Contents:

Best of 2014 - Irish Albums Best of 2014 - International Albums Best of 2014 - Irish EPs Best of 2014 - International EPs Best of 2014 - Singles SONAR - Irish - International - The Manc Tank - The Scouse House Best of 2014 - Videos The Ruby Sessions January 2015 4x4

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910121416

18-2122

EDITORIAL

2014 was a monumental year for us here at U&I and ĮƫŶŐůLJ�ŝƚ�ďƌŝŶŐƐ�ƵƐ�ƚŽ�ŽƵƌ�ƚŚŝƌĚ�>ŝƩůĞ��ŚƌŝƐƚŵĂƐ�ŝƐƐƵĞ͘�dŚŝƐ�LJĞĂƌ Ɛ͛�͚�ĞƐƚ�KĨ͛�ůŝƐƚƐ�ƐĞĞ�ƐŽŵĞ�ŝŶĐƌĞĚŝďůĞ�ĂĐƚƐ�ŵĂŬĞ�ƚŚĞ�ůŝƐƚ�ŽĨ�ŽƵƌ�ĮŶĂů�ϭϬ�ŝŶ�Ăůů�ƚŚĞ�ĐĂƚĞŐŽƌŝĞƐ͘�/Ŷ�ĂĚĚŝƟŽŶ�ƚŽ�ƚŚĂƚ�ǁĞ�ĂƌĞ�ĂůƐŽ�ǀĞƌLJ�ŵƵĐŚ�ůŽŽŬŝŶŐ�ĨŽƌǁĂƌĚ�ƚŽ�ϮϬϭϱ�ŝŶ�Ă�ďŝŐ�ǁĂLJ͘

>ĂƐƚ�LJĞĂƌ�ǁĞ�ŚĂĚ�ƚŽ�ƉŽƐƚƉŽŶĞ����ďĞĂƚ�ŽŶ�ĂĐĐŽƵŶƚ�ŽĨ�ŝƚ�ĐůĂƐŚŝŶŐ�ǁŝƚŚ��ŵƉůŝĨLJ͕ �ďƵƚ�ŝƚ�ŝƐ�ƐŽŵĞƚŚŝŶŐ�ƚŚĂƚ�ŝƐ�ĮƌŵůLJ�ŽŶ�ƚŚĞ�ĂŐĞŶĚĂ͘�dŚĞ�ůŽŐŝƐƟĐƐ�ĂŶĚ�Ăůů�ŽĨ�ƚŚĞ�ƉůĂŶŶŝŶŐ�ĂƌĞ�ĂůƌĞĂĚLJ�ǁŽƌŬĞĚ�ŽƵƚ�ƐŽ�ŝƚ�ŝƐ�ŵĞƌĞůLJ�Ă�ĐĂƐĞ�ŽĨ�ƐĐŚĞĚƵůŝŶŐ�ŝƚ�ĚƵƌŝŶŐ�ƚŚĞ�LJĞĂƌ�Ăƚ�Ă�ƟŵĞ�ƚŚĂƚ�ŝƐ�ŵŽƌĞ�ƐƵŝƚĂďůĞ͘�^ƵĸĐĞ�ƚŽ�ƐĂLJ�ǁĞ�ĂƌĞ�ĚĞƚĞƌŵŝŶĞĚ�ƚŽ�ƌƵŶ�ƚŚĞ�ĨĞƐƟǀĂů�ƚŚŝƐ�LJĞĂƌ�ĂŶĚ�ƉůĂŶƐ�ĂƌĞ�ĂůƌĞĂĚLJ�ĂĨŽŽƚ�ŝŶ�ƚŚĂƚ�ƌĞŐĂƌĚ͘

dǁŽ�ŽƚŚĞƌ�ƉƌŽũĞĐƚƐ�ƚŚĂƚ�ǁĞ�ŚĂǀĞ�ŝŶ�ƚŚĞ�ǁŽƌŬƐ�ŝŶĐůƵĚĞ�^ƚĂƟŽŶͲdŽͲ^ƚĂƟŽŶ�ds�ĂŶĚ�hΘ/�ZĂĚŝŽ͘�dŚĞ�ƉƌŽŐƌĞƐƐ�ŵĂĚĞ�ŽŶ�ďŽƚŚ�ŽĨ�ƚŚŽƐĞ�ƌĞƐƉĞĐƟǀĞůLJ�ŝƐ�ůŽŽŬŝŶŐ�ƌĂƚŚĞƌ�ƉƌŽŵŝƐŝŶŐ�ĂŶĚ�ǁĞ�ǁŝůů�ůŽŽŬ�ƚŽ�ŐĞƚ�ƚŚĞŵ�Žī�ƚŚĞ�ŐƌŽƵŶĚ�ŝŶ�ƚŚĞ�ĐŽŵŝŶŐ�ŵŽŶƚŚƐ͘�

