Podcasts about Electric Picnic

Hugh, Pat, Ellen and Jack took to the stage at Electric Picnic on Saturday to discuss politics and take some uestions from the audience. They discussed UK prime minister Andy Burnham's controversial comments on the possibility of a border poll before moving on to take stock of the political positions and futures of the Big Three party leaders: Taoiseach Micheal Martin, Minister for Finance Simon Harris and Sinn Féin leader Mary Lou McDonald. Here's an excerpt of their conversation. Thanks to Electric Picnic and MindField for having us. Would you like to receive daily insights into world events delivered to your inbox? Sign up for Denis Staunton's Global Briefing newsletter here: irishtimes.com/newsletters/global-briefing/ Hosted on Acast. See acast.com/privacy for more information.

It's Mystery Guest Monday and we finally reveal today's mystery guest — Irish singer Dave Lofts!

There's plenty of chaos on today's show! Oonagh treats us to some of her singing when the latest What's The Story?headline is revealed — although not everyone agrees that it was a treat!

It's another Mystery Guest Monday on the Cooper & Oonagh breakfast show, and today's mystery guest was Irish comedian Owen Colgan! Best known for his role as Buzz McDonnell in the much-loved Irish comedy Hardy Bucks, Owen joined us for a brilliant chat about his comedy career, his Hardy Bucks days and getting ready to perform at Electric Picnic.We chat about what fans can expect from his Electric Picnic appearance, the enduring popularity of Hardy Bucks and plenty of funny stories from Owen's career in Irish comedy.

For the first time ever, the Comedy Area at Electric Picnic will take place each day over the festival weekend.One of the many acts who will be performing in the tent is the esteemed Comedian and actor, John Colleary.He joins guest host John Fardy to discuss!

For the first time ever, the Comedy Area at Electric Picnic will take place each day over the festival weekend.One of the many acts who will be performing in the tent is the esteemed Comedian and actor, John Colleary.He joins guest host John Fardy to discuss!

Later this month, The Women's Podcast will be recording a live episode at Electric Picnic in Co Laois, with Róisín Ingle in conversation with special guest Dearbhla Mescal. You can catch us in the Mindfield area on Saturday August 29th. Also returning to the festival this year is spoken word poet Anna D, who will be treating festival-goers to her unique blend of poetry and storytelling, knitting together themes of motherhood, female empowerment, relationships and the patriarchal forces that shape society. In today's episode, the poet joins Róisín Ingle to talk about her upcoming show at Ireland's largest festival and to discuss her new show Matrescense, which is currently in development. Matrescense - the term used to describe the emotional, physical and social transition that women go through when becoming a mother - is something that the Dublin poet says needs more open and honest discussion. In today's episode she tells Ingle about the “avalanche” that followed her transition into motherhood, how she battled feelings of maternal regret and why she believes society is not set up to support new mothers. We also hear about her life lessons on turning 40 and she performs the title piece from her new show.But first Irish Times opinion editor Jennifer O'Connell is here to discuss some of the biggest stories of the week, including the reaction to Amanda Knox's Edinburgh Fringe show and the worrying rise in popularity of technology which allows users to covertly record. Hosted on Acast. See acast.com/privacy for more information.

With festival season in full flow, and Electric Picnic just around the corner: just how much of a concern should hygiene be at these festivals?Such large crowds gathering in temporary venues can create hygiene challenges if the right precautions are not taken, but what exactly are these precautions?Joining Ciara to discuss is Anna Burns, Microbiologist and Food Scientist.

