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Skinner: “I don’t think what’s popular or relevant matters”

Experimental and self-propelled, Skinner is a Dublin DIY musician who explores the world of experimental textures in sculpting a sound that sits far outside what is typical of our city. 

Carrying elements of rock, experimental jazz and the New York no-wave scene of the 70s and 80s, Aaron Corcoran intentionally sets aside what is currently succeeding in Dublin, but nonetheless is drawing attention in the build up to this new EP ‘Geek Love’.

“I think my style came out of a need to find music that no one else is listening to and to get reinspired, looking at things differently,” he says. “I don’t think what’s popular or relevant at the time matters. I want to dig out things that nobody else knows about. A couple of records have just blown my mind, they sound like nothing anyone is making today. Stuff like experimental freeform jazz. I find that stuff very inspiring and very refreshing.”

“My music isn’t for everyone. My favourite music is unlistenable, and the weirder and more distinct it is, the more I am drawn to it. I like to deviate from the norm,” he explains.

“I see myself as both a live act and a recording act, as well as a songwriter. I can’t pick one of those over the other. I particularly enjoy the live shows, and I think they represent the true spirit of what music should be. Records are great, but live music is where you separate how good you are on record and what you are really like. If a live show is really bad, it puts me off the band. Some people thrive in the studio and some fall apart.”

“What I do is very DIY. People push that idea now as almost a promotional thing, but realistically it’s born out of necessity, I didn’t know anyone growing up who played music. I had to learn all the instruments myself, and then I wrote all the parts myself, too. Recording is extremely expensive, ridiculous, so it’s about that necessity. I can afford a €100 audio interface and teaching myself, so that’s how it was born.”

“I moved to studios as I got older, and professional studios and engineers showed me a lot of techniques. There was no school for this stuff, so the only way to learn is to do it yourself. The only thing that matters is how it ends up sounding.”

“My new single ‘Tell Me Ma’ is based on an old folk song (‘I’ll Tell Me Ma’). I thought it was funny how badly things like that can age. It’s kind of a song you sing to your kids, and it’s not intentional, but I was finding the humour in the jovial tone and the dark themes. So I wanted to almost shout it, to reiterate the side of it that is quite grim.”

“I’m a product of my environment, so that means I’m struggling, despite having a full time job. Everything that I make from music goes back into the band, and I do it for the love of the art and the experience. There’s only one good studio space in Dublin, called Yellow Door, and it’s the only place I have 24/7 access. Everywhere else is day rates. The environment has become crazy for bands.”

“An album’s definitely on the way, but I won’t say when. That’s what I’m working towards. I think creating singles and creating successful songs can lead to expectations that you do the same thing over and over again. I don’t like that. I think you should always be doing different things, and exploring different styles. So a body of work, for me, is a snapshot in time.”

‘Geek Love’ by Skinner is out now.

Aston Villa (v Club Brugge), Villa Park

Competition: Champion’s League Last 16

Date: 12 March 2025

Result: Aston Villa 3 – 0 Club Brugge (6-1 on aggregate)

Tickets:  The only way I could get in was a hotel package. As a result, the ‘tickets’ plus a hotel cost €230 or so each. The most I’ve ever played to get to a football match, and worth it.

Attendance: 42,461

Game/ Experience Rating:  ☆☆☆☆☆

The Game: It felt almost unreal to me to watch the team I’ve supported for the whole of my lifetime play in the knock out stages of a competition they’ve not been anywhere near for most of that time. Still more surreal to see them win it comfortably. In truth, the tie was over as a contest when Martinez launched a ball over the top to Rashford, who was brought down on-on-one with Simon Mignolet, resulting in a red card for Brugge’s centre back after half an hour or so.

The first half, aside from that, was quite poor, in all honesty, but with tifo at the front of the Holte, the riotous support from the back of K6 (where my son and I sat), and the knowledge that a quarter final tie was on the horizon was enough.