dŽ�ŽƵƌ�ŵĂŐĂnjŝŶĞ�ŝƚƐĞůĨ͕ �ǁĞ�ǁŝůů�ďĞ�ŝŶĐŽƌƉŽƌĂƟŶŐ�Ă�ŶĞǁ�ĨĞĂƚƵƌĞ�ŝŶƚŽ�ŝƚ�ĐĂůůĞĚ�^KE�ZͲ�^ƉŽƚůŝŐŚƚ�KŶ�EĞǁ��ƌƟƐƚƐ͘�dŚŝƐ�ǁŝůů�ŐŝǀĞ�Ă�ŵŽƌĞ�ĚĞƚĂŝůĞĚ�ĨŽĐƵƐ�ƚŽ�ĂĐƚƐ�ƚŚĂƚ�ĂƌĞ�ƌĞĐŽŵŵĞŶĚĞĚ�ƚŚƌŽƵŐŚ�ŽƵƌ�ĐŽͲŽƉ�ŶĞƚǁŽƌŬƐ�ĂƌŽƵŶĚ�ƚŚĞ�ǁŽƌůĚ͘�/ƚ�ŝƐ�Ă�ƐŝŵƉůĞ�ŝĚĞĂ�ďƵƚ�ŝƚ�ŝƐ�ŽŶĞ�ƚŚĂƚ�ǁĞ�ŬŶŽǁ�ǁŝůů�ďĞ�ŚŝŐŚůLJ�ĞīĞĐƟǀĞ͘

�ůů�ƚŚĂƚ�ƌĞŵĂŝŶƐ�ƚŽ�ďĞ�ƐĂŝĚ�ŝƐ�ƚŚĂŶŬ�LJŽƵ�ƚŽ�ĞǀĞƌLJŽŶĞ�ĨŽƌ�ƚŚĞŝƌ�ƐƵƉƉŽƌƚ�ŝŶ�ϮϬϭϰ͙ĂŶĚ�ŽǀĞƌ�ƚŚĞ�ƉĂƐƚ�ƚǁŽ�LJĞĂƌƐ͘�tĞ�ŝŶƚĞŶĚ�ƚŽ�ĐŽŶƟŶƵĞ�ƚŽ�ďĞ�ƚŚĞ�ĐƵƫŶŐ�ĞĚŐĞ�ŵĂŐĂnjŝŶĞ�ǁĞ�ĂƌĞ�ďLJ�ďƌŝŶŐŝŶŐ�LJŽƵ�ƚŚĞ�ďĞƐƚ�ŝŶ�ƵŶƐŝŐŶĞĚ�ĂŶĚ�ŝŶĚĞƉĞŶĚĞŶƚ�ŵƵƐŝĐ�ĨƌŽŵ�Ăůů�ĂƌŽƵŶĚ�ƚŚĞ�ǁŽƌůĚ͘�KŶǁĂƌĚƐ�ĂŶĚ�ƵƉǁĂƌĚƐ͊

U&I Mus ic Magazine

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Editor-In-Chief:

Phillip Ó’ Baoighealláin

Deputy Editor:

Greg Clifford

Writing Staff:

Eloise Cahill

Gary Kavanagh

Jamie Kelly

Sean Brennan

Liverpool Correspondent:

Joe Loftus

Manchester Correspondent:

Dave Beech

U&I Gigs Photographers:

Eric Cooper

Dom Marceleno

Best of 2014 - Irish Album

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Best of 2014 - International Album

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Best of 2014 - Irish EP

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Best of 2014 - International EP

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Best of 2014 - Singles

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THIS OTHER KINGDOM

CORNER BOY

TINY VINYLS

FRANKO FRANKO

AZTEC JACKAL

KICKING BIRD

SINÉAD WHITE

THE KLARES

FANLIGHTS

NEW VALLEY WOLVES- 9 -

Irish

ALICE AND THE GLASS LAKE(New York)