A live recording from The Big Romance about a 2008 Sub Pop-released classic album of the 2000s. Listen on Apple | Android | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Podlink Step into a world of misty melodies and cavernous echoes with Seattle band Fleet Foxes' landmark debut – a defining record of the late-2000s indie folk revival. Led by Robin Pecknold, the album blends the lush, pastoral harmonies of the 1960s with a haunting baroque-pop sensibility and lyrical themes rooted in nature, tradition, and introspection. Like the Bruegel painting on its cover, every track reveals a dense, beautiful world that evokes a timeless – almost mythic Americana sound. This podcast episode is a live recording from our listening party in The Big Romance in April, with guest journalist and Fleet Foxes fan Aoife Barry. Our next Listening Party is Smashing Pumpkins later this month and it's sold out. Listen Closely: Fleet Foxes – Fleet Foxes (2008) A Nialler9 listening party, hosted by Niall Byrne with guest Aoife Barry. Before the album Niall: Hello everyone, how are you? Welcome to the Listen Closely album listening party. I'm Niall, and this is Aoife Barry. Aoife: Hello. Niall: We're here tonight because Aoife picked this album, as she has before. You picked Jeff Buckley last year. Aoife: Yeah, and we ended up doing three of them. Niall: We did, we went to Cork. We did two here and then we went to Cork to talk about Jeff Buckley. And you were at the My Bloody Valentine listening party last year as well, back in October. Aoife: It must have been October, yeah. Niall: Well, obviously we're here for a very different album tonight: Fleet Foxes by Fleet Foxes, from 2008. As you heard there, we played a bit of the Sun Giant EP by the band, which came out a few months before this album, because we want to give the album its full due. They're a little different, and we'll talk about that. But yeah, you picked the record. Aoife: I did. I obviously must like it. And it's such an incredible record. Is there anybody here who hasn't heard it? That's really exciting, if so. I'm excited for you to hear it. You got a sneak peek there of what the vibe is going to be. I picked it because I love this record, but I also had a funny story about how I first heard them. Back in 2008, when this record came out, I'd read about this band called Fleet Foxes in a music magazine. I don't even think I'd heard a song yet, this is back in the day. And I was on holidays in Berlin, and in the tiny little hostel we were staying in, they had a sign up on the wall: "Who's playing tonight? Fleet Foxes, Café Zapata." I said to my boyfriend, "I think that's a band I read about in the magazine, will we go see them?" And he was like, "Grand." So we went, and they were unbelievable. It was so good. Beach House were supporting them. So it was 2008 smacking you in the face. Niall: Come on. Aoife: And I took photos, which I found. I have photos. Artifacts. One is terrible, the other one's not so terrible, taken on one of those little Canon digital cameras. And I still have the ticket, I kept the ticket, I'm one of those hoarders who keeps all their gig tickets. But it was so good: the venue they played in had a dragon that breathed fire out every fifteen minutes. Niall: So they'd be playing and this dragon… Aoife: I'm not even exaggerating. Fire would just shoot out of this mechanical dragon. It was so Berlin. And Fleet Foxes were so stunning, and Beach House were so stunning. I love Crosby, Stills, Nash & Young, I love all those harmony vibes, I wish I was born in the seventies, sadly I was not. So I fell in love with them immediately, and I've been a big fan ever since. Although I'll say I probably dipped a little bit around the Crack-Up era, their third album, but then I saw them when Shore came out, their most recent album, and fell right back in love with them. Niall: We're going to talk about all the albums that come afterwards, but we'll start with this one, because this is presumably your favourite, or one of them. Aoife: Shore is up there as well for me, but yeah. Niall: So what was it about Fleet Foxes at the time? For context: in 2008 there was quite a lot of this kind of music around. We previously did Bon Iver's For Emma, Forever Ago as a listening party, and the funny thing, which I only found out when we did this, is that they have the same origin story in a way. Both songwriters went to a cabin in the woods to pour their heart out and write the songs. Aoife: I think Justin Vernon just got there first in terms of the marketing. Niall: So they must have pulled back on talking about it too much, because it's basically the same thing. They never really talked about Robin Pecknold's writing process in those terms. Aoife: For Emma was such a massive moment, everybody was obsessed with this guy who broke up with a girl and went to a cabin and wrote a record about it. It was the ur indie-folk album. Niall: What was really appealing about Fleet Foxes is that they were so young, between about twenty-two and twenty-seven, and Robin Pecknold was twenty-one when he wrote the record. Which is frankly offensive, you shouldn't be allowed to be so talented at twenty-one. Aoife: I know. And they were clearly these people from Seattle, which we associate with grunge, and then it becomes this place where they're bringing out all the pastoral, outdoorsy, mountain-and-sea vibes of the Washington area. They're obviously really influenced by the seventies too, by Crosby, Stills, Nash & Young, by Laurel Canyon, but also by Appalachian folk. There's a real purity to what they're doing. The harmonies are unbelievable, there's even a bit of a gospel feeling. So these young guys made this album that was being called an iconic American record on release. The Guardian called it a landmark American album, something like that. And that's special, because you don't get that many records immediately being called landmark. Niall: It was a very exciting time for music around then. I actually brought some records. We mentioned Beach House and Teen Dream earlier, that's a bit later, 2010. I wanted to do a listening party for that at some point, that'd be good craic. Around that time you had Animal Collective and Panda Bear, Person Pitch was right there, that was the apex for that very experimental scene. A few years later we had Sufjan, our very first listening party. And Bon Iver, of course. There's also stuff like Neutral Milk Hotel very much of that vibe. Aoife: I've noticed people covering Neutral Milk Hotel more now. Niall: I think when we got to it, it was on its second go-round, and now it's getting a third, which is great. It's a great record. So, the band were from Seattle, they had a bit of the scruffy flannel-shirt look, but obviously didn't sound like that. The album was written in the woods, in the cabin, brought to the band, and recorded with Phil Ek. Aoife: Who did a lot of stuff with Built to Spill. Niall: Yeah, and he worked with The Shins, and Modest Mouse, a really long history. Aoife: Are The Shins from Seattle as well? Niall: I think they might be. Band of Horses is another one. So they recorded it themselves with Phil Ek, paid for it all themselves, and then the local major independent label Sub Pop came calling. Obviously known for a lot of grunge traditionally, but they'd clearly been releasing this kind of music around then too, The Shins had been on the label for a few years, Band of Horses. When it came to it, they signed to Sub Pop. Apparently there was a bidding war. Aoife: They'd become quite popular on MySpace. Anybody remember MySpace? Every time I do one of these I feel older and older, mentioning the top eight, the randomers you'd put in your top eight. Word could spread quite quickly once you got popular on MySpace. Niall: What I thought was really interesting, that I discovered when I was researching, is that recording the album was actually a total pain for them. They didn't have much money, so they ended up recording a lot of it in their houses, or in Robin Pecknold's family home. And he re-did all the vocals right before they mastered the record, because he'd been sick during the initial sessions and his voice wasn't in great shape. They recorded it all in one go, scrapped that, did another version, and kept moving the running order around. I'm always fascinated by albums where the creation was a total pain and they had no idea it would even work out. Robin Pecknold actually said, "I hope nobody cares about this album, because I just want to move on to the next one." And then it becomes this iconic record. Aoife: Isn't every artist sick of their album by the time it's done? You're like, "my paintings." Yeah. Niall: 2008 was an interesting time for it to land. The album draws on the Beach Boys and Brian Wilson, Crosby, Stills, Nash & Young, Nick Drake, Simon & Garfunkel, Fairport Convention, Judee Sill, very much old-timey or sixties folk and pastoral stuff. And in 2008 there's a financial crash. The album was worked on before that, but it was released into that environment, and a lot of this music seemed to catch. When things go bad, we retreat, we dream, we listen to music that's maybe the opposite of what we're feeling. There was a gentleness, an unhurriedness to it that resonated. Aoife: Grizzly Bear is another band from that time. When Jay-Z and Beyoncé went to see Grizzly Bear in Brooklyn, that was kind of where all the indie music peaked. Niall: And the other part of it, which I was involved in, was the MP3 blogs, that's where you'd hear this music. Especially the American and Canadian stuff, no one was promoting it over here yet, so you'd be months ahead. You'd hear Fleet Foxes in these MP3 formats. That was a mad period, it showed how the internet could collapse geography, a song could spread really quickly on the blogs. And in an American context, this came out post-Bush, with the Obama era coming in, a more hopeful tone. You had the Lehman Brothers crash, these global pressures, and then these hopeful times too. It's interesting to wonder whether these albums are a reaction to it, or whether they appeal to us because we want nice, happy things. I feel like Fleet Foxes have so much emotional depth: there's yearning, sadness, hope, nostalgia. Aoife: I loved Yellow House by Grizzly Bear, their first record, a complex, complicated, almost jazzy thing that sounded beautiful but had a lot going on. We weren't going for simplistic music, but we wanted music that gave us depth and beauty. Is art a solution to the world collapsing? Niall: We could be answering that in 2026. We live in a cursed timeline, as I keep saying. That's all I'm going to say. But what else happened in 2008 in the wider circle of music? Portishead returned with Third. TV on the Radio released Dear Science. MGMT released Oracular Spectacular, 'Kids' and all that. Cut Copy released In Ghost Colours, Indie Sleaze night on Saturday, folks, come on. Kanye put out 808s & Heartbreak, that was November that year. Rihanna was at the peak of her powers. Aoife: Katy Perry appeared that year. And 'American Boy'. Niall: 'American Boy', still one of the best pop songs, fire. Iron & Wine was the other one I forgot to mention. So it was a really vibrant, varied year. As you heard, there's the Sun Giant EP too. Aoife: The thing about that is it came out before the album, but was recorded after. The album was done, in the bag. Niall: They decided to go into the studio and record Sun Giant, a collection of songs intended to sell on tour. It ended up being quite popular, and for a lot of people it was their first time discovering Fleet Foxes. Aoife: It wasn't like The Coronas' 'San Diego Song', their summer-holiday anthem, or anything like that. But it came out before the album, and then the album arrives. Niall: So what was the reaction at the time? Was it immediate? Aoife: Things happened really quickly. In January that year they got all the MySpace attention, and by June the album was coming out. Really, really quick. There was so much chatter about them, which is partly why I'd seen the name, and a music blog like yours would have seen it too, and known they were one of the big bands. In a way that's harder now. Niall: These days you see bands like Geese getting a lot of attention because they use companies that help them go viral. You didn't really have that then. Now you'd dress yourself up in some gimmick, polka dots, whatever, and go viral all over the internet for it. I couldn't imagine these lads doing that. Aoife: No. But maybe in a way they were cosplaying living in the forest, on the Puget Sound. Niall: Anyway, when the album came out, people loved them, and it really hit it off. Because they sound so seventies, your parents would love the records and you'd love the records. There's almost a lullaby quality to the folk stuff too. The music is applicable to anybody of any generation, and there's something lovely about nostalgic music that reminds you of a better time. To finish on that point: I think there's something very mysterious about Fleet Foxes, they feel out of time. They're these young, scruffy lads with the beards, but there's a mystery to them. They didn't come across as the hipster end of things, they weren't leaning into anything. They were presented as the kind of band that wouldn't have had phones, would have lived off-grid, which is funny because they were a MySpace band. They're the most un-MySpace band you can imagine. Surprise people, do something a bit different, don't be exactly what people want you to be, and they'll love you for it. And then your songs are unbelievable too, soaring and stunning. Can we talk for a second about the cover? It's an original painting from 1559 by Pieter Bruegel the Elder, Netherlandish Proverbs. It depicts a densely populated Flemish village scene illustrating 126 folk proverbs. There's a lot there. Some on this side are cut off, but for example, this woman here, she's putting the blue cloak on her husband, meaning she deceives him. This guy is casting roses before swine, wasting effort on the unworthy. And right at the top there's a man running through a field with his arse on fire, chasing pigs, "he who eats fire craps sparks," do not be surprised at the outcome if you attempt a dangerous venture. There are 126 of those. Aoife: The interesting thing is that the band managed to get permission to use it. Really unusual to be allowed use it as commercial artwork. Niall: And apparently the museum that holds the artwork were delighted. A lot of stars aligned for them. It's an iconic cover because it's so different from what anybody else was doing, clearly of a particular period, and it has that Where's Wally quality. I have a quote about it. Robin said: "We were trying to figure out what we wanted to do, and my brother had been working some stuff out, when I saw this Bruegel painting in a book my girlfriend had. I liked that it had a really intriguing meaning, there's a story to each little scene, which felt fitting for the record. It was dense but unified, not a collage. It has a Where's Waldo quality, something you could look at for a long time on a vinyl sleeve and keep finding new little things. It was very easy to get the museum in Berlin that has it to say yes, they were super excited the band wanted to use it, and put it in their newsletter. When you open it up, on the inside there's a Paisley pattern traced from the back of a book that Skyler's mum got me. We wanted two very different feelings." So, what to look out for when we press play very shortly? Aoife: When I was going back to this, I had it in my head that every song was one of these big songs, because there are so many big moments. But actually there are two tracks that are pretty much acoustic, so it's interesting to notice how they go from the big sound to the small. And for me they're a real emotion-and-feeling band, so notice how you feel listening to it. I always feel this swell of emotion with Fleet Foxes, I was walking down the road listening to Shore and I was like, my God. So lean back and feel into the emotions they're bringing you. And listen to the lyrics if you can make them out, because they're so out of time, all about pack horses and this amazing imagery. Robin Pecknold said he didn't write about a lot of personal stuff because he didn't have enough life experience yet, so instead he wrote these beautifully poetic narratives about pastoral and rural life. So I'd say the lyrics and the feelings are the two things. Niall: Track two, 'White Winter Hymnal', is probably the biggest one, watch out for that. And a few other people thanked and cited as influences, for some extra context: Brian Wilson, Joanna Newsom, Bob Dylan, Noah Lennox and all the lads from Animal Collective, Levon Helm and Robbie Robertson of The Band, Blitzen Trapper, who they toured with at the time and who were bigger than them then. For some reason Joni Mitchell and Neil Young are listed together, which is fair enough. Marvin Gaye, Damien Jurado, Paul Simon and John Lennon listed together. Townes Van Zandt, a legend. Vashti Bunyan, and Van Morrison. There's a nice quote from Robin Pecknold I'll read afterwards. Let's just open it up and listen. I'll play it at full volume, it's about thirty-nine minutes, two sides. Close your eyes, whatever you want to do, vibe away in your own way. [The album plays: Fleet Foxes – Fleet Foxes, 39 minutes.] After the album Niall: It's quite an economical album, isn't it? It doesn't stick around long, thirty-nine minutes. Aoife: I like an economical album. It's also one of the first fairly short records we've done here. Niall: That's part of why I was thinking about Sun Giant in that context too. I'm going to read a bit from the liner notes, because for an album that's very much about feelings, with only a few direct songs, some of what's written here is interesting: "My first memory has always been of me and my mom on a cold grey day down at some beach in Washington, along the Puget Sound somewhere near Seattle. I would be around two or three years old, and we were with a friend of mine from the neighbourhood and his mom, walking among the driftwood looking for crabs. Even now I can remember the smell and temperature of the air, the feeling of the sand and the swaying tall grass. I can even remember looking over at my friend and how his face looked when he smiled back at me. Another memory I'll sometimes recall as my first is dressing up in the dead of summer as Jack London, with tennis rackets on my feet and wearing my dad's hiking pack, after seeing Disney's terrible version of White Fang. Or the memory of stealing my neighbour's Big Wheel and riding it halfway down the block before getting caught and having to turn around defeated. Or wearing a fireman's outfit while washing my parents' car, or eating an orange popsicle from the ice cream truck. These have always been some of my most distinct and persistent memories of childhood. So it came as a disappointment when, one day as a teenager, I opened up a photo album and found pictures of each and every one of these memories. I didn't have a single memory that didn't belong to, or somehow grow from, those pictures my parents had. I guess I've seen all these photographs at some point, forgotten they were just photographs, and over time made them into my most tangible memories. That's scary to me in a way. This leads me to something weird about the power music has: its transportability. Any time I hear a song or record that meant a lot to me at a certain moment, I'm instantly taken back to that place in full detail. Whenever I hear 'Feel Flows' by the Beach Boys, I'm taken straight to the back of my parents' car on the way to my grandparents' place, with Surf's Up in my Walkman and the Cascade Mountains going by in the window. Any song off Radiohead's Kid A brings back the airport near Seattle, from when we were on the way to Colorado for a wedding and Kid A was the only record I brought or wanted to bring. 'Crayon Angels' by Judee Sill is the whole winter of last year. And Brian Wilson's solo version of 'Surf's Up' takes me back to driving my parents' car around town alone at sixteen, windows down at night. I can't ascribe exact memories to songs by The Microphones, Joni Mitchell, Built to Spill, Dungen, Harry Nilsson and so many others, and it's a form of recall I can actually trust, there's no visual element to complicate things, no chance of a planted memory that wasn't actually supposed to be there. Maybe I should be concerned that I'm alone in almost all of these memories, but I guess I was just a private kid, and music was a private experience for me. Music activates a certain mental freedom in a way nothing else can, and that is so empowering. You can call it escapism if you like, but I see it as connecting to a deeper human feeling than the one found in the day-to-day world." Aoife: That's lovely. It's a nice addendum. And he was only twenty-one. Niall: For some reason it's signed "Warren Gamaliel Bancroft Winnipeg Harding," Warren G. Harding being the 29th president of the United States. I don't know why, he thought it was funny. Dated April 6th, 2008, Chicago, Illinois. So, any particular highlights, anything that stood out? Aoife: I was reminded how much I love 'Blue Ridge Mountains', the second-to-last song. I just love those four- and five-part harmonies so much. There's something that really gets me about beautiful harmonies stacked on each other that sound so natural. My dad was really into Neil Young and all of that era, my mum's really into Simon & Garfunkel, so I feel like I came out of the womb going, this is the music I love. Niall: There was another one I meant to mention. Aoife: I'm really bad at remembering song names, which isn't great for an arts journalist. They go in one ear and out the other. Niall: 'He Doesn't Know Why'. Aoife: That was it. I always forget the name of that one, and it's an absolute banger. It's quite a direct song, the last one on the first side. Niall: He mentions his brother Sean in 'Blue Ridge Mountains', which is interesting. And Oliver James is his younger brother, that's the last song. Aoife: His sister is Aja, after the Steely Dan album. The parents were really into them. Niall: It holds up so well. The harmonies and vocals sound incredible, there are those beautiful little flourishes, a flute on one of the tracks, the guitar is stunning, lovely little bass lines. I love the way Robin Pecknold and the band hear music. There's a really good Song Exploder episode with him talking about a song from Crack-Up, and the way he thinks about translating his thoughts and emotions into music is so illuminating. He has a beautiful melodic flow that's really similar to the flow of water and nature. There are so many nature references, it's almost parody there are so many. Aoife: You could do a Portlandia sketch about it. "Power of nature, man." "Come down from the mountain, you've been gone too long." Niall: In terms of the line-up: alongside Robin Pecknold on vocals there was Skyler Skjelset on lead guitar, his best friend from Nathan Hale High School, later joined by Casey Wescott, Christian Wargo on bass, and Nicholas Peterson on drums, who left after this album. Aoife: And who came in as the drummer? Niall: A man who's been a main character in one of these listening parties himself: Josh Tillman, Father John Misty, played drums with them. Aoife: For how long? Niall: Only a year or two, pretty short. As I said, main character, he was making his own record. Any Father John Misty fans? He writes really good songs and he's handsome, so we all love him, but he's also a bit of a pain, and he didn't get on very well with Robin Pecknold, which isn't surprising. When I was looking back at the Pitchfork interview they did in 2008, a few months after the album came out, it was a big joint interview with Robin and Josh Tillman, and Tillman is answering the questions at the start. That's confidence. Do you want to hear a quote from what Robin Pecknold said? I've written it in my little notebook, so old-school, that's the only way I remember these things. In a 2020 Reddit AMA, Pecknold said that on that tour, the Helplessness Blues tour, Tillman was supposed to bring out his own record, but his label said he could only release it after the tour. So he was on tour thinking, "I want to bring out my own record, I'm tired of Fleet Foxes." Pecknold said he "had to endure being around a lot of substance abuse, sabotaged shows, general ill treatment and shit-talking, all while paying him for songs he didn't have anything to do with. It sucked." And then Tillman left the band. Whereas in that Pitchfork interview he'd said, "I love playing in this band, these are all my friends, I'm having the best time, I'm sorry if that's a corny quote, but that's the best thing about this experience right now." Aoife: So he was lying through his teeth. I think he's the kind of person who really has to be a solo artist, too iconic a personality. You wouldn't want to wrangle him out of bed to get to the next show. Niall: Too big a price. You mentioned Pitchfork, the album was number one on their end-of-year list in 2008, and they listed Sun Giant alongside it, breaking the traditional conventions of end-of-year lists. What they said was: listing Fleet Foxes' debut album and EP together may be awkward, but it just feels right, they're two sides of a coin that equally express the band's mastery, "a catch-all Americana that takes a wide slice of our popular music spectrum and pulls it through a reverse prism to create a gorgeous and focused sound of the band's own. The threads of Brian Wilson's coastal pop, Appalachian folk, modern indie rock, Grateful Dead jams and other influences are masterfully synthesised in the band's harmonies." Robin Pecknold's sense of dynamics, they said, flows like a river, wild and free but logical, filling what needs to be filled and moving on. I swear I didn't rip that off Pitchfork, I came up with something similar on my own. Aoife: Very good. Niall: It was Uncut's album of the year too. But more than anything, and this is a strange accolade, the album was ranked number 36 on Rolling Stone's list of the greatest stoner albums. Aoife: I don't think Robin Pecknold was a stoner. It doesn't really fit. He's a reader. Niall: So what came after? Helplessness Blues, which is really difficult to say, in 2011, then Crack-Up in 2017, then Shore in 2020. Big long gaps, some personnel changes. And Robin Pecknold, as we've established, is a very literary guy, he went to Columbia to do an undergrad in English literature, because he'd left high school early and gone to a community college, and he really wanted that college experience. So that was part of the break. He's also had difficult times, he's spoken about mental health issues and suicidal ideation, many tough experiences that contributed to the gaps too. They haven't released anything since 2020, and he does a lot of cover events. There are two live records. He's actually playing a gig tonight, I think, where he covers Judee Sill. Any Judee Sill fans? Aoife: Oh my gosh, she's amazing. Nobody ever knows Judee Sill. If you listen to anything, listen to Heart Food, it's iconic. He loves her, mentions her on this record. She's the one who does 'The Kiss', people might have seen her perform it on the Old Grey Whistle Test, it's on YouTube. She had a really tragic life. Niall: One of those I've been meaning to listen to properly for years. She only has two records, so it's easy to get into. There's a documentary about her as well, which I haven't seen. Aoife: She's one of those ill-fated seventies musicians, really religious imagery, did a lot of drugs, really interesting. Niall: Did you get to see them again after your first foray in Berlin? Aoife: I saw them when they toured, though it's really bad when you can't remember what you were doing in the 2010s. Niall: Did anybody see them at that Dublin gig, the outdoor one in 2022? Wasn't it amazing. They've played here a fair bit: Vicar Street in 2008, Electric Picnic 2009, The Marquee in Cork 2011, the Iveagh Gardens in 2017. I don't know if I've missed any, maybe you can tell me. So if you were to pick, is there any further listening or reading you'd suggest to somebody, not necessarily Fleet Foxes? Aoife: Some of it is obvious. As I said, I'd definitely check out Judee Sill, because if you really like Fleet Foxes you'd really vibe with her. And he mentions Harry Nilsson, also unbelievable, more well known than Judee Sill, did the cover of 'Everybody's Talkin''. I'd also mention a guy people would have known at one point but isn't very well known now: Richard Swift. He sadly passed away a couple of years ago. He was friends with Robin Pecknold, a hugely talented musician who struggled with addiction. He has an amazing double album from around 2005 or 2006 that's brilliant, and a record called The Hex, which is referenced on 'Sunblind' on Shore, that's the song where Robin name-checks a lot of musicians he loves, like Elliott Smith, David Berman and Richard Swift. It's such a beautiful record for finding new people to listen to, and it's lovely to hear a musician pay tribute to musicians he loves. The imagery is him talking about this beautiful day where he'll go for a swim and listen to all these beautiful bands, an ecstatic kind of song. So check out all of those records, but Richard Swift deserves more fans, and The Hex is really, really good. Niall: Good shout. What we'll do now is play a tune, and then maybe give Sun Giant another go if you want to stick around. Our next listening party is on the 27th of May, and it's an indie-rock album very close to my heart: Broken Social Scene's You Forgot It in People. I've been wanting to do this one on record for a long time. They're playing here later in the year, but I want to give this record its flowers, it's incredible. My niece has just turned seventeen and I bought her a copy, because it's an anthemic record for a seventeen-year-old. I can't believe that band are still going, which is kind of mad, but it's hard to underline what Broken Social Scene meant to a certain segment of indie. Aoife: And there's four hundred of them on stage. They're from Canada, and we were all like, my God, these people are the best. Niall: For me it's the MP3 times again, we'll talk about this next month. I heard about them through the music blogs, and then I got to see them in the Button Factory, which was the Temple Bar Music Centre at the time. It was one of the first things I ever wrote about, back in 2005. A transcendental experience. Aoife: They're so good live. Niall: I once DJ'd in Galway after one of their gigs, and one of the members of the band, I'll leave him nameless, came over and turned off the decks while I was DJing. Aoife: On purpose? Niall: He was that drunk. I can't remember what I was playing, but I was like, great, DJing after Broken Social Scene and then a band member ruins it. I don't think he liked it. No, I think he was just really drunk and thought it was funny. Thumbs down to him. In a way it's surprising a man like that has managed to persist in a band with so many members. Anyway, I digress. We'll talk about it next month, May 27th. Aoife: I cannot wait. I've been listening to it a lot lately again, it's fantastic. Niall: Thank you for being here. Let's play a bit of this and see what happens. Thanks for being here, appreciate it.