Enter Marco Asensio, the best play on the pitch consistently since he arrived at Villa, and now heading back to PSG to see what damage he can do to his real employer. Asensio had blasted two and played a bit-part role in a third goal within 16 minutes of his arrival, and the tie was dead, a jubilant Villa Park turning to ‘oles’ by 70 minutes as Brugge couldn’t get a foot on the ball. And this was a good Brugge side, too, well able to turn over Villa on another day even without the gift provided by Tyrone Mings in the group stage.

This was something else. Villa are as good as I’ve ever seen them, and I will treasure having been there. More so with my 11 year old in tow.

The ground: Villa Park has adapted a little recently, not least to the tendency to welcome this heroic team noisily off the coach, and the new facilities around this (we missed it, unfortunately, as we waited at the usual spot near the North Stand; the team arrived up near the Trinity).

The following day we took a tour, heard some little tit bits of history I didn’t already know, and got a new appreciation for just how upmarket parts of the ground we’re not usually anywhere near are. It’s such a stunning spot, and to me a kind of spiritual home.

Extras: A programme was a must this once, though I usually find them bordering on a waste of space. The club also laid on scarves on every seat, which formed a part of the atmosphere. How big was this game? The scarves were going for over €100 in ebay the following day. With the cost of the trip, I was almost tempted!

Assorted asides: We couldn’t go any further… could we?

My totals for the year so far:

Games: 3. Home wins: 1 Draws: 0 Away wins: 2

Goals: 8. Home goals: 3. Away goals: 5. Goals per game: 2.66

VIEW ALL GROUNDHOPPING POSTS HERE.

Pinhole: “I use creativity to understand the world better”

Pinhole are an avant garde act from Cork, and the product of a life in music. Taking in an incredible blend of grunge, Georgian folk music and Irish trad, Ciara O’Flynn and Mark McLoughlin blend experiences from their youth with freeform jazz, and cover topics ranging from the war in Gaza to treatment of the elderly. The resulting album is called ‘Sweet Spot’.

“‘Sweet Spot’ is our latest body of work with some slightly older songs,” O’Flynn says. “So really it’s tracking us as artists over the last four years or so. We were due to launch our debut album two weeks after the lockdown was announced, and it was really hard because we had to just sit on it. We continued to write during lockdown and because it was very much limited to Mark and I as a duo the new songs started to take a new direction, so we scrapped the old record and made ‘Sweet Spot’.”

“Personally, I use creativity to understand the world better,” O’Flynn continues. “Mark and I are campaigners at heart, so most of our songs are attempting to understand or express feelings on many contemporary societal issues, rather than just the personal. The songs are about gay rights, the malignancy of social media, treatment of the elderly, societal apathy, parenting… and so forth.”

“I think our art careers and my time in Windmill Lane have been the biggest feeders of what we do now. Then from a more lyrical point of view, our mutual passion for human rights feeds in and out of the lyrics,” McLoughlin adds. “The vocal is also treated as an instrument and like our instruments we push it and find creative ways of using it such as singing through the violin pick up, etc.”

The pair use stream of consciousness as an unusual element of their songwriting, adding unusual quirks in the process. “What I love about that particular process is that the feelings and topics around the songs organically bubble up,” O’Flynn says. “I rarely start to write with an idea of what I want to write about.  That brings in a stiffness that just doesn’t work for me.  I much prefer to listen to what Mark brings to the table first in terms of a few musical sequences, turn off the left hemisphere of my brain and just see what emerges. Usually it’s something I’m concerned about but not necessarily consciously ruminating on. For me it brings a genuineness and depth of feeling to the process.”

“There’s definitely a low-down, dirty blues aspect to some of the music with influences from Tom Waits through Nick Cave, Beth Gibbons, St. Vincent etc,” McLoughlin adds. “It’s important for us to keep a raw and feral aspect to it.”

‘Sweet Spot’ is partly the product of the Basic Incomes programme that supports some artists, something which has played into the sound. “We are really grateful for the opportunities we have had from that fund, because there was no way we could have afforded to make this album and videos without that support,” they explain. “It made all the difference. Making albums is expensive, so really it made the difference between being able to do it or not.  Playing music costs at every turn: rehearsal spaces, renting venues and sound engineers for gigs, travel, accommodation, recording studios, graphic design, etc.”