DREAMERS (New York)

POWERS (Los Angeles)

WHITE FEVER (London)

BEVERLY GIRL (Finland)

THE FRANKLYS(London)

THE MEANING OF LIFE(New York)

THE ACTIONS(London)

HOLY ESQUE(Glasgow)

TANYA BATT(Melbourne)

International

- 10 -

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LIVVO

TREMORS

ACRE TARN

NO HOT ASHES

- 12 -

THE MANC TANK

Anyone who knows me, follows me on social media or regularly keeps up with my blog should know by now that I'm a

sucker for a nice list. Carefully crafting my End of Year pieces gives me more pleasure than it probably should, to the

extent that each list has a tendency to differ publication to publication, depending on my mood that day. For

Unsigned and Independent however, it's a list documenting not my top ten albums or gigs, but rather, in true Manc

Tank fashion, the bands and artists making my city's music scene what it is today.

Whilst relatively new in comparison to other artists on the list, Livvo has rapidly made a

name for himself across Manchester through tireless open mic appearances and support

slots under his real name, David Liversidge. Now with a new stage name to match a more

diversified, electronically driven sound, it seems 2015 might very well be Livvo's year.

Whilst once they were the ramshackle indie ragamuffins of Skinny Roller, Tremors are the

more matured, fully-realised iteration of the band, who now seem intent on being taken

seriously. Having built up their reputation through a variety of support slots, the band played

their debut show at the Night & Day early last month, and if their reception was anything to

go by, we'll be seeing plenty more of them over the coming months.

Dark and ethereal, shrouded in mystique, Acre Tarn are a duo who very much got my knickers in a twist

just before summer. And it seems I wasn't the only one. Their debut release, an impressive four track EP

entitled Clasp & Shake, is a conceptually linked sonic exploration, entwining both digital and field

recordings to create something truly unique. And, whilst each track might share thematic links, they

uphold very individual personalities, making Clasp & Shake one of the most beguiling, uplifting and

ultimately rewarding releases of last year.

With little more than a couple of singles behind them, No Hot Ashes are still very much a band

in their formative years. That doesn't mean to say they're not also a band brimming youthful

exuberance, deftly counterbalanced with a musical maturity that belies their young years. Fusing

together contemporary indie with smatterings of funk give the band both a timely, and timeless,

sound, providing the lads with a definite edge over their peers.

PATTERNS

THE SLOW READERS CLUB

KING KARTEL

MONEY

- 13 -

When Patterns released their debut LP Waking Lines almost exactly a year ago, I knew it would make at least one of my Top Ten Albums lists, as it is, it seems fitting that I should include one of Manchester's most melodic on this list too. Having featured them on the Manc Tank before, the band should really need little introduction, but with a new album on the horizon, and a headline show at The Deaf Institute booked for March, it seems myself, and others, are going to be able to get excited about the band all over again.

Having drawn numerous comparisons to Editors, Manchester's Slow Readers Club built up a fan base through numerous headline shows, festival appearances and steady releases, and are perhaps one of the city's most respected and well-known smaller acts. With such a reputation, one might be forgiven for thinking that TSRC have set the bar too high, too early, but with each single that drops, the band manage to outdo themselves. And whilst little has been said on the subject of an album release, one can only hope it's going to be in the not-so-distant future.

Despite following King Kartel almost since the beginning, it was only this year when I finally managed to catch them live. I wasn't disappointed. The indie jangles, the punk energy, the cheeky Irish banter (when you can actually catch what singer Hugh says between songs), all of it made for one of the highlight performances at this year's Blackthorn Festival. Having been familiar with the previous iteration of the band, it's great to see everything which made The Genuine Articles as catchy as they were, back in full force and we can't wait to see what they have to offer as we start the new year.

Perhaps one of Manchester's most hipster-friendly bands, but without a doubt one of the city's most romantic, MONEY are a breath of fresh air when compared to some of the more generic acts the city has to offer. Once part of SWAYS, now signed to Bella Union, the band's popularity has soared since the release of their debut, seen actor Cillian Murphy make his directorial debut with the video for 'Hold Me Forever' and ultimately proven that Manchester can once again be more about poetry than Parkas.

