How and where to promote a jazz gig in Dublin

How and where to promote a jazz gig in Dublin.

This post is going to be a little different than what I expect most of my blog posts to be like. It’s a practical list of things people need to do (as of April 2017), to promote their jazz gig in Dublin. This isn’t how to successfully build a jazz career, promote your brand, build a product. This is simply, I have a gig with a pick-up band in two weeks, what should I do? You can find more thoughts at the end regarding the bigger picture.

Step 1: Essentials. Put together a (online) promo pack, no matter how small.

Things you’ll need:

A colour photo (or a poster image, or both).
Descriptions/blurbs/details in a word file
A cover letter

Preferably a photo of the band together, preferably in action. Drummer and journalist for the Irish Times Cormac Larkin says in his guidelines for Irish Times listings – head shots just don’t cut it. I’ve had a conversation with him about it. It make sense. I was also talking to Cote Calmet about this who has had a lot of success promoting his bands Phisqa and the CEO Experiment. He spoke about the importance of a good poster and about gaining some skills in design.

If you don’t have a lot of IT skills, there are lots of apps out there that make designing a poster easier. I made the one below in less than five minutes using an iPhone called Phoster, the app costs €1.99. Yes, compared to a professional design, it might be cheap and nasty, but for a one-off gig, it has more impact on social media than ‘I’m really looking forward to my gig next week with Greg.’

Sample Poster

Click here for some more about images.

Images just get more complicated the more you look into them, so to speak. To be honest, I never have until now, I would upload an image, if it looked bad, I’d fix it. However, there’s a smarter way.
Apparently, according to Facebook, the correct Facebook event cover photo size is 1920 by 1080 pixels (16:9 ratio). Pictures uploaded in a wider proportion will have the sides cropped. Taller images will be cropped top and bottom. However many people report problems with those dimensions and instead suggest 1200×675 or perhaps even 1640×675 (which will produce the same result but with a different ratio aspect). 1200 x 675 also apparently produces the best results on mobile over desktop. Also, crops anything that isn’t a 3:2 ratio. It can be a good idea to use text on your cover photo too.

The folks at have a pdf that covers ideal image sizes for all the main social media sites.


Click here for some more on blurbs.

You will need:

A Brief Description (about 30 words).

For submitting to websites.

A Short blurb (about 60 words).

If you’re really going to do this properly, I suggest at least two and maybe three blurbs. The first one is for your Facebook event, try to make it more like a press release than a bio. If you can’t summon the creativity, just do the bio thing. This will also be sent to most of your online sites (listed later on).

A longer Blurb (around 300 words). (Optional)

Imagine you’re the online editor for Hotpress. Hotpress don’t do gig listings, but if they did… sorry… but they occasionally do features on bands and gigs. If you can make your gig sound exciting enough, like an album launch, amazing concept, something, and give them most of the work done already to a high level, they might, just might, put it online, who knows, maybe even in the magazine. You are basically writing a press release. Not just for Hotpress, but for a number of the websites. The good news is, once they have printed it, you can quote it back in your marketing. You send Hotpress a release telling them that your band is the hottest thing in Irish jazz since burnt toast. They publish it somewhere. Your next press release reads ‘The hottest thing in Irish jazz since burnt toast – Hotpress Magazine’. I know. It seems wrong, it all seems so wrong. But that’s what people do. You’ll never trust a press quote again.

Put it altogether like this, preferably in a Word document (they can cut and paste the easiest). If you can’t do a word doc, then pdf or plain text. Attach the photo separately regardless.


Venue with address
Time, Cost, Website (if no website, put your Facebook event)
Your brief description, short blurb and longer blurb. Label them.
Contact info (email & mobile) for more details.
Links to music samples if you have any.

When sending this to email addresses, include a brief cover letter like:

I’m Damian from the Damian Evans Trio. I wanted to submit my event listing to you, please find attached all the information you’ll need and a photo. If you need anything else, please get in touch.
Best regards,

If you can:
A Youtube video – Yes, you can live without it, but everyone loves a video. I don’t know how many people watch them all, again, it doesn’t matter. It doesn’t need to be fancy, use your phone, get a 30 second clip of a rehearsal, put it on social media. Put your cat in it.