“We’ve put decades of experience and years of creative wandering into it,” O’Flynn adds. “I’d be so delighted if it catches the ears of people and brings joy. Other folks’ music elevates me when I dig it. And we’re always open to new opportunities, the idea of writing for other art forms like theatre and film interests me, too. Making bags of money we can send to Gaza would be great.”

Shamrock Rovers (v Molde FK), Tallaght Stadium

Competition: Europa Conference League

Date: 20 Feburary 2025

Result: Shamrock Rovers 0 – 1 Molde FK (1-1 on aggregate, Molde win 5-4 on penalties)

Tickets:  €20 (adult), €8 (kid), plus a €1 per ticket transaction fee.

Attendance: 9,533 (close to a sell out)

Game/ Experience Rating:  ☆☆☆

The Game: This should have been the one. I say ‘should’ rather than could, as the first modern era proper knock out game for an Irish club in Europe was very, very winnable for Shamrock Rovers having arrived back in Tallaght with a lead. An early mistake gifted Molde what was an equaliser in the context of the tie with a defensive mix up after Shamrock Rovers had somehow come back from Norway with a 1-0 lead, and from then on Shamrock Rovers controlled the game, though with relatively few clear cut chances.

It was the 16 year old wonder kid Michael Noonan who scored away in Molde, and he had a great chance here, too, with a header from about 6 yards out that went just wide. So we went to extra time, and then penalties, all without Molde really offering a whole lot (I felt they were playing for penatlies from about the 50th minute, and especially in extra time when they were a man down).

Perhaps they knew what they were doing, as the shootout was immaculate from Molde, without Rovers getting anywhere near any of their finishes, and one weak one from Rovers being saved ending the tie. Still, the little lad’s first time seeing a live penalty shoot out, and a good night out. It’s just a real shame when we could have had a last 16 European tie in Dublin. I do feel it’ll happen sooner or later, but it’s odds against every individual year, so perhaps we’ve a few more years to wait. Still, for anyone who doubts the value of the Europa Conference League, here it is, this run was fantastic despite the loss.

The ground: Tallaght Stadium is a fairly regular haunt for me, however it’s a slightly different beast for a European game: assigned seating (I stupidly picked a seat with a slightly restricted view from a fairly free choice at the time I booked – watch out for the top left corner of the West Stand, where the near end goal is difficult to see). Nice to see it so close to sold out for the second consecutive time I’ve been there.

Extras: We chose McDonalds over the very long multi-storey car park queue afterwards. A good call. That car park is quite daft – after games queues are so long you have to pay another hour on the ticket as the allowance for getting the car has expired. They really should fix that for game nights.

Assorted asides: I couldn’t find a programme, which is probably a sign of the status of this game (it’s unusual that I wanted one). The new club shop looks good, though, in the bottom of the North Stand.

My totals for the year so far:

Games: 2. Home wins: 0 Draws: 0 Away wins: 2

Goals: 5. Home goals: 0. Away goals: 5. Goals per game: 2.5

VIEW ALL GROUNDHOPPING POSTS HERE.

The Five Best Books I Read in 2024

Returning for its 9th year (I like a tradition), here’s a slightly overdue post on the best books I read over the course of 2024, rooted firmly in the concept that reading is still about the best way there is of learning about place, perspective, and… well, some of the best time I spend for sheer entertainment, too.I like the idea that there’s a tiny little element of paying it forward in making some recommendations (as a writer, there’s nothing like someone saying your writing is good, and as a reader, personal recommendations come top a lot of the time), so here I am doing exactly that.

I read less than normal in 2024. There are reasons for that, and I won’t get into them here, but my annual total books consumed (tracked diliegently on Goodreads ) was 38. I usually land on just north of 50, so perhaps this list was a touch easier to get on than normal (it remains at its traditional five books, which means by clicking through the links below, you can get at 45 recommendations over those nine years). Easier or not, I really like all these books, and that’s what counts, right?