THE BACKHANDERS

PLANK

Relative newcomers to the music scene but already a firm favourite among the people who count and who know what they are talking about. Mr Peeps Says is a big fan and from what they showed with their ]hn[e^�:&lb]^��<Zfi_bk^(=hpg�;r�Ma^�Kbo^k��ma^r�aZo^�ma^�mng^l�mh�[Z\d�ni�ma^�k^inmZmbhg'

Whilst kraut-rock inspired prog might well be an acquired taste, the first time I heard Plank's Hivemind album earlier in the year, I acquired it. Potentially the middle offering of a conceptual trilogy (the band's debut was titled Animalism) Hivemind takes it's cues instead from the insect world, and such inspiration is easy to believe, once you hear such tracks as 'Swarm Behaviour' and 'Moth Lover'. Not perhaps the most accessible of bands on my list, but one which shows the depth of Manchester's scene.

BLUE SAINT

SUGARKING

GREG OLDFIELD

TIZ McNAMARA

- 14 -

Now that 2014 is a thing of the past it seems only fitting and inevitable to move on. What else can we do? So at that, and the anniversary of my first review,

I have composed a list of ten Liverpool artists to discover in the next year. Feast your eyes and ears upon every last one of them. However for me it is back

to my Stilton and beer whilst I cling onto the last of these few remaining festive vibes.

And now, my thoroughly appreciated readers, take advice from this list and do not just turn the page after a brief moments glance. Google these unheard

prophets of modern day music: Soundcloud, Youtube, Twitter or Facebook, and take your pick of Liverpudlian artistry. You’d be an utter fool not to.

A hip hop connoisseur with the ability to combine the distant sounds of Marseille's triumphant IAM and Paris' Supreme NTM with the likes of Tupac Shakur and Affirmative Action - creating his own distinct and deadly concoction of deep and thought provoking lyrical rhymes against the back drop of a constantly evolving, moving and living concept body of work.

Ma^�lp^^m^lm�\hgm^fihkZkr�kh\d��g��khee�ikhm^bg�laZd^�B�aZo^�^o^k�]b`^lm^]'�Ma^r�are a high speed collision between Jeff Buckley and Led Zeppelin with Black Stone Cherry, Buckcherry, Defeater and Ten Years After used as traffic cones cordoning off the beautiful catastrophe.

With no disrespect to Greg, he is no longer as young as his comrades dictated in this list. But with that, comes to me, the definition of dedication. He has spent his whole life crafting his art alike a fine ventriloquist day in, day out; In bands and on his own. A singer-songwriter. The father of industrial folk. A local legend. But still I struggle to form sentences to explain to you the brilliance of Greg Oldfield.

I saw Tiz for the first time about a year ago now. In short they are a brilliant band. They mix black and white emotive lyrics with a melancholic brightness in the form of chord structure and drums resulting in a cry that sounds like Damien Rice fighting Kodaline after a rum fuelled row over Sparklehorse. But boy does that cry sound sweet.

JAZZHANDS

SCARLET

THE PROBES

YARBO

Complex is a word that is far too frequently thrown about. However that is not the case for Jazzhands. In

their case, complex is the bare minimum in terms of explaining the extremities of maddening confusion in

which they portray song in song out. Imagine Frank Zappa being fucked by Miles Davis. It ain't pretty. It

ain't easy. But it is sure as fuck different and thought provoking.

:g�bg\k^]b[er�lhne�lmbkkbg`�Zg]�Zmfhlia^kb\�\heeZ[hkZmbhg�h_�[^Znmb_ne�Zg]��ng&`^gk^&Z[e^��ghbl^'�Mhn\a^l�h_�LZ]^%�Ihkmn`Ze'�Ma^�FZg%�Fh[r�Zg]�Ma^�<kZg[^kkb^l�makhpg�Z`Zbglm�hg^�Zghma^k�bg�Z�kZ`^�h_�indistinguishable heartbreak.

>o^kr�mbf^�B�l^^�Ma^�Ikh[^l�bm�bl�Z�g^p�[nm�^jnZeer�[kbeebZgm�^qi^kb^g\^'�Bm�bl�ebd^�Z�\Zk�\kZla�[^mp^^g�German Krautrock and punk but they both happen to have Captain Beefheart on the radio at the

fhf^gm�h_�bfiZ\m'�Ma^�Ikh[^l�lmZg]�hnm�_khf�ma^�\khp]�&�fhlm�ikh[Z[er�]n^�mh�ma^bk�l^e_&�ikh_^ll^]�]^lbk^�mh�\k^Zm^�Z�g^p�`^gk^'�Ma^r�Zk^�makhpbg`�]hpg�ma^�laZ\de^l�h_�[hng]Zkb^l�Zg]�fZdbg`�lhf^mabg`�new.