Step 2: Decide whether you're setting up a Facebook event.


Decide if you want to set up a Facebook event. It depends on the venue, but it’s usually a good idea, in fact some of the submission forms require it. You can also include the link in your promo packs. Yes, inviting people is a drag, especially picking out all the people living in Dublin from your friends list. I don’t know of anyway to make this process easier, if anyone has tips, let me know. Make sure the event is public. Make band members admins. Allow anyone to post on the event page. Use your photo, or if you don’t have, make a poster like I mentioned earlier.

Sharing the Event:

I honestly don’t know if the law of diminishing returns comes into play with Facebook, but decide for yourself how many walls to post on. Ideally you build a relationship with people and they will share it too. Most posts on page walls get moved to non-prime viewing areas and get missed. I feel like it’s a good idea to target some non-jazz pages though, lest we all end up just talking to ourselves. Although it feels like ‘Irish jazz’ may be the most important place to put it, it will only be seen by the 265 members, most jazz musicians themselves.

Click here for a list of links to Facebook pages:


Step 3: Submit your event to Cormac Larkin at the Irish Times.
Now you have your press pack and your Facebook event page, you can go and share that with as many press and event listings websites as you can find. Start with Cormac Larkin. Step 4 has 16 more. Each one is slightly different. Some you just send your press release, others you put all the event information into a website. They take about 5 minutes each once you have your press pack. You can save time by saving gig details to a clipboard app, so you’re not typing everything out each time. That’s about an hour and a half of work.

Email to Cormac Larkin for the Irish Times listings.

You can use his guidelines for a number of submissions. Cormac won’t just reprint what you give him, he’s too good for that, but the more you can give him the more he has to work with. The Irish Times have changed a lot with their listings, the last change being mid-March 2017. Here is Cormac’s email from the time.

From this Friday 17th, the listing of concerts and events will be changing to a new format. There will no longer be complete listings of all events for the week. instead, the ‘Seven Days’ section – in which Irish Times critics preview their recommendations for the week ahead – will be expanded to four pages and the previews will be longer (about 140 words).

This means that I will be writing up to four extended previews of jazz and related music concerts every week. These previews can be a useful tool in promoting your event, and many musicians/promoters share these previews via social media.

To propose an event for a preview, e-mail me ( with details of the concert at least 8 days ahead of the publication date (ie. the Thursday prior to publication on the following Friday covering the ensuing 7 days). If you produce a press release with information about your event, with details of personnel and repertoire, your chances of a preview will be greatly increased. If you have good photography of you or your band, that greatly increases the chances that it will be noticed in the paper.

If anyone wants more information about this process, don’t hesitate to contact me on



Step 4: Submit it to 15 other sites.

Submit the event to the Improvised Music Company

Go to the website and follow your nose.

Submit event to

This website is run by Red Keane, and includes Donald Helm’s podcast The Hot Box. Register and then you can submit gig listings.

Submit to the Irish Time’s ‘What’s On’ section.

You need a brief description of less than 30 words for this one.

Submit event to

Run by promotor Dominic Reilly, was initially setup by saxophonist Katherine Wyers. You can submit a gig by clicking on the ‘submit a gig’ image link on the right hand side of the website, or go straight to

Submit event to the Journal of Music

You’ll need to register here as well. Go to:

Submit to

You’ll need to setup an event partner account. It’s free. Then the submit event link is at the bottom of the page.

Email press pack to

Totally Dublin’s online listings seem to be empty, but their music page is full, so submit it. Sure, you may as well use the same guidelines as the Irish Times. Email:

Submit event to

Who knows if many people use this. Perhaps tourists? Still, putting up an event doesn’t take long. [edit] I take that back. The whole venue management section of the website really slows things down. [/endedit] If you apply for arts council funding in the future you can let them know how Arts Council friendly you are. It has a nice stats page.