(while you’re here, check out my top books from previous years: 2023202220212020201920182017, and 2016)

Fourth Wing by Rebecca Yarros

This was a departure for me: I don’t typically read a vast amount of fiction, and when I do, it’s not typically whatever happens to be the most hyped series that year (not least because I don’t tend to know what’s hyped – I read more than I read about reading, if you see what I mean! This sucked me in from the very start, though. Sitting somewhere in the realm of adult Harry Potter (the characters are at a ‘college’ not a school, and its not insignficaintly sexualised), Fouth Wing is an unraveling and mysterious world where our central characters are dragon riders in training with no idea what they’re doing. It’s powerful, intoxicating and the best page turner I’ve read in a long time. By the time I got around to writing this I’d finished booked three, but the utterly enthralling opener is still ahead for me. Wonderful.

Finding Gobi by Dion Leonard

There’s a strange story behind this one. Finding Gobi was sent to me in the process of writing a (not for public consumption) biography about a high-flying Scottish businessman from a working class background, as the kind of story that is the basis for much of his success. It follows the tale of an ultra runner who falls in love with a tiny dog that pursues him for miles across the Gobi desert during an ultramarathon, goes missing, and then has to be recovered from the unlikely environment of urban China, where he’s been let loose. It’s true, somewhat miraculous, and littered with incredible adventure befitting a serious distance runner. It’s also got that quality that I feel all the best non-fiction first person narratives have: here’s something amazing I did; let me tell you about it.

Loosely Based On A Made-Up Story by James Blunt

A dangerous confession for a music writer: I actually don’t mind James Blunt at all. That’s not to say I sit at home listening to his albums, but I was sent to review one of his shows in Seoul way back in 2007, when I was first starting out with music writing, and he charmed. I’ve kind had a soft spot since. More importantly, for the purposes of a book at least, the man is absolutely hilarious. This ‘memoir’ is clever, in that it implies a high level of truth whilst simultaneously denying it enough, you’d suspect, to just about avoid being sued. In practise, that means taking a pop at all sorts of things, confessing to probably illegal acts in his army days, and some horrible tales about his life in Ibiza. It also means the book is much more memorable than some of the beige tales of musicians that have emerged in recent years. It’s well worth a read. Seriously.

Hope – How Street Dogs Taught Me The Meaning Of Life – by Niall Harbison

I used to vaguely know Niall Harbison – we worked in somewhat similar circles around the Irish music and journalism scene perhaps 15 or so years ago. I didn’t know, but this book reveals, that at the time he was falling apart. I was never sure what to make of him at the time: he seemed to be the kind of bluntly successful man who charismatically swept through people, impressing without really touching the sides of any true meaning or connection, but it was a vague impression I formed from a distance. Here, recovered from a self-confessed time of serious addiction, he writes about his new life saving hundreds of street dogs in Thailand. It’s a touching tale of recovery, and a fantastic example of a man finding his place in the world. He’s humble, dedicated and full of stories, and has massive likeability. The characterisation of dog after dog wasn’t really my thing, but the story of the man and the evolution of his life’s meaning was glorious.

Led by Donkeys – by Led By Donkeys

If you followed British politics around the time of Brexit at all, especailly online, you’ll almost certainly have come across Led by Donkeys, a kind of guerilla online campaign to point out the more ridiculous elements of the Brexit leave campaign and its contradictory messages. What you might not have realised is that the whole thing was orhcestrated by a handful of friends with a small amount of online funding. Some impact! This is in some ways more of a memento of the Donkeys experiences, but the stories of their journey from first illegal billboard posters stuck up at midnight to a significant political force are extremely memorable, not least when they comically take down Nigel Farage with billboards and megaphones during his ‘march for freedom’.

KF Tirana (v KF Egnatia), Air Albania Stadium

Competition: Albanian Superliga

Date: 18 January 2025

Result: KF Tirana 0 – 4 KF Egnatia

Tickets:  €21 (2,000 Albanian LEK, VIP section). Price would have been under €5 (400 Albanian LEK) for standard entry.