If anybody deserves to make it it is Yarbo. I have followed Yarbo profusely since I was about twelve

years old. And year after year Yarbo have toured the country in the endless search of becoming

lhf^mabg`'�Ma^r�Zk^�Z�ar[kb]%�Zg]�g^p�pZo^�h_�Z\hnlmb\�_hed�]b__^k^gmbZmbg`�ma^fl^eo^l�_khf�ma^�la^^i'�MZdbg`�ma^�[^lm�_khf�^o^krmabg`�`hh]�bg�fnlb\�Zg]�makhpbg`�bm�bgmh�ma^�_krbg`�iZg�pbma�Z�lb]^�hk]^k�h_�phkdbg`�\eZll�Zg`^k%�iZllbhg%�mhkf^gm�Zg]�lZ]g^ll'�Ma^�fnlb\�h_�RZk[h�bl�Z�\Z\hiahgr�h_�nil^m�[^Znmr'�

CHINA WHITE

ENDERLINE

B_�rhn�mhhd�Z�[b`�lhni�ihm���ebd^�ma^�hg^�bg�Hebo^k�Mpblm�[^_hk^�ma^�\a^^dr�ebmme^�=b\d^glbZg�Zldl�_hk��fhkk^^^^^^^^^^^^^����Zg]�_bee^]�bm�mh�bml�f^mZeeb\�[kbf�pbma�KZfflm^bg%�ma^�AZiir�Mondays, Underworld, Plan B, Frankie Goes to Hollywood and Sly and the Family Stone

then you would get a sauce almost as sweet as China White.

CZ\d�Mahfilhg�pZl�[e^ll^]�[r�@h]�pbma�Z�ohb\^4�Zebd^�Z�kn``^]�=Zob]�@kZr�pbma�Z�`nbmZk�^f[^]&]^]�bgmh�abl�lhne'�>g]^kebg^�Zk^�g^p�Zg]�_k^la�Zg]�k^Z]r�&�ma^r�Zk^�ghp�cnlm�e^_m�ZpZbmbg`�[b`�mabg`l'�Personally, I cannot wait to see what comes of Enderline in the next year.

- 15 -

Best of 2014 - Videos

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These positions are on an intern basis but could lead to a possible summer position

reviewing at music festivals for the right candidates

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Little Hours are a duo that we have been seeing a fair bit of in the latter half of 2014 and they have had a productive few months with regards everything. From the release of their EP to supporting Gavin James on tour, it has certainly been a year that has seen them get their just rewards. From the start if ‘Tired’ a telling sense if precision is added to the ebb and flow here that is extremely impressive. Lingering in the intricacies is a true showing that goes a long way here and helps to create a telling sense of structure that is telling as the performance progresses. The big emphasis placed on structure handsomely pays off. That is because it allows the softer calling to comfortably fit around the calling. There is a true showing of relevance to ‘Hope’ that shows in how it all leads in, which is confirmed by the stellar strength of depth found in the lyrics. This tasteful effort is given a good showing in the progression that then becomes solid as it picks up.

The lead track off their aforementioned EP ‘It’s Still Love’ was next. Here they carefully consider the safety that is found on the intro. This inviting facet makes the showing rather neat. From the telling reach on show there is an emotional tiding that keeps it together. Here the worth is found and the tight showing is all in sync. The delicate showing of their rendition of ‘Let It Snow’ gave their version of the Dean Martin classic a somewhat token feel. Closing out was ‘Ember’. Again this is another rather pleasing number that has an inspired pull to it. That is a considerate calling that comes across in the lyrics. But how they deliver it collectively has a fulfilled balance that is brought about by the piano/guitar combo which adds a real touch of class to how it plays out. In that even calling the substance of the lyrical narrative levels out to fine effect.