Submit event on Jazz Near You

Go on, do it for the tourists. Jazz Near You is part of You’ll need to set up an account again to submit an event.

Submit to all

This website can import directly from your Facebook event. Nice.

Email your promo pack to tend to use a short description (30-120 words) and a large photo.

Email your promo pack to is run by Fáilte Ireland. Their blurbs tend to be around 100-150 words. There was only one (international) jazz listing when I looked, so if they aren’t putting them up for some reason, get onto them. Consider it jazz activism.

Email promo pack to

They tend to use short descriptions and a photo. They also have an Irish Band of the Week, I had a quick look over the last 3 years and didn’t see any jazz groups. Make a case to be the first. My gift to you.

Email promo pack to the Dublin Event Guide. (Free events only)

From their website: If you want to promote your free event send a mail to: with all the details about your event and make sure that you confirm that the event is free. If your event is not free, please decide first how many tickets you can make available for a competition and then send all your information to the same e-mail address.

Email your promo pack to

Generally more rock and pop than jazz, (all the more reason to send it) tend to use varied length blurbs, so send your whole press release.


Step 5: Do the twitter thing.

Twitter/Instagram/Snapchat/FB accounts – If you’re in a group that are moving beyond their first gigs, you can consider an account for the group. Otherwise, just use your individual accounts. I’ve only used Twitter and FB to promote gigs, I have an Instagram and Snapchat account but don’t use them for gigs or anything else much. They say the kids do. Maybe a guest blog spot from a millennial?

Tag musicians, tag organisation, tag venues.

Hashtag #Irishjazz and/or #dublinjazz or hashtag of your choice, if you have space. Usually you would include a link to your Facebook event, or to an image of a poster with all the information.

Use your common sense, don’t spam people but here are some that should mostly be happy to be tagged.


@DublinEventG  (for Free Events)
















Further thoughts.

These really are, like I said, just ideas for simply promoting your one-off gig, rather than the bigger picture. As both Cote Calmet and Cormac Larkin both rightly pointed out, the sooner you start looking at it as more than just a series of unconnected gigs, the sooner you can make something larger happen. That said, sometimes a gig is just a gig that you’d rather 40 people came to rather than 10. As someone said to me during my PhD studies ‘It’s like this has to be in some way massively world-changing. And it doesn’t—it just has to be a fuckin’ night of music.’ Although the jazz world rightly often talks about having higher aspirations that just a night of music, jazz gigs are often one-offs, musical and social experiments that greater things sometimes from from. But even if it is just a night of music, we still want as many people there as we can get. I’m hoping these ideas help with that.

Cormac Larkin had some insightful comments to make about this blog post, he had a read for me. I think he approached it at a different level than I did, but promotion is his bag, and I’ll bow to his greater knowledge. Rather than leave these ideas for a later post, I thought (with Cormac’s permission), I’d just share them. Here you go:

Musicians should be looking to make alliances with other creative professionals, whether its designers, photographers, film-makers, sound engineers, lighting designers, etc. We are all creatives, and we are all trying to make our way. You might have to pay a designer a few quid to design a poster for you, but a) he or she is trying to make a living too, b) you expect them to pay into your gigs, and c) money spent on an image that will capture the imagination is probably money well spent – you might even be able to get the venue or promoter to share the cost, or find a sponsor. Young designers are often looking for projects to get started on. My advice would be to find a young designer in one of the art colleges and figure out how to barter for work. And, this is most important, don’t tell them what to do. Find a designer you like and trust them. Treat them like you hope promoters or venues would treat you.