Attendance: circa 700, rough head count.

Game/ Experience Rating:  ☆☆☆

The Game: KF Tirana are something of a modern-day Man United of Albania: their most successful club, but currently really struggling. Here they hosted the reigning league champions (who went back top with a win), KF Egnatia, from a provincial crossroads town outside the capital.

The quality was not fantastic – in fact I’d rate the opening half as one of the worst halves of live football I’ve seen in a very long time. In the second half, though, Egnatia got their acts together and blew Tirana out of the water. The goals were generally quite messy efforts that found their way in via crosses or pinball in the box, but their literally about ten away fans appreciated them, and they were very much coming. The league seems tight and while it had a fair few foreign players as well as the locals, probably of a lower level than League of Ireland (insofar as you can judge based on one game).

A cool experience, but not a league you’d go out of your way to see lots of based on this game.

The ground: Air Albania is the Albanian national stadium, and it’s beautiful. A modern red and black-cladded outside gives way to a comfy little stadium that carries atmosphere. To get into my section, I had to walk up some ornate looking stairs into a small-ish side on section that would be incredible for international football (the other three sides were all far larger). The only time I’ve ever gone VIP at a football match (for 20 quid, why not), and while I’m not sure it added a whole lot, it was a cool experience.

Around the ground, Albanian coffee culture and lots of little shops were on full display – despite this being a modern arena on the edge of a large park, it’s still integrated into city life in a way a lot of modern arenas don’t seem to be. In fact, I think there were more people here for other things than the game. Definitely recommended as a spot to visit.

The place was very empty for this, but fair play to the lively KF Tirana ultra section behind the goal. They got frustrated at the end, understandably, but all the atmosphere came from them.

Extras: The VIP section that I shelled out all of €20 for came with padded seats, drinks holders and even a fresh seat cover. There was also a bar at the back showing live Premier League games, and momentos in it including signed Roma kit from the Conference League final that took place here a few years ago. I didn’t see a programme, but perhaps that’s because of the small turn outs.

Assorted asides: Tirana is so incredibly cheap to do cool stuff in. Highly recommended. I do slightly regret not buying a KF Tirana shirt to bring home (they were available in a shop under the stadium), but €50 felt like a lot in a local context.

My totals for the year so far:

Games: 1. Home wins: 0 Draws: 0 Away wins: 1

Goals: 4. Home goals: 0. Away goals: 4. Goals per game: 4

VIEW ALL GROUNDHOPPING POSTS HERE.

Vonda Shepard: “when I perform I get lost in the song”

At the time of her big breakthrough, Vonda Shepard was not quite an unknown: she was performing with Jackson Browne, and having been signed and dropped by Warner, doing small shows of her own. One day, along came David Kelley and his wife Michelle Pfeiffer. After seeing Shepard perform, they asked her to write the theme tune to their new project. That project was Ally McBeal. 

Years later, Shepard was a character on the show in her own right, and responsible, as music producer, for more than 500 tracks used on the cult drama series. She worked with Sting, Bon Jovi, Al Green and Tina Turner. She penned, and adapted, four albums worth of tracks herself, in amongst what would ultimately become nine of her own records. The lates is called ‘Red Light/ Green Light’.

“It felt cathartic to get the latest album out of my system, and when I perform I get lost in the song, she says. “I focus on the song, even playing live. It took my two years of the pandemic to write and record the album, and the discipline it takes to write is so intense. You have to push all the distractions out, and while I don’t want to do it again, the pandemic was very helpful in that way.”

“I work with MItchell, my husband, which is an incredible experience. He sits in his chair and nods his head and listens. He says play it again, and then he plays it back for me, exactly the same. He’s a brilliant guy. Then we work together to rearrange and add notes, change chords here and there. It goes through a lot of iterations that way.”

That slow and precise work contrasts strongly with the rapid pace of old. “I used a lot of energy doing Ally McBeal, often working until 3 in the morning, or filming at 5am,” Shepard recalls. “Then I’d tour in Europe for a few weeks then I’d do it again. It was very, very busy, but it was a great time.”