THE RUBY SESSIONSDoyle’s Bar(9-12-2014)

LITTLE HOURS

WYVERN LINGOIt is an impressive feat to be able to say that I spent my Tuesday evening satisfying that need for good live music sat here in Doyle’s as the first of the two Ruby Sessions Christmas specials kicked off with Wyvern Lingo. They are currently a very active act on the Irish circuit that are playing support to none other than Hozier at the moment and they took the time out to come and play some tunes here tonight. The first of four tunes from them here tonight was ‘The Widow Knows’. This is the title track of their EP which was released during the year (which we also rated 10/10 in our September issue). This is a well-reasoned showing from them. That is called out in the harmony in a way that really makes good use of the effective presence they are capable of producing as a trio. You are moved by how neat the strong opening on the song secures that effect. The compact combo of cajun and guitar here easily make their way through in the playing to give it a sense of hardened resolve to match the depth conveyed. Their cover of ‘Grace’ by Jeff Buckley is something they specifically have developed for their slot on ‘Other Voices’ and it suits their vocal range perfectly.

Following that was ‘Snow’, to which they have recently released a video. Here there is a steady poise that comes to pass. The gentle touches are evenly considered here and are eased through, but in how they come to pass it is all very much a commanding performance with all hands on deck. They built up a good rapport with the audience, which is something that we have always picked up on from watching them over the last four years. Closing things from them was their single ‘Used’. It is a brilliant showing from them and sung a capella. This gives it an additional sense of worth that is fairly traded on. In the purity of their vocal harmonies everything cleverly suffices which makes it all the more engaging. It is a layered effort but the cautious way everything falls into place brings forth a true level of sincerity in the performance.

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The great honour of closing tonight rightly fell to Gavin James, who, in our opinion, is an artist who can probably claim that he owns The Ruby Sessions any time that he plays there. That is not ego in any way, but a clear testament to how professional he is every time he turns up to play. We have yet to see him turn up and play in a way that is a case of him ‘calling it in’. We have remarked in the past that he treats the place like a second home and tonight on that stage he was where he belongs. A technical hitch didn’t deter him when he got ‘For You’ underway. He just belted it out unplugged and carried on regardless. The way he pursues the delivery is incredibly impressive. His voice easily accommodates the high notes and he hits them with a consum-mate ease. Yet there is also something incredibly impressive about the intimacy that he creates within his performance. Again he corners this brilliant of level of emotion in his artistry that is thoroughly convinc-ing and it comes through again on ‘Nervous’. The clever way it is all conveyed showed how much he was in his element here tonight. The honest and heartfelt condition of the song is realised in a benevolent way.

A hint of mercurial enigma was then called upon before he launched into ‘Coming Home’. This warmed up the crowd. Judged on merit, it is a song with a wonderful consideration about it all that spills forth from his voice. Yet he develops this incredible level of pace from the guitar before closing it all out. That excellent showing gives it a resounding kick but still allows him to keep hold of the reins. Keeping in the festive spirit came ‘Have Yourself A Merry Little Christmas’. That soulfully stirred effort was then followed up by ‘Say Hello’. Arguably this could be considered his signature song. There is real worth to be found in the brilliance of it, while soft temerity that he comfortably exudes on the showing is a condition that further enhances everything in the skilful way he carries it all off. He left his guitar down on the stage, and even though the crowd expected an encore, he duly obliged with a steady rendition of ‘You Don’t Know Me’ by Ray Charles. A splendid cover indeed and although he only did the one song for his encore it still felt right to close on this number.

GAVIN JAMES

KODALINEThe impressive pulling power of The Ruby Sessions is something that has been earned over the past 15 years. Each week we write our reviews underneath a real who’s who of names on the wall behind us. Based on the showing of this band here tonight they were certainly deserving of consideration on that esteemed list. It all got underway with ‘A Love Like This’. A commendable degree of precision powers this along. You feel the finesse and that energised calling is a telling high point that lights it all up. Adding to the content way it plays is that big stage presence that they have. Albeit the smaller confines of Doyle’s they still worked the crowd and the tight showing of the vocals brought out the solid showing of determination here. The intimate surroundings here tonight suited ‘One Day’. Off the opening pursed vocals it all cleanly came to pass. A patience residing in the tempo hooked the audience, and they even joined in at the start. To witness them play was a truly humbling experience, but their reputation as a live band was confirmed by this. This was glorious effort that was faultless. Keeping the crowd happy they followed suit with another favourite. This time it was ‘High Hopes’. How this one was delivered just made the hairs on the back of the neck stand up. A purity of essence is found at the core, which spills out efficiently and with a heightened sense of belief.