The best thing any young musician can do is to learn from the guys that are doing it well already. You mention Cote and CEO, and yes, they have been amongst the more efficient self-promoters. But actually, there are very few (none?) Irish musicians getting this right. Maybe Diatribe, David Lyttle, Choice Cuts and IMC worth checking out. But I would recommend that people look at what is being done by the professionals, both in Ireland and elsewhere in the world. Off the top of my head, the guys that I think are getting jazz promotion right (or sort of right) include: IMC, Match and Fuse, Brooklyn Jazz Underground, Cuneiform, Serious, Edition Records, Les Productions de Vendredi, Whirlwind, Jazz Danmark, (That’s a real top of the head list)

Research. I can’t tell you how often I get emails from people asking things like ‘are you still doing the listings in the Irish Times?’ Idiots. If you are trying to get a journalist to write about you, have the courtesy to buy the paper, check out what they are writing and familiarise yourself with the spaces and slots they have at their disposal. Making an effort pays huge dividends. Like anyone else, journalists will respond to being treated with respect. If you don’t read the paper, or know what the journalist writes about, that will be pretty obvious and is the best way to get nowhere with that journalist.

Communication strategies. There is no magic bullet. It’s not a case of finding the right lever and pulling it hard. Promotion, in today’s infinitely fragmented market for music, is about pulling a little on many levers. So do your research, find out which channels work best, and learn how to use them.

Finally (back to me): Why are there so few jazz acts at the festival? Someone should get onto that.


Summary. (TL;DR)


Online Submission:

  1. Improvised Music Company:
  2. Jazz Ireland:
  3. Irish Time’s ‘What’s On’ section:
  5. Journal of Music:
  7. Arts Council Event Listings:
  8. All about jazz:
  9. All events.


  1. Irish Times Listings:
  3. (Short description (30-120 words) and a large photo)
  4. 100-150 words.
  5. (Short descriptions and a photo)
  6. Dublin Event Guide: (Free events only)


  • @Blueofthenight
  • @DublinEventG  (for Free Events)
  • @Dublinjazz
  • @Dublintown
  • @GigGuideIE
  • @GigguideIreland
  • @Improvisedmusic
  • @Jazzireland
  • @lovindublin
  • @Musictowndublin
  • @music_ireland
  • @MusicNetIrl
  • @Newparkmusic
  • @Realdublingigs
  • @Subscribedublin
  • @Totallydublin



Irish jazz (Closed group):
Jazz Ireland:
Jazz in Dublin:
Trinity College Jazz Society:
Jazz on the Terrace:
The Jazz Lab:
Jazz Jam Session at the Grand Social: – –
Journal of Music –
The Dublin Music Scene –
UCD Jazz Soc –
Newpark Music Centre:


I hope that’s of some use to somebody. No two events or groups are the same, it’s meant to be a guideline, but please, do let me know if I’ve missed anything important, or if I’m completely missing something important (like Snapchat? Instagram?), (but not myspace).

Posted in Dublin jazz scene | 1 Comment

Ireland, Jazz, Dublin Zoo, Bloody Sunday and the Athlone Musical Society.

Last year marked the hundredth anniversary of the 1916 uprising and, if you’re a jazz fan, you’ll probably be aware that this year sees the hundredth anniversary of the first jazz recording by the Original Dixieland Jass Band (or Original Dixieland Jazz Band as they came to be known) in 1917. Jazz didn’t start in 1917 of course. It’s hard to say it started at any particular time, instead, the music changed over time and at some point, the name jazz stuck. But it’s messy. Jazz meant different things to different people as much in 1917 as it does now. The all-white ODJB weren’t the first jazz band, just the first to record and claim ownership to the name. Critic Kevin Whitehead makes the good point that genre was as intangible then as it is today, and that the journey to the first jazz recording was a gradual one. You can listen to a NPR radio programme that discusses some of his ideas here.

So what does any of this have to do with Ireland? Well, early jazz in Ireland has been largely ignored by just about everyone, oftentimes, I think, due to the fact that what it seemed to represent then is difficult to reconcile with how we often understand jazz performance today. As part of my PhD research, I looked into early jazz performance in Ireland, and in particular Dublin, and was surprised by what I found. I intend to write some blog posts about pre-jazz musical history in Ireland at a later date but now I want to focus on what my research indicates was the very first jazz performance in Ireland.