“The truth is that David Kelley chose all the music, but the lyrics and feel were so much a part of his vision for the scene. It’s a great feeling to have brought in people like Al Green, Gladys Knight… incredible artists.”

“When I look back on it, I was really ready for it and comfortable as the producer of the music. I felt like I belonged, which was great. I had been dropped from Warner Brothers, and it got me back into the vision of being a front person again. The strength and courage of that. I had an apprenticeship and learnt so much watching people like Jackson Browne relate to an audience.”

“With my new music, I start from scratch sometimes, which is the hardest thing I do. I throw out songs all the time, or pieces of songs. You can’t be lazy, you have to edit, that’s the most important part. I take out all the junk and just go with the good stuff. When I release an album [currently due in 2026], it’ll be the product of a lot of grind.”

As for touring, Shepard says “three or four weeks is my limit. But the life is so awakening. Your senses and inspiration are so awake. I sit in a cafe alone in work out clothes, see the architecture and the shops. It’s a lovely way to live. For four weeks, anyway.”

And the show? “It’s an all star band, we sound tight,” she says. “We’re going to do songs from the new album, a party bit at the end from Ally McBeal. It’ll be a ‘best of’ the albums, all of the albums.”

Corner Boy: “We want to bring a room to life”

Corner Boy are one of those acts that are so fiercely DIY that their success can fly slightly under the radar. But they’re getting big. The vibrant Wexford folk act have played across the world, and regularly sell out venues across Ireland, yet you’d rarely find them covered in any detail in Irish media. A fact that’s had extremely minimal impact on that success, which seems to build year on year.

“We’ve been releasing new music across the summer, with more new music to come later in the year, and we’ve just played America”, frontman Michael D’Arcy tells us. “It’s really exciting times for us. When we first went over to play the States in 2020, we played Folk Alliance, the largest folk conference in the world, then the month after the world shut down. But we kept all these contacts we made. We’ve been looking forward to getting out there for a while ago, having played Ireland, Europe and parts of Asia, so it’s an exciting next step to play North America.”

‘Beast of Burden’ is the latest release. “It’s actually the first song we wrote on a writer’s break in the west of Ireland,” D’Arcy says. “It’s one of those songs that came out really naturally. We went out there to create, with no pre-existing ideas, away from our home in Wexford, and find a new kind of stride and energy. It provoked something in us. A lot of our songs from our debut album, released in 2022, were songs that we’d had for a while. We wanted a completely new starting place for the band, all music from 2024 onwards.”

“We’ve worked for lots of producers and recorded in lots of places over the years, but we’ve now set up our own studio in Wexford, and we’re writing, mixing, mastering and producing the whole album ourselves. The response to the single so far was incredible. We felt we had enough experience and expertise to self-produce, and it’s definitely been justified, with it played in so many different places.”

“The majority of the music we wrote previously was all done in the same place, so we needed that change of scene, far from the south east, to discuss the music and create a sound that was representative of us and all of our experience, a new energy. The studio has changed the recording process, as we don’t have to book time. Now there’s not the pressure of watching the clock, and we’ve let things evolve naturally, which is so much more enjoyable.”

“We’ve always had the intention, and prided ourselves, on our live shows being really energetic,” D’Arcy continues. “We want people to be energised, to stamp their feet and clap their hands. We want to bring a room to life. So a lot of the time that is reflected in the way we write our songs. We like a particular power and energy. There’s a song or two that’s a bit more downbeat, but the rest of it has the ability to energise people. We tend to get booked a lot of big festivals and tents, so the quieter songs don’t carry as well. The mid-tempo songs are more for ourselves.”

“For us, we went through a phase a couple of years ago where we wanted to write what we called ‘dark folk’, and the songs that embody that, the atmosphere. We had it written up on a board and everything. But there’s a beauty to the variety of folk music, and we’re allowed to reinvent ourselves constantly. We have this real nice palette to play with.”