The audience were in for a real treat here tonight because they then played two new songs off their upcoming new album. The first was ‘Ready’. This saw the sound become more driven by the piano. Endearingly it all opens with a heavier sense of purpose that comes through in the vocals. An apparent sense of worth collects in the progression, while the backing vocals are a steady calling on this one also. Stowed away in the emotional characteristics is a supple level of heft which doesn’t overburden the tracking. If anything it readies it in a more substantial way which then allows ‘Love Will Set You Free’ come to pass. Again they come up trumps with this one. A weathered context is noted from the lyrical narrative which carries a solid degree of conviction as much as it does substance. A steady acceptance seems to converge in the running which adds a touch of formidable quality to an already excellent tune, but sometimes it is those little touches that mean the most. Closing out a stellar set was ‘All I Want’. In the true spirit of professionalism they invited Gavin James to join them on stage for this one. A poignant tune in its own right, here it was very well received and it seemed to hold a moment that they owned all of their own as they delivered it. In the soft calling of the way it is all structured they still managed to gather a degree of momentum in the tempo. It was a brilliant set from a world class act it must be said.

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There are among a select group of artists that can call The Ruby Sessions a second home and The Young Folk are one of those. They are in fine company and they are held in such high regard that Conor Donovan admitted they were the first act that they wanted to book for their annual Christmas nights. They rein in the splendour and revel in it at the same time with ‘Wolves’. To be found in the skip of the acoustic guitar and mandolin combination is a degree of merriment that is easily picked up on. It seems to give their live showing a rather stern demeanour and the harmony flows in sync with this. The freedom about it all is given a sweet awning that is rich in texture. Current single ‘Letters’ then followed. There is a token calling to be admired from the heartfelt way it all comes together. What is highly welcoming about the way it works is the obvious craft. It is all handsomely figured out but it how the neatness is realised that really pulls you in.

Again they trade on their autumnal presence with ‘Bright Eyed Thieves’. Watching them here tonight you can see the detail in the sullen patience that seems to evoke a deliberated upbeat calling in the tempo. There is something virtuous about it that contains a high detail in terms of musicianship but also there are sparse elements that gauge the contemporary leaning quite well. Perhaps that is a feature that they could explore further because it is suggested on more than one song here tonight. They closed down with ‘Way Down South’. This is another excellent tune and shows what a great band they truly are.

THE RUBY SESSIONSDoyle’s Bar(16-12-2014)

THE YOUNG FOLK

AUGUST WELLS A rain soaked Tuesday night the week before Christmas and the trek in was certainly worth it. The four acts playing tonight - August Wells, The Young Folk, Danny O’Reilly and Ryan Sheridan - are all capable headliners in their own right, but to see them share the billing tonight finely underlined the appeal and respect that The Ruby Sessions has among artists on the Irish and international music scene. All in all it was a night of fine live music and all in aid of The Simon Community.

AUGUST WELLS got everything underway here this evening. The first two songs he played immediately drew comparisons with Lou Reed. Such was the high level of bravado and off key intelligence in the magnetism of the lyrics. ‘Hello Mr Sun’ came first and there is a delicate structure about it all that is delightfully catered for by the piano here. That in turn meets with the soft strum of the guitar. It is well worked and in how it is called through the thoughtful considerations hold well. But again those vocals are highly stylised here and they show quite well alongside the poetry of the lyrics with ‘Broken Dream’. They give it a derivative that kindly carries it all through. At the core this guides things musically and the lithe quality in his voice gives it an appealing hook. Yet there is a lot to admire from the brass and string arrangement that so suitably comes to pass.

When he began to play ‘Paper Garden’ a buoyant drift attractively features in the tempo which then steps out steadily. The sensible texture that comes across adds a touch of distinction. It is very well collected and the refined demeanour is kind to it. Hints of a contemporary jazz impresario come to pass as it is all kept on track, while the high vocals that close it are also a big drawer here. On his final song ‘There In The Wild’ he commands everything. What comes to pass in the affirmative is comforted by the solitary feel of the trumpet. That showing is overall rather content but it retains a neat sense of fluidity that is cautious and delivered rather well. How it is all eased in fronts things fashionably and the sunken showing is something that it all takes heart from.