For non-Irish readers, a little background in one sentence. Following on from the Easter Rising of 1916, the Irish War of Independence had been fought between 22 January 1919 and 11 July 1921, which was closely followed by the eleven-month Irish Civil War from 1922 to 1923 and the declaration of the Irish Free State on 6 December 1922. In this turmoil, jazz was not a priority for even the most cosmopolitan Dubliner.

Jazz was very much a dance music and who had time for that in 1919? Well, to be a little facetious, the British armed service and their visiting friends from the USA armed services may have had time (in fairness, everyone dances during times of strife). The Irish Independent of 15 February 1919 reports that ‘Mr Gordon’s “Jazz Band” of 5 U.S.A. Naval men in uniform’ were the ‘principle attraction’ at the ‘Zoo Ball’ held the previous night in the Royal College of Surgeons. There were three-hundred in attendance (supper was served at midnight) including ‘many officers of the Army, Navy and Air Force’. The vast majority of the column lists the dignitaries present.[1] The December 1918 election had resulted in a landslide victory for the Irish republican party Sinn Féin, whose MPs deliberately abstained from taking their seats in British Parliament. Subsequently, they formed the first Dáil and declared independence from Britain on the 21 January 1919. The War of Independence would not escalate until later that year. Twenty-four days later the British forces were dancing to jazz in the Royal College of Surgeons on St. Stephen’s Green, just a stone’s throw away from the Mansion House, Dawson Street, where the first Dáil had declared independence.

Advertisement from the Irish Times for the Zoo Ball

Of further relevance to Dublin musical history is that ‘every alternate dance’ was played by Mr. John Clarke-Barry’s band. John Clarke-Barry was the father of Billie Barry who went on to found the Billie Barry Stage School which is still in existence. Clarke-Barry’s band often played in Anglo-Irish circles, (a term that refers to a privileged social class in Ireland whose members were mostly protestant). The Billie Barry Stage School, of course, has no political leanings. In fact, I played at an event for the 50th anniversary of the Billie Barry school in 2014, in the Mansion House, serendipitously becoming a very small part of the story that I was researching at the time.

Mr Clarke-Barry had one of the most successful Irish dance bands of the time, but didn’t seem to embrace the changes that jazz was bringing. There was a court case in November 1919 when a retired cadet and a captain from the British army were applying for a licence for music and dancing at 35 Dawson Street. Two ratepayers and the Vigilance Association (a Catholic organisation that primarily focused on the censorship of ‘immoral’ films and literature) had opposed the licence. Counsel for the application stated that in addition to the applicants, two members of the band had also served in the war ‘and the fact that these people fought in the war might account for the bitter opposition to the application’.[2] The war referred to here is what would become known as World War I. Again, for non-Irish readers, although Ireland had been a part of Britain during WWI, many inside Ireland had been fighting for independence for over four hundred years, and the movement had been coming to a head over this time. For many Irish, fighting on the side of the British was seen as a betrayal. The treatment of the Irish who fought in the British army in both world wars is still a subject of debate today. Whether these band members were Irish or British it does not say, and it would not matter, identities were much more complicated then that, then as now.

The newspaper article also states that the band ‘had two coloured men brought from London’ and that the band was already playing in the Café Cairo.[4] The Café Cairo was located at 59 Grafton Street and the name the ‘Cairo Gang’ was retrospectively given to a group of eleven British Intelligence Officers, believed to have had their meetings in the café, who were killed by the IRA on the morning of 21 November 1920 as part of the events of Bloody Sunday.[5] To return to Mr Clarke-Barry and the dance licence, he was called in, presumably as an expert witness and declared that he ‘did not provide jazz in the vulgar sense’, and later in the article, ‘The distortions introduced by the coloured members make the music vulgar. Exaggerated jazz music by nigger musicians is most decidedly suggestive and indecent.’[6]

This was not the first time jazz had been viewed as a form of music that was both racialised and sexualised, that had been going on since its appearance and the same charge had been made about ragtime which had preceded it. The following day however, a writer by the pen name of ‘J.H.C.’, declared that ‘the dreaded jazz’ is really ‘[j]ust the one-step, danced double-quick to the same old music with the simple addition of pandemonium effects’.[7] Losing the hysterics for at least one day.

