Engine Alley kicked off the second evening turning back the years to their heyday in the 90s. Within minutes of coming on stage the tent quickly filled due in no small way to the theatrical, high-energy, and highly visual antics of lead singer Canice Kenealy. They were followed by an a spellbinding set from folk singer Lisa O'Neill, whose raw vocal delivery and stark storytelling cast a quiet spell over the early arrivals.

But it was Berninger’s singular, chaotic stage presence that truly elevated the evening. Touring behind his acclaimed second solo album 'Get Sunk', Berninger’s performance was an exercise in bridging the gap between extreme intimacy and punk-adjacent theatricality.

Backed by a lean, meticulous ensemble featuring Julia Laws (Ronboy) on keys/vocals and Sean O'Brien on guitar, the music was beautiful but deliberately delivered, highlighted but not overpowered by Sterling Laws signature drumming. What makes Berninger such a captivating live force is his refusal to stay behind the mic stand. True to form, the middle-aged bard of indie-sadness treated the tent like a punk basement. Armed with an unshakeable intensity, he repeatedly left the stage, clambering off stage, gripping the hands of stunned fans, and screaming lyrics right into the faces of the front row.

The crowd—already warmed up by the sharp, local power-pop of Engine Alley and the haunting, stark brilliance of Lisa O’Neill—reached fever pitch when Berninger dipped into The National’s catalog. By the time he closed the evening with the gorgeous, bittersweet architecture of "Light Years," Berninger had successfully turned a sun-soaked parkland into a remarkably tight-knit community. He may be exploring quieter, more reflective spaces on his records, but on stage, he remains an unmitigated firecracker.