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A man who needs no introductions because he has earned every accolade that has come his way over the last two years. Yet here he was in Doyle’s on a Tuesday night playing to a highly attentive audience who hung on everything he delivered here tonight. From the fine showing that was ‘Home’ right through until he closed out with ‘The Dreamer’, everything was on the money here tonight from him. He comfortably held it all together with ‘Home’. Easing into his set off the back of this one gave him a pacified presence. There is a degree of measured quality in the playing here that shows. Then the relative breakdown from the flight of the guitar cushions the tempo of ‘She Says’. He capably braved the emotive side in a demanding way which is carefully brought through. But he leans into it in the later progression and things seriously move up a gear when he does so. New song ‘Here And Now’ has a more urgent kick in the showing, It is lively. The upbeat side is smartly traded on yet it has a narrow meander to it that is convincing. While the resilient push from the cajun also stands out for the right reasons.

The sharp handling of ‘Stand Up Tall’ is evident and truly pulls the rhythm together. It is very engaging to say the least. The proven weight of his voice careens across brilliantly. That is a feature that travels through on the playing elements. Although it is a more funky effort there are little touches of the blues to be picked up on in the bridge, but the pace of the showing matches the expectancy which is what matters. His next offering sees the intro leaned into and this then comes to reside in a solid manner. The pace of his vocals is incredible and gives it lift, while the rendition of ‘Baby Please Don’t Go’ by Them also worked in for good measure.

Surprisingly enough the only Christmas song of the night was his rendition of ‘Walking In The Air’. Yet he did his own take on it and it was really impressive to see live. Yet he seemed to have his set worked out at this point because ‘Waiting For My Life To Change’ came next and the showing here is a more intricate affair. It brings a calm demeanour to his set that stays the course. But it is a rich presence that is derived from the warmth of the lyrics. Then he certainly saved the best ‘til last with ‘The Dreamer’. He just dived straight in and got down to business. The baying crowd lapped this one up big time. It is a really powerful tune in its own right but here he just showed what it can do when it is played live. Faultless is the best way of summing this one up and it was just the best track to close out on.

RYAN SHERIDAN

DANNY O’REILLY Flying solo tonight was The Coronas front man and he was extremely comfortable in his set from the off. He had flown in especially to play this gig. But the most poignant thing about it was that he played at the first Ruby Sessions of last year, and here he was playing at the final one of 2014. Not including the two upcoming gigs that are part of New Year’s Fest. When he played ‘Heroes And Ghosts’ it wasn’t just a case of someone playing on the stage. It was more a case of one man and a guitar holding a whole room. What was also extremely impressive was the fact that he sang it without a mike and still managed to move the entire audience. Then came another clean delivery with ‘All The Others’. It is another coveted effort that retains something of substance in the sheltered calling. It is a rich number and in how that is conveyed he manages to press the right degree of endeavour from his perfor-mance.

His next effort ‘My God’ has something cumbersome about it indeed. The reflection in the lyrics carries a sense of catharsis through. It is a telling feature and easily admired when picked up on in the delivery here. It is what gives the song true worth and value. He presses the endeavour through in a telling way that seems to realise a great deal artistically in doing so. There is a soft and conclusive feel that comes to pass with ‘My Fault’. It in turn gives good consideration and by design it is a solitary number. Yet as the guitar toils away his vocals and the lyrics shine through in a very convenient marriage that conclusively comes to pass. The softer leanings are processed cleanly to give it a more rounded feel. He collects everything smartly and closed out a fine set with a deserving effort in the shape off ‘Closer To You’. There is true merit about everything on show which is confirmed by the assured presence he conveys. But it is also a rather solid song in its own right. Which is rightly deserving of praise, as is his performance here this evening.

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This is the January 2015 4x4. It is an editor's pick of four videos by four artists selected from four of our music networks.

At U&I we work with 94 co-ops across 49 countries and the music network that the recommendation comes from is indicated in brackets.

CLEMENTINE AND THE GALAXY -'When The Night Is Over'(New York)

THE KONIAC NET -'Chasing After You' (India)

THE MANHATTEN SYNDROME -'American Heart'(Dublin)

FAZ WALTZ -'Kids Are All Wild'(Rome)

HAPPY NEW YEAR TO ALL OUR READERS