It was either good timing or opportunism that only four days after the controversy of the ‘immoral jazz’ in the Irish Independent, Mr Harry Foy of Church Street, Athlone was advertising ‘Mr. Harry Foy’s Jazz Quartette Band’ in the Connacht Tribune.[8]

The 1911 census reveals that Henry Foy lived in Church Street, Athlone, was a professor of music and born in Westmeath. At the time of the census Henry ‘Harry’ Foy was 30 and so would have been about 38 in 1919. Mr. Harry Foy’s innovative musical efforts started before this time, as he also co-founded the Athlone Musical Society, Ireland’s oldest musical society, in 1902 at around the age of 21.[9] I find it fascinating how quickly the concept of jazz was taken up, not just for dancers, but by musicians as well. We will probably never know what sort of music Harry Foy was making, nor his reasons for starting what was very probably Ireland’s first jazz band, but it was the beginning of a practice of music making that continues today. That fact that he was advertising his services brings up the connection to economics. Today we like to think of jazz as an art music, and it is, but it has never been disconnected from economics. Furthermore, the case of Harry Foy highlights the ease and speed with which a black music could be appropriated by a completely different culture. The beginning of a relationship between Europeans and black music that has been producing both pleasure and pain ever since.

Further early jazz performances in Dublin are recorded in the contemporary press and include the Cocktail Syncopators at the Theatre Royal ‘introducing Singing and Dancing, and their Famous Jazz Band’ on 1 May 1923, the ‘Famous Dixie Minstrels – (Come and hear their Jazbos Band)’, in the Tivoli Theatre in 1925 and ‘Noni and his famous jazz band, the Golden Serenaders’ at the Theatre Royal in 1927.[10]

I hope to do a number of these blog posts about the early and not-so-early Irish jazz scene, but most of the information here comes from my PhD thesis which you can download with the link below. Please do comment and get in touch, I’d love to hear your thoughts.


[1] ‘The “Jazz Band” at the Zoo Ball’, Irish Independent, 15 February 1919, 6.

[2] ‘Is the Jazz Immoral?’, Irish Independent, 25 November 1919, 5.

[3] Ibid.

[4] Cottrell, Peter: The Anglo-Irish War. The Troubles of 1913-1922, (Osprey Publishing, 2006), 53.

[5] ‘Is the Jazz Immoral?’, Irish Independent, 25 November 1919, 5.

[6] J.H.C.: ‘To-day & Yesterday’, Irish Independent, 26 November 1919, 4.

[7] ‘Mr Harry Foy’s Jazz Quartette Band’, Connacht Tribune, 29 November 1919, 8.

[8] ‘Westmeath Independent – Pages from the Past’, Westmeath Independent, <> .

[9] ‘Theatre Royal Advertisement Cocktail Syncopators’, Irish Times, 1 May 1923, 4, ‘Dixie Minstrels’, Irish Independent, 4 March 1925, 10, ‘Public Amusements’, Irish Times, 11 March 1927, 6.

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Death by Definition

Here’s a track we recorded last november. I should have put it up a while back. It’s an original composition called Death by Definition.


Johnny Taylor: Piano

Damian Evans: Bass

Dominic Mullan: Drums

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Hibernian Summer Gala Concert

Congratulations to The Hibernian Orchestra on the success of their Summer Gala Concert. It was a delight to be in the bass section, strengthened by the fabulous Maeve Shieil and Helen Morgan and with my wonderful desk partner Grainne Dunne. Star of the bass section was the incredibly talented young bassist Aisling Reilly, who featured in the solo in the 3rd movement of Mahler’s 1st Concerto! Well done Aisling!