Frowning Hours is the indie folk-rock project of Irish singer-songwriter and actor Ger Kelly, whose evocative songwriting and distinctive voice have quickly earned him a growing reputation on Ireland's live music scene. Before stepping into the spotlight as a recording artist, Kelly spent more than 15 years working as a professional actor, performing on some of Ireland's most prestigious stages, including The Abbey Theatre, The Gate Theatre, and with Druid Theatre Company. His theatre career saw him appear in acclaimed productions of works by Sean O'Casey, Shakespeare, and many other celebrated playwrights. Music has long been an integral part of Kelly's artistic journey. His haunting vocals featured in numerous theatrical productions, from original scores by composer Tom Lane to works by Stephen Sondheim. It was through these experiences that he discovered a passion for songwriting and began developing his own musical voice. He later studied songwriting at BIMM Dublin, leaving the course early when a major acting opportunity arose. Since launching Frowning Hours in 2024, Kelly has built a loyal and steadily growing audience. His first six singles have received widespread radio support and critical praise, establishing him as one of Ireland's most promising emerging folk artists. His latest release, 'The Orchard' marks the next chapter in a musical journey that has been years in the making. As a live performer, Kelly has appeared on some of Ireland's biggest stages and festivals, including Whelan's, Electric Picnic, and All Together Now, and has shared bills with and supported acclaimed artists such as Mick Flannery. Alongside his music career, Kelly continues to work as an actor and recently appeared in the Netflix series ‘Bodkin' as Teddy, a blacksmith described as having "the voice of an angel", a fitting reflection of the qualities that define his music. Combining the storytelling instincts of a seasoned actor with the emotional honesty of a songwriter, Frowning Hours creates intimate, atmospheric songs that resonate long after the final note. His debut single, ‘Someone Who Won't' and all subsequent releases are available on major streaming platforms. On his latest single, ‘The Orchard', Frowning Hours delivers a poignant meditation on empathy, connection and the quiet hope of finding our way back to one another. Blending warm indie-folk textures with buoyant melodies, the song reflects on a world where we're more connected than ever, yet often feel profoundly alone. Rather than offering easy answers, ‘The Orchard' invites listeners to look beyond first impressions and recognise the unseen experiences everyone carries. It's a gentle call for compassion, understanding and the restoration of the sense of community that can often feel absent in modern life. “‘The Orchard' seems to change its meaning for me every now and again,” says Ger Kelly. “Ultimately, I think it's a song about the resuscitation of a sense of community that seems to be lost these days. It's a call for compassion and understanding. It's very strange to me how, in the golden age of communication, there's so much isolation. I guess I'm just trying to say, ‘Hello in there,' like John Prine advised.” With its thoughtful lyricism and quietly uplifting spirit, ‘The Orchard' captures the emotional honesty that has become a hallmark of Frowning Hours' songwriting. It's a reminder that even in an increasingly disconnected world, empathy remains one of our most powerful ways of finding each other again.

With All Together Now behind us and Electric Picnic only a few weeks away, one topic always springs up around these festivals: litter. Whether it be abandoned tents or just rubbish, the aftermath of a festival is usually never pretty...So, what steps should be taken to avoid the littering problem around these events? Joining Seán Defoe to discuss is Tad Kirakowski, Chief Executive of Voice Ireland…

As Billy Connolly once said, "Never trust a man when left in a room with a tea cosy...doesn't try it on".Why not make a pot, grab a cup of tea & join the lads on this episode of It's All Music where they reminisce about Mayo winning the GAA football All Ireland Final...last weekend! Reminiscing all ready!How music can only add to an event like that is discussed by the lads and a song thrown in by Carey.Drug testing at Electric Picnic music festival is discussed by Quirky where Carey claims he will never need to use it seen as he's "gone from all that now". He has decided he's "going on the Queencakes" and has found a local dealer "Pablo Ester-bar".Plenry of laughs, chats and craic throughout and Quirky also gives us a song.The boys ended up in Eritrea over in Africa for Geography & Music.The lads have some full video episodes available on YouTube.If you like the videos, make sure to share, like & subscribe.https://youtu.be/sUkjpu1uVzw?si=FBp54wXYw5Rw3H5MMake sure to check out the It's All Music Patreon Page for “behind the scenes” footage & some bonus content…or if you'd just like to support the It's All Music Podcast.https://www.patreon.com/itsallmusicpodcast?utm_campaign=creatorshare_creatorFrom Carey & Quirky @ IT'S ALL MUSIC - THANKS FOR LISTENING Hosted on Acast. See acast.com/privacy for more information.

Cork City based indie-folk band BRIARS releaser their high-octane new single, ‘Roimh'. With a sound that ranges from fragile subtlety to raucous energy, BRIARS weave shades of alternative folk, indie, pop, rock and Irish traditional music that combine into a sprawling and irresistibly energetic sound. Having shared bills with groups such as The Scratch, The Wran, Leevy and Billow Wood and performing at some of the country's leading folk festivals (Whelan's Folk and Trad Fest, Galway Folk Festival, Guinness Cork Jazz Festival, Cork Roots Festival) alongside Electric Picnic and more, the six-piece are quickly gaining “must-see” status as a live act. With touches of Arcade Fire, Bear's Den, Hudson Taylor and The Riptide Movement, upcoming single ‘Roimh' (the Irish word for ‘before', pronounced ‘Riv') is a song rooted in perseverance. Celebrating the kinetic energy and momentum that is born from hope and human connection, the single doesn't linger on endings, but on the beauty of the build-up itself; embracing the journey regardless of the outcome. The band explain: “The idea is that even if things don't go as planned, or something ends badly, that it does not negate the time that was spent trying to get there. It would be easy to think “what's the point in doing something if it's just going to end anyway?”, but it would take us no where.” They add: “It is partly about the struggle to achieve certain things, and trying to have the persistence to keep going; whether it's moving on from a relationship that doesn't end well, or the devastation after someone has passed away, but you're looking back fondly on all the memories. The bad at the end doesn't discount the good that came before.” Dashed with the band's signature Irish traditional feel, the song features an array of instruments - bouzouki, bass, drums, piano, harmonium, synth, fiddle and accordion - which captures their ability to bridge old and new with ease.

You help Emma and Dave decide on a new ring sound for the show, two plays of the Tricky 10 and we want to send you to Electric Picnic!

The music of the Carolinas (and Appalachia in general) stems from the marriage of the Irish fiddle and the African banjo, which first met in the South before the revolution. The Tan and Sober Gentlemen aim to bring these traditions full circle, blending Irish tunes, ballads, and pub songs with the Appalachian old-time and bluegrass music they grew up on. The result is a ruckus known affectionately as “Irish-American hill-billy music”.Renowned as one of the South's most electrifying live folk bands, The Tan and Sober Gentlemen are known for blazing tempos, raw energy, and unforgettable shows. Their performances are raucous celebra-tions of the Carolinas' Irish heritage, filled with drinking, dancing, and downright joy, and have earned them a devoted following across the folk, bluegrass, celtic, and roots music scenes.Since forming in 2017, the Tan and Sober Gentlemen have toured across the United States and Ireland, per-forming at festivals including MerleFest, Blue Ox Festival, IBMA Bluegrass Live!, Bristol Rhythm & Roots, Appaloosa Festival, FloydFest, Ramble Fest, Shakori Hills, and internationally at Electric Picnic, Spraoi, and the world's largest Irish traditional music festival, Fleadh Cheoil na hÉireann.In January 2024, the band sold out the Haw River Ballroom on their home turf of Alamance County, North Carolina, performing to 800 fans and recording a live album. Live at the Haw River Ballroom was released in February 2025. Their sophomore studio album, Regressive Folk Music (2022), followed their debut Ve-racity, which was named by Shite'n'Onions as one of the five best Celtic punk albums of 2019–2020.

Emma's gammy eye and chicken trauma, Dave wonders if he's a cheater (!) and your chance to get to Electric Picnic all this week!

We officially launched iRadio's Session on the Shannon, and to celebrate, Jamie McIntyre joined Cooper and Oonagh in studio ahead of what promises to be one of the summer's most unforgettable events. Listeners will set sail on a special river cruise along the Shannon, where Jamie will perform an exclusive, intimate acoustic set before heading off for a huge summer that includes Electric Picnic. Expect incredible live music, stunning scenery, great company and plenty of laughs with Cooper and Oonagh on board. If you're looking for a unique summer night out, this is one event you won't want to miss. Listen back to hear all about iRadio's Session on the Shannon and why everyone's talking about it.

Today on the show, we officially launched iRadio's Session on the Shannon – an unforgettable summer river cruise packed with live music, sunshine and great craic. Listeners will set sail with Cooper and Oonagh for an exclusive evening featuring a special live acoustic performance from Jamie McIntyre, before he heads off to perform at Electric Picnic. We also welcomed former Galway All-Ireland winning goalkeeper James Skehill as our Mystery Guest Monday, where he shared his expert predictions ahead of the All-Ireland Hurling Final and gave his thoughts on the big showdown. Plus, on Get It Off Your Chest, one listener asked for advice after her sister moved to Dublin and, according to the family, has suddenly developed a very posh new accent. Is it a real change, or is she putting it on? Catch up on all the laughs, lively debates and breakfast show banter in today's podcast.

Madonna will release her new album ‘Confessions II' on Friday, a follow-up to her 2005 record ‘Confessions on a Dancefloor'.Dee Reddy and John Caddell join Matt on The Last Word to predict whether it will live up to the hype and match her previous success.Plus, they look forward to Take That at the Aviva Stadium this Saturday and Lewis Capaldi being added to the Electric Picnic lineup.Hit the ‘Play' button on this page to hear the chat.

Georgia G is a 25-year-old singer/songwriter from Malahide, Dublin, now based in New York City. Writing songs for as long as she can remember, Georgia draws inspiration from artists including Sheryl Crow, Fleetwood Mac and Adele, blending elements of pop, indie rock with hints of country into her own vibrant sound. Georgia has been selected as Track of the Week multiple times, earning recognition for her infectious songwriting and distinctive sound. She has since sold out headline shows in both The Workman's Cellar and Whelan's, establishing herself as one of Dublin's exciting emerging live acts. Georgia was also chosen to perform as part of Hot Press' “Young & Emerging” series, where the magazine described her as a “hotly tipped” artist, while the Fingal Independent wrote that Georgia G is “about to take the music scene by storm.” Since then, Georgia has continued performing extensively across Ireland and the United States. In 2024, she performed on the Coca-Cola Stage at Electric Picnic, one of Ireland's biggest music festivals. In October, she also supported Aaron Rowe at a show connected with the Guinness Storehouse in Chicago. Now living in New York City, Georgia is currently playing a year-long residency in a Broadway bar while recording her debut EP before returning to Ireland for its release. Currently, she is working on music with producer Ollie Deacon-Lowpines (CMAT, Ailbhe Reddy) in a studio in Greenpoint, Brooklyn. The upcoming project captures the experience of moving to New York in your twenties — balancing ambition, heartbreak, nightlife and homesickness — while continuing to shape the explosive and emotionally honest sound Georgia G has become known for.

Belfast rock duo Dea Matrona join Mark Millar on the XS Noize Podcast to discuss their second album, Hate That I Care — a bold, more personal and self-assured new chapter for Mollie McGinn and Orláith Forsythe. Written, recorded and produced entirely by the band, Hate That I Care finds Dea Matrona leaning further into alt-rock while exploring vulnerability, identity, pressure, friendship, self-production and the feeling of not fitting neatly into other people's expectations. In this conversation, Mollie and Orláith look back on what they learned from their debut album, For Your Sins, how that record helped them understand who Dea Matrona were, and why Hate That I Care feels like the album where they are now telling people who they really are. They discuss the title track, which Mollie describes as being written to herself, the exhaustion of masking emotions, and how the album became a way of processing difficult feelings through songwriting. The conversation also explores "My Own Party" and the powerful line "always feeling like an outsider at my own party," the heavier emotional world of "John Doe," the deeply personal story behind "Aisling," and the moment "Magic Spell" helped unlock the direction of the record. Mollie and Orláith also talk about producing the album themselves, writing and finishing music while on tour, their creative partnership, the early school-day rivalry that turned into a band, and how they continue to push each other as writers, musicians and producers. They also reflect on Dea Matrona's journey from busking in Belfast to playing Reading and Leeds, Electric Picnic and Rock Werchter, touring with The Beaches, and preparing to join Sting on tour across Europe. As Orláith says near the end of the conversation: "For Your Sins was introducing who we are, and Hate That I Care is telling you who we are." Listen to episode #289 of the XS Noize Podcast with Dea Matrona.

This May, 13 members of the Sea of Change choir will spend five days walking a Camino in Portugal. The choir, which is based in Dublin, is made up of cancer survivors and supporters. Formed in 2018, they have performed at venues across the country, at Electric Picnic, and have even featured on Britain's Got Talent. Ahead of their departure early next month, two choir members, Terry Kinane and Miriam Payne, joined Róisín Ingle on the podcast to discuss their preparations for the 120km walk. Kinane, who will be leading the group of women on the walk, shares her Camino expertise, while Payne, who was diagnosed with lung cancer in 2016, explains what this achievement will mean to her.But first, freelance journalist Kate Lynch is here to discuss some of the biggest stories of the week, including the publication of the 1926 census, a new report detailing the barriers some women face in accessing free contraception, and why 91-year-old Leila Doolan walked from Shannon Airport to Leinster House this week. Hosted on Acast. See acast.com/privacy for more information.

Dearbhail Standún ón ngrúpa ceoil Dordan ag labhairt faoi fhéile Electric Picnic na bliana seo agus cuireadh faighte acu le bheith ag ceol ann.

Hailing from Fethard-On-Sea, Co. Wexford, Seán grew up surrounded by a musical family and had an avid interest in playing and performing from a very early age. He has shared stages with other major Irish and International acts such as Calum Scott, Wild Youth, Gavin James and Aslan. As well as having performed on numerous stages at Electric Picnic. With each release, Seán hones his production chops as each track is completely self-produced, and crafted with undeniable pop hooks. Having just supported Irish pop powerhouse Picture This at Waterford's RSC Stadium, Seán McComish has been carving out a reputation as one of Ireland's most promising pop artists. Seán is an artist who is most definitely on the rise having honed his craft on the Dublin live scene, incorporating his reverence for performing and catchy melodies into a truly exuberant live act. Now performing as a four-piece alongside Darren Bradley (Drums), Rory Jackman (Guitar) and brother Eoin McComish (Bass), Seán's live show blends high-energy performance with polished pop sensibilities, earning him critical acclaim and a growing fanbase across Ireland and beyond.

Several years ago, Paula K had the original idea to set up the all women rock band, specifically for a fundraiser for ovarian cancer charity OvaCare. Paula explains, "The fundraiser was in memory of my mother Catherine who passed away from ovarian cancer, and she inspired the name. She was a feminist who loved to lift other women up. The Kates have been going ever since!” The premise behind forming The Kates back in 2017 was to showcase the depth and variety of songs by women featuring covers by artists like Sharon Van Etten, Orla Gartland, Angel Olsen, Lucy Dacus, Patty Smith, The Staves, and Haim. The Kates comprises of Eve Clague, Liz Clark, Mary Beth O Mahony, Míde Houlihan and Paula K. All five members have played, sang and written their own music for years, each releasing albums of original work. Their debut EP Pictures Here Of Dreams features a track written by each member of The Kates. Speaking about the upcoming album Paula K says, “We have spent the last year gigging and writing. The upcoming album is a collection of songs that happened between takes of our work and family lives. Naming that space as a creative outlet, where ideas were born and we found out more about ourselves as a band. Our Kates space.” New single ‘You Don't See It', sees Mary Beth O'Mahony take lead vocal on a song that features the writing talents of all five members of The Kates. They continue to lean into their rock background while the harmonies that brought them acclaim on their debut EP sound more dynamic and confident, finding comparison to contemporary peers like Pillow Queens and Little Green Cars. Once again we see The Kates talk about life as women and the unwanted pressure and attention often felt. Míde Houlihan's percussion cheekily taps into the concept and lyric of “Time keeps ticking”. The band are declaring time is up on these old fashioned ideals. The Kates are writing their own story and walking their own path. Since the release of their debut EP Pictures Here of Dreams in 2024 Cork band The Kates have gone from strength to strength. The Kates entered 2026 with the announcement of their debut album later this year with new single ‘You Don't See It'. Following the release of their debut EP The Kates went on to perform at Other Voices, Electric Picnic, and Clonakilty International Guitar Festival. The Kates also just performed at this year's Your Roots Are Showing conference in January 2026. In 2025 they toured both Ireland and Wales selling out DeBarras and Connolly's of Leap.

eir, Ireland's leading telecommunications provider, today published its Digital Ireland Report, a landmark nationwide study that shows Ireland has become one of the most digitally connected societies in Europe, powered by record investment in fibre and 5G, and an unprecedented surge in data usage. The report tracks Ireland's progress through the first half of the Digital Decade (2019–2025) and finds that demand for connectivity has grown dramatically as digital services become central to daily life, work and business. Overall traffic on eir's broadband network has more than doubled since 2019, driven by the rollout of 1GB fibre and explosive growth in data-hungry apps and services. Average household usage on high-speed fibre has risen by 61% in five years, from the equivalent of 6.2 hours to almost 10 hours of HD video per day, while data carried on eir's mobile network has grown sevenfold over the same period. Highlights of the report include: — Consumer use: Major social and sporting events have become powerful barometers of Ireland's 'always-on' digital habits (for example, data usage at Electric Picnic on eir's mobile network has grown sixfold since 2022). In parallel, traditional fixed-line calling has continued to decline, with minutes falling by 57% since late 2021, even as mobile voice use remains broadly stable. — Regional: Counties such as Cavan, Meath and Offaly are leading a nationwide surge in data consumption, with average monthly usage up nearly 80% since 2019. Top and bottom counties for household data usage (2024): Highest: Kildare – 7,800 GB per household Lowest: Sligo – 5,800 GB per household — Online: The report also confirms Ireland's position as a European leader in digital skills and online participation: more than seven in ten people now have basic or better digital skills. Ecommerce continues at pace – almost all internet users shopped online in 2024. — Business: There is a growing digital divide in enterprises, with a slowing in digital intensification amongst SMEs, and evidence pointing to a low rate of take-up amongst smaller businesses in high-speed data capability. — Older people: Older customers are less likely to have availed of high-speed broadband service and are twice as likely to rely on older and slower copper lines compared with younger customers. — Future needs: The report highlights the expectation that the data traffic volumes will continue to grow at a high rate for the remainder of the decade, driven by AI transformation, the Internet of Things, and other digital megatrends. The report emphasises the need for digital and related policies to evolve at both an EU and national level to keep pace with the digital transformation and promote the ongoing investment and take-up of digital technology and infrastructure. Oliver Loomes, CEO of eir, said: "At eir, our purpose is to connect for a better Ireland. The findings of our Digital Ireland Report show that, thanks to sustained investment and collaboration, Ireland has undergone a remarkable transformation in digital infrastructure and usage. This report shows that Ireland's Digital Decade is real and measurable – in the way we work, learn, do business and come together at our favourite festivals and matches. Data use has exploded, powered by our investment in fibre and 5G, and Ireland now has the opportunity to be one of the most connected, competitive and inclusive digital societies in the world." He added: "Connectivity also has to mean inclusion; more work is needed in the coming years to ensure all people and businesses can participate in Ireland's Digital Decade. As Ireland's leading connectivity provider, eir is committed to continuing our multibillion-euro investment in fibre and 5G, and to working with Government and partners so that every home, every business and every community can thrive in a truly digital Ireland". Speaking at the launch of the report, Jack Chambers, Minister for Public Expenditure, Infrastructure, Public Se...

Lots to discuss this week from the sad death of Hugh Wallace, the role technology is playing in music, whether Liam and Noel Gallagher were hanging out during their tour and the idea of Prince William's children watching Fawlty Towers.To support the podcast and access bonus episodes, join the community on Patreon here. Hosted on Acast. See acast.com/privacy for more information.

Dee Reddy and John Caddell discuss the latest music news including the first acts announced for Electric Picnic 2026, Daniel O'Donnell's planned sabbatical, and they have their music picks of the week.To catch the full conversation, press the play button on this page.

A number of acts, including some headliners, have been announced for next year's Electric Picnic. It's already sent social media into a frenzy, with Irish band Fontaines DC revealed as the headline for the Sunday night.To chat about the lineup, Ciara is joined by the Deputy Editor of Hot-Press Magazine, Stuart Clark, and from The Point of Everything podcast and the Irish Examiner, Eoghan O'Sullivan.

Rugby fans and supporters at the recent South Africa versus Ireland game last weekend consumed over 2,000 GB of data, the equivalent of two million minutes of music streaming, according to Vodafone Ireland. The surge in data was driven by video recording, sharing and live streaming. Over 15,000 calls were made over the course of match-day - almost one third of the stadium made a phone call. During the Quilter Autumn Internationals, data usage at the stadium reflected strong engagement with fans attending the Japan game consuming almost 1,740 GB and Australia 1,771 GB. The fans at the South Africa game came in with the highest usage. Connectivity demand extended beyond rugby. At this summer's concerts featuring Lana Del Rey and Dua Lipa, attendees consumed 5,137 GB of data across two nights. On the Lana Del Rey night alone, usage reached 2,633 GB, roughly the equivalent of ten years of nonstop podcast listening. Vodafone Ireland invests over €100 million annually in network improvements across Ireland, including upgrades at the Aviva Stadium which focus on delivering uninterrupted mobile and 5G coverage. To meet growing demand, Vodafone Ireland has also implemented network enhancements at Aviva Stadium as part of its nationwide investment program. These include: Deploying 5G capacity and spectrum utilisation in busy sectors. Optimising radios and backhaul for peak-hour demand. Continuous monitoring to adjust parameters during live events. Commenting on the figures, Sheila Kavanagh, Director of Vodafone Networks Ireland, said: "The data and voice activity we've seen at the Aviva Stadium this year shows just how essential reliable connectivity is for sports fans and music lovers. Over the course of the South Africa match-day alone, over 15,000 calls were made alongside significant data usage. Our ongoing investment, including 5G upgrades in the Aviva and throughout the country, ensures we can meet this demand and keep people connected during the biggest and most memorable moments." Investment also supported major summer festivals and cultural gatherings across Ireland. Temporary network sites and spectrum optimisation were deployed at events such as Flavours of Fingal, Bord Bia Bloom, Kaleidoscope, All Together Now and Electric Picnic where attendees relied heavily on navigation, social media, and streaming apps. Across these events, Vodafone Ireland managed over 220 TB of data, the equivalent of streaming 73 million songs! As sponsor of Irish Rugby, Vodafone marked the autumn series with a creative activation in Dublin city centre. A mural by artist KinMx on Chatham Row, developed in partnership with Carat, The Collectiv and Rockshot, celebrated the sport and its supporters. See more stories here. More about Irish Tech News Irish Tech News are Ireland's No. 1 Online Tech Publication and often Ireland's No.1 Tech Podcast too. You can find hundreds of fantastic previous episodes and subscribe using whatever platform you like via our Anchor.fm page here: https://anchor.fm/irish-tech-news If you'd like to be featured in an upcoming Podcast email us at Simon@IrishTechNews.ie now to discuss. Irish Tech News have a range of services available to help promote your business. Why not drop us a line at Info@IrishTechNews.ie now to find out more about how we can help you reach our audience. You can also find and follow us on Twitter, LinkedIn, Facebook, Instagram, TikTok and Snapchat.

This episode features Nicky Heckles, Vice President of Global Marketing for Smirnoff (Diageo). Dive deep into the Smirnoff marketing strategy that's fueling its success and discover how this iconic brand is dominating the Ready-to-Drink (RTD) market and authentically connecting with connecting with Gen Z consumers of legal drinking age (LDA). The episode reveals the playbook behind the viral success of the Smirnoff Ice campaign, a masterclass in self-aware humor and Gen Z LDA authenticity. * Beyond Impressions: Heckles shares the secret to measuring genuine impact and consumer resonance, moving beyond surface-level vanity metrics like impressions. The key is analyzing metrics related to brand advocacy, affinity, and acquisition, which demonstrate a deeper connection than just view counts. * The Unpretentious Voice: Discover the surprising Gen Z LDA trend Smirnoff is intentionally not chasing to maintain its unpretentious, real voice. Research shows Gen Z LDA craves authenticity and relatability, rejecting "overly polished perfection." Smirnoff leans into its own history of playful, self-deprecating humor (e.g., "We're called Ice but we're a liquid. We don't get it either.") to stand out. The Ready-to-Drink (RTD) market is the fastest-growing alcohol subcategory. Learn how Smirnoff differentiates itself from the flood of hard seltzers and spirit-based cocktails. * Unmet Consumer Need: Smirnoff's RTD portfolio addresses the critical consumer need for convenient, accessible, and reliably fun drinks for casual, social occasions. It positions itself as the unpretentious, easy choice, focusing on impulse purchases in the convenience channel. * Innovation Opportunity: The biggest opportunity for innovation in the next 12-18 months lies not just in flavor(which remains the most influential factor) but significantly in format and packaging (like the strategic shift from bottles to cans for impulse buys) and diversifying ABV options to cater to different occasions. Smirnoff's challenge is leveraging its "OG" vodka and RTD heritage while staying fresh for new drinkers. * Engaging Millennials: The brand strategically taps into nostalgia by referencing its long-standing playful tone and heritage (it's been around for over a century). The 25th birthday campaign for Smirnoff Ice is an example of celebrating its past while setting up a new era. * For Gen Z LDAconsumers, the brand focuses on cultural relevance, inclusive messaging (such as its "We Do We" platform), and humor/meme culture to ensure the brand remains dynamic, fresh, and aspirational. * The 'Glocal' Playbook Example: Heckles shares an example of a successful local activation, such as the Smirnoff Stage at Electric Picnic in Ireland. This activation was focused on radical inclusivity and accessibility, featuring wheelchair-accessible viewing decks, sign language interpreters, and Braille menus. The lesson for other distinct global markets is that while the creative message (the "G") can be consistent, the execution and cultural resonance(the "local") must focus on a universal value, like inclusion and community, to drive advocacy and market share gains. * Holiday Shift: The single biggest shift in consumer behavior Smirnoff is anticipating this holiday season is the continued prioritization of at-home consumption and gatherings focused on collective joy. The marketing strategy, from packaging to placement, is being adapted to capture impulse buys in the convenience channel and showcase the versatility of Smirnoff products for effortless cocktail creation at home. Gen Z LDA expects brands to champion a clear purpose. * Core Social/Cultural Purpose: Beyond responsible drinking, the core cultural purpose Smirnoff is championing is collective joy and inclusion (e.g., the "We Do We" platform). This purpose directly influences marketing by making Smirnoff the sponsor of inclusive events and influences product development to create options for diverse consumption occasions. This episode is essential listening for marketing executives, brand strategists, and anyone interested in how a legacy alcohol brand achieves cultural relevance, drives innovation, and secures its place in the future of the RTD market. Web: https://www.smirnoff.com Follow: @smirnoff About: Looking for the best vodka? Discover Smirnoff No. 21 Premium Vodka, the undisputed number one best-selling premium vodka in the world. With an exceptional heritage spanning decades and unmatched quality, Smirnoff is sold in over 130 countries, cementing its status as a truly global icon. Smirnoff sets the gold standard for purity. Our vodka is triple distilled and ten times filtered through activated charcoal, resulting in an exceptionally pure-tasting and smooth spirit. This meticulous process ensures a neutral base perfect for classic cocktails. Smirnoff is also a leader in flavor innovation, offering a wide range of expertly crafted flavored vodkas to suit every taste and occasion. Popular choices include: * Smirnoff Citrus: Perfect for a simple Vodka Soda with a twist. * Smirnoff Raspberry: Ideal for fruity cocktails. * Smirnoff Spicy Tamarind: A bold, culturally-inspired flavor for unique mixing. From timeless classics to modern favorites, Smirnoff offers versatility for both spirits and convenient Ready-To-Drink (RTD) products. Smirnoff No. 21 is the foundation for some of the world's most memorable and iconic cocktails: * Smirnoff Mule: The zesty, refreshing combination of vodka, ginger beer, and lime. * Classic Smirnoff Cosmopolitan: The perfect balance of vodka, cranberry, lime, and orange liqueur. * Bold Smirnoff Bloody Mary: The ideal savory brunch cocktail using Smirnoff's clean, smooth profile. For ultimate convenience, explore the full range of Smirnoff RTD products. These perfectly mixed, ready-to-enjoy beverages are designed for social gatherings and on-the-go enjoyment. This portfolio includes: * Smirnoff ICE: The original flavored malt beverage, known for its crisp, refreshing taste. * Smirnoff Seltzer: Low-calorie, flavored hard seltzers for the modern consumer. Meet Ash Brown, the dynamic American powerhouse and motivational speaker dedicated to fueling your journey toward personal and professional success. Recognized as a trusted voice in personal development, Ash delivers uplifting energy and relatable wisdom across every platform. Why Choose Ash? Ash Brown stands out as an influential media personality due to her Authentic Optimism and commitment to providing Actionable Strategies. She equips audiences with the tools necessary to create real change and rise above challenges. Seeking inspiration? Ash Brown is your guide to turning motivation into measurable action. The Ash Said It Show – Top-Ranked Podcast With over 2,100 episodes and 700,000+ global listens, Ash's podcast features inspiring interviews, life lessons, and empowerment stories from changemakers across industries. Each episode delivers practical tools and encouragement to help listeners thrive. Website: AshSaidit.com Connect with Ash Brown: Goli Gummy Discounts: https://go.goli.com/1loveash5 Luxury Handbag Discounts: https://www.theofficialathena.... Review Us: https://itunes.apple.com/us/po... Subscribe on YouTube: http://www.youtube.com/c/AshSa... Instagram: https://www.instagram.com/1lov... Facebook: https://www.facebook.com/ashsa... Blog: http://www.ashsaidit.com/blog #atlanta #ashsaidit #theashsaiditshow #ashblogsit #ashsaidit®Become a supporter of this podcast: https://www.spreaker.com/podcast/ash-said-it-show--1213325/support.

This week, a special road trip episode featuring up and coming high energy traditional Irish trio Socks in the Frying Pan recorded live at the 2024 Walnut Valley Festival in Winfield, Kansas. Also, a performance from world famous singer-songwriter and folk music icon John McCutcheon. The annual Walnut Valley Festival, now in it's 53rd season, is one of the oldest and most respected acoustic music festivals in the world. Held at the Winfield, Kansas fairgrounds, more than 30 musical acts will perform on four separate stages, presenting over 200 hours of live music. Also, there is a dedicated contest stage where contestants vie for national and international championships in Finger Style Guitar, Flat Pick Guitar, Bluegrass Banjo, Old Time Fiddle, Mandolin, Mountain Dulcimer, Hammered Dulcimer, and Autoharp. There is a juried arts and crafts fair, exhibits by renowned instrument makers and music shops, family activities, a bevy of food vendors, a farmer's market and even a pub! An unusual aspect of Walnut Valley is its campground tradition. Campsites are not reserved and campers line up to claim a choice campsite during the "Land Rush.” Walnut Valley Festival goers often bring their own musical instruments to participate in the sometimes all night campground jam sessions. Bands like Old Sound and Sally & The Hurts that began as "Jam Bands" in the campgrounds, have even been invited to perform at the festival. Socks in the Frying Pan, a multi-award-winning trio from Ennis, County Clare, Ireland—the Mecca of Irish traditional music—was formed in 2014. Forged together by a fire of pure joy and passion for their art, the band comprises Aodan Coyne on guitar and lead vocals, Shane Hayes on accordion, and younger brother Fiachra Hayes on fiddle. Their ‘Socks Sound' combines virtuosic musicianship with a burning passion for the music and tradition, pitch-perfect harmonies and a big splash of quick wit and banter. Their electrifying performances and on-stage charm have established them as kingpins on the Irish traditional music scene, today. They have toured extensively, capturing hearts in 46 US states, dozens of countries, and every continent, showcasing at renowned festivals such as the Walnut Valley Festival in Kansas, Electric Picnic in Ireland, Tønder Festival in Denmark and the world-famous New Orleans Jazz Festival. To date, Socks in the Frying Pan have released three studio albums, each adding to their list of accolades including ‘Best New Band', ‘Best Live Band‘, ‘Album of the Year‘, and ‘Best Live Performance of the Year', Their latest release, Raw & Ríl, recorded live at Glór Theatre, was immediately awarded ‘Best Live Album'. - https://socksinthefryingpan.com/band/ John McCutcheon is an American folk music singer-songwriter and multi-instrumentalist who has produced 45 albums since the 1970s. He is regarded as a master of the hammered dulcimer, and is also proficient on many other instruments including guitar, banjo, autoharp, mountain dulcimer, fiddle, and jaw harp. He has received six Grammy Award nominations. Born and raised in Wisconsin, in his 20s, he travelled to Appalachia and learned from some of the legendary greats of traditional folk music, including Roscoe Holcomb and Tommy Hunter. - https://www.folkmusic.com/ In this week's “From the Vault” segment, OHR producer Jeff Glover offers a 1984 archival recording of Ozark original Sheryl Irvine performing the traditional Child ballad “Sweet Peggy,” from the Ozark Folk Center State Park archives. In his segment “Back in the Hills,” writer, professor and historian Dr. Brooks Blevins presents part one of his series recounting the history of the Ozarkland Jamboree, a 1960's country music variety show based in Horseshoe Bend, Arkansas that never made it on the air.

Thaifead muid an eip seo an lá i ndiaidh Electric Picnic, so bhí na coirp lag, but the minds were willing! Déanaimid catch-up eadrainn féin ar ár n-eispéireas ag EP agus, spreagtha ag an slua a bhí ag Kneecap, pléimid ‘How to build a community'. Labhraímid faoi bheith mar bhaill de phobal na Gaeilge agus an luach a bhaineas le caidreamh nua a chruthú le duine, cé go mbíonn leochaileacht de shaghas ag baint leis. Follow our sponsor Discover Ireland on⁠⁠⁠ Instagram⁠⁠⁠ &⁠⁠⁠ Tik Tok⁠⁠⁠. Keep Discovering and visit⁠⁠ ⁠discoverireland.ie⁠⁠⁠ to plan your next short break. To support the Daughters of Jerusalem trip ⁠https://irishartistsforpalestine.com/⁠ To support our new friend MayKay's deadly new music ⁠https://found.ee/maykaynewmusic⁠ For more info on CEARTA, the national protest for the Irish language ⁠https://cnag.ie/ga/glac-p%C3%A1irt/cearta-ag%C3%B3id-n%C3%A1isi%C3%BAnta-na-ngael.html⁠ Email ⁠howtogael@gmail.com⁠ with comments, suggestions and gach rudaí eile. Instagram ⁠⁠⁠@howtogael⁠⁠⁠ ⁠⁠⁠@doireannnighlacain⁠⁠⁠ ,⁠⁠ ⁠@louise_cantillon⁠⁠⁠⁠ ⁠ ⁠@siomhaniruairc⁠⁠⁠  Join us on Patreon for a bonus episode once a week and lots of bonus content ! ⁠⁠⁠https://www.patreon.com/c/HowToGael⁠⁠⁠ Sign up to our newsletter here: https://www.howtogael.com/contact Learn more about your ad choices. Visit podcastchoices.com/adchoices

Marion McKeone sits down face to face with Jarlath in front of packed podcast stage crowd at Electric Picnic in Stradbally country Laois to discuss where this dark chapter in American history is headed. How bad is it right now and how bad could it get? Marion explains some of the more shocking aspects of the most recent developments in US politics and takes questions from the listeners. Is Gavin Newsom America's best hope or a flash in the pan? Thanks to Naoise Nunn and his team at Mindfield for making this episode possible. Catch Jarlath on tour or buy his brand new book "The Gobshite Guidebook" at www.jigser.com 

Irish podcasting royalty I'm Grand Mam join Grace fresh off the Jungle Fever Tour in Dublin and it's pure chaos. From PJ & Kevin's Electric Picnic crowd to how they stumbled into podcasting and became gay icons back home. Plus audience confessions, Paris Hilton's real voice, and some good old Irish mammy wisdom.

Thaifead muid an eip seo an lá i ndiaidh Electric Picnic, so bhí na coirp lag, but the minds were willing! Déanaimid catch-up eadrainn féin ar ár n-eispéireas ag EP agus, spreagtha ag an slua a bhí ag Kneecap, pléimid ‘How to build a community'. Labhraímid faoi bheith mar bhaill de phobal na Gaeilge agus an luach a bhaineas le caidreamh nua a chruthú le duine, cé go mbíonn leochaileacht de shaghas ag baint leis. Follow our sponsor Discover Ireland on⁠⁠ Instagram⁠⁠ &⁠⁠ Tik Tok⁠⁠. Keep Discovering and visit⁠ ⁠discoverireland.ie⁠⁠ to plan your next short break. Email ⁠howtogael@gmail.com⁠ with comments, suggestions and gach rudaí eile. Instagram ⁠⁠@howtogael⁠⁠ ⁠⁠@doireannnighlacain⁠⁠ ,⁠ ⁠@louise_cantillon⁠⁠ ⁠ ⁠@siomhaniruairc⁠⁠  Join us on Patreon for a bonus episode once a week and lots of bonus content ! ⁠⁠https://www.patreon.com/c/HowToGael⁠⁠ Sign up to our newsletter here: https://www.howtogael.com/contact Learn more about your ad choices. Visit podcastchoices.com/adchoices

The lads discuss Raybo's trip to Electric Picnic and the new Traitors series on RTE.

We took economics to a music festival, and somehow packed the tent. In this Electric Picnic highlights episode from Mindfield, we rock up bleary-eyed and buzzing, then dive straight into the big stuff: what Trump's assault on America's institutions means for money, markets, and the rest of us. We map the new super-cycle from post-war social democracy to Reagan-Thatcher finance, to today's populist reboot, and why we think the US is flirting with a fiscal, monetary, and dollar crunch. Closer to home, we ask why Ireland looks rich on paper but feels poor in reality. In between, we tell the story of the 1992 currency crisis, a lo-fi mission to the Dorchester, and accidentally swapping the Central Bank for UBS and because we were literally in a field surrounded by stages, we tackle the music economy: streaming's winner-takes-all logic, Daniel Ek's “music costs almost zero,” algorithms that feed nostalgia over novelty, and why culture only renews when the young can afford to create. Hosted on Acast. See acast.com/privacy for more information.

We've a special live episode of the podcast for you today, a wide-ranging chat with actor, writer, presenter and mother of five Rosie O'Donnell at The Electric Picnic. We teamed up with Jan Brierton's Wild Words at the festival where O'Donnell talked to Róisín Ingle and a packed Manifesto tent about everything from her feud with Donald Trump, moving to Ireland, weight loss drugs, the price of fame and that time she turned down a night out with Prince. Star of The Flintstones, Sleepless in Seattle and A League of Their Own, the former talk show queen also talks about how she has lost some Jewish friends by speaking out about the genocide in Gaza and why she's so happy to have made Ireland her home. But first, Irish Times Opinion Editor Jennifer O'Connell is here to talk about the biggest stories of the week for women, including the devastating earthquake in Taliban-controlled Afghanistan. Hosted on Acast. See acast.com/privacy for more information.

Welcome back to Young Hot Guys! Killian makes his return to the YHG HQ after his wee cough (week off), Shane regrets missing his chance to chat with his journalist hero and Tony pleads his case as an anti angelus activist. The guys are chatting Electric Picnic, The Traitors Ireland and J1 Rock. To get extra bonus content and much more you can sign up at ⁠⁠https://headstuffpodcasts.com/membership/⁠⁠  Shane's Tickets: ⁠⁠⁠https://linktr.ee/shanedanbyrne⁠⁠⁠ Killian's Tickets: ⁠⁠⁠https://linktr.ee/killiansundermann⁠⁠⁠ Tony's Tickets: ⁠https://linktr.ee/tonyhorror⁠ Shane Daniel Byrne, Tony Cantwell, and Killian Sundermann are Young Hot Guys. This is a HeadStuff podcast produced by Hilary Barry. Artwork by Shane Kenna

Emma and Deirdre are back in the studio catching us up on their Electric Picnic highlights. The girls are chatting runaway husbands, hot chips and pantos.  If you can't get enough of Keep It Tight sign up to HeadStuff+ for an weekly bonus episode at⁠⁠⁠⁠⁠ ⁠https://headstuffpodcasts.com/membership/⁠⁠⁠⁠⁠⁠ ⁠This Podcast is part of the Headstuff Network. Artwork: Alan Bourke-Tuffy Learn more about your ad choices. Visit megaphone.fm/adchoices

Today we bring you a recording of a live episode that took place yesterday in the Mindfield area of Electric Picnic. Hugh talked to Ellen Coyne, Jack Horgan-Jones and Pat Leahy about the meaning of the presidency, the prospects of all the potential candidates and the political calculations being made by the big parties as the race begins. Thanks to everyone who attended and to Electric Picnic. Hosted on Acast. See acast.com/privacy for more information.

Many listeners were surprised what contestants on The Traitors Ireland would spend the cash prize on. School secretaries and caretakers are on strike. Community activist Joe Mooney on how he and others are standing up to crime. Clare caught a sweet moment on camera at Electric Picnic.

Nuacht Mhall. Príomhscéalta na seachtaine, léite go mall.*Inniu an tríochadú lá de mhí Lúnasa. Is mise Niall Ó Siadhail.Tá ambasadóir na hÉireann i ndiaidh dul i dteagmháil leis na húdaráis i mBeirlín faoi ionsaí ar agóideoir Éireannach i bpríomhchathair na Gearmáine Déardaoin. Rinneadh físeáin agus pictiúir de Kitty O'Brien go forleathan ar na meáin shóisialta agus í mbun agóide le Irish Bloc Berlin, grúpa a sheasann i gcoinne an chinedhíothaithe sa Phalaistín. Sna físeáin, tá póilíní Gearmánacha le feiceáil agus iad ag cur brú ar an lucht agóide. Léirítear gur bhuail póilín amháin dorn sa tsrón ar an bhean Éireannach aríst agus aríst eile. Fágadh í le lámh bhriste agus aghaidh lán fola. Ní hé seo an chéad choimhlint idir póilíní agus agóideoirí síochánta i mBeirlín. Cuireadh cosc ar theangacha cé is moite den Ghearmáinis agus den Bhéarla ag agóidí anuraidh, agus gabhadh fear amháin i mí Aibreáin a bhí ag labhairt Gaeilge.Tá an truailliú i Loch nEathach níos measa ná riamh. Tá blás algach le feiceáil ar dhromchla an locha, sloda glas a dhéanann dochar do bheathra uisceach. Tá cosc ar iascaireacht le haghaidh eascann, tionscal traidisiúnta an cheantair, agus chonacthas eascanna amuigh as an uisce agus iad ag sleamhnú ar bharr an bhláis algaigh. Tarlaíonn an truailliú seo mar gheall ar an leibhéal ard fosfair agus nítrigine sa loch, a ritheann isteach ó fheirmeacha timpeall an locha. Tá grinneall agus bruacha Loch nEathach i seilbh Iarla Shaftesbury, Nicholas Ashley-Cooper, ach níl mórán déanta aigesean ná ag polaiteoirí Thuaisceart Éireann in ainneoin éilimh mhuintir na háite.Tá an fhéile cheoil is mó in Éirinn, an Electric Picnic, ar siúl an deireadh seachtaine seo. Tá thart fá 80,000 duine ag freastal ar an fhéile sa tSráidbhaile i gContae Laoise, ina bhfuil roinnt stáitsí ceoil agus puball grinn. I measc na gceoltóirí mór le rá tá Hozier, Chappell Roan, Fatboy Slim, Kneecap agus Kings of Leon. Anuas air sin, tá níos mó Gaeilge ná riamh ag an fhéile i mbliana, lena n-áirítear dhá stáitse Gaeilge, an Puball Gaeilge agus an Chollchoill, agus láthair speisialta Gaeltachta sa láthair champála. Ar an drochuair, tháinig deireadh leis an aimsir thirim inné agus beidh lucht na féile fliuch go leor. Tá an fhéile díolta amach le tamall.*Léirithe ag Conradh na Gaeilge i Londain. Tá an script ar fáil i d'aip phodchraolta.*GLUAISagóideoir - protestorblás algach - algal bloombeathra uisceach - aquatic lifeeascann - eelpuball grinn - comedy tentan Chollchoill - the Hazelwood

Sleep Divorce, Electric Picnic and the end of an era for Cotton Ball

Evelyn O'Rourke, Arts and Media Correspondent reports from Stradbally as Electric Picnic gets underway.

This weekend the Women's Podcast is joining the line up of Jan Brierton's Wild Words at Electric Picnic. For the event, Róisín Ingle will be hosting a special live recording of the podcast with American comedian, actor and new Irish resident Rosie O'Donnell. Brierton joins