The other highlight was hearing Martin Johnson play Elgar’s cello concerto. Martin is the principle cellist in the NSO. It was a stunning performance. Next classical project is playing with the Co-Orch Dublin in the Village as a fundraiser for Operation Smile, Dublin on the 21st June.


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PhD Recital

My PhD research concerns creativity and interaction in trio jazz ensembles. It has a practice based element to it and the research informed by my own trio’s work. Practice based, practice led, or ‘action research’ has become increasingly accepted as a form of academic research and has come to be particularly popular in the last couple of years.  It makes sense that a practitioner should lead research their own field and view it from an insiders perspective, and it is with this in mind that I present my first PhD recital.

From an audience viewpoint it was little different than any other performance, though I did print a program, usual for classical recitals, not so much for jazz. From a performers perspective it is not much different either except it did feel strange for me having ‘PhD Recital’ at the top of the poster. What was different is how I approached the programming, and the reflection on the performance afterwards. Although jazz is extremely comfortable on the concert stage and has been for many years, there is still a tendancy to feel that it’s ‘natural home’ is the the club or pub. Placing it in a conservatory recital setting does somewhat change the expectations of both the audience and performers. It also affects the repertoire we chose. We played compositions by Uri Caine, Vijay Iyer and Avishai Cohen as well a few original arrangements of standard jazz tunes and traditional material. We are drawing on the work of the main trio innovators, Ahmad Jamal, Oscar Peterson, Bill Evans as well as contemporary developers such as Brad Melhdau and Vijay Iyer. In the end, we hope the audience enjoyed it, (the feedback we received says they did!), that is still one of the primary motivating factors for making music together.

The recital was on Tuesday the 20th March at 7pm at the DIT Conservatory of Music and Drama, Chatham Row, Dublin.

Below is a link to a audio clip of Cherokee.



Recital Poster 2012

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Dublin Baroque Players

I’m looking forward to my first rehearsal tonight with the Dublin Baroque Players.  We are doing Puccini’s Messa di Gloria and Orff’s Carmina Burana, which is fairly exciting.  Since it so associated with the Omen and given my name, perhaps there will be an extra spark for me!

The concert is on Sunday 4th of March in Mullingar Cathedral.


Here’s the Royal Philharmonic Orchestra giving the O Fortuna a go.


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Hibernian Orchestra

I’m again lucky to be involved with the Hibernian Orchestra for their next season which includes an April 1st performance of:

Glinka Overture to Ruslan and Ludmila
Rachmaninoff Piano Concerto No 2
Tchaikowsky Symphony No 6

Just wonderful music with dates to be announced, but while I’m updating the blog, thought I’d get it out there. In the near future I have some performances with my trio planned too.

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Offenenbach’s Orpheus in the Underworld

I’ll be playing as part of the DIT’s production of Offenbach’s Orpheus in the Underworld, a great production and the source of the Can-Can music, which I’ve played in a few settings, but not the original.


Details below:

Performance dates: 1st, 2nd, 3rd and 4th February, 2012
Performance time: 7.30pm
Venue: Gleeson Theatre, DIT Kevin St.
Ticket prices: €25, €10 concession, available at the door

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Alex Matthias Trio featuring Jake Hertzog

Back in October I had a great time on tour with Alex Mathias, Jake Hertzog and Dominic Mullan.


Here’s a clip that Jake put up on Youtube. It shows Jake’s cranking style!

Hope you enjoy!

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Oh, and Merry Christmas!

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Music and Emotion – University of Western Australia

I’m just back from a trip to Australia where I attended the Power of Music: Joint MSA / ICME Conference, 2011. There was a wealth of fascinating papers being presented, but one of the more practical things I learned was a beginners carnatic/karnatic, exercise from Toby Wren. He also had a show at the Ellington which I feel appropriately guilty for not attending, but one can’t do everything.

Like the first conference I attended in Cambridge (the CFP: Performance Studies Network International Conference), it really opened my mind and informed me about the field/fields that my own research is involved in. A lot of reading to be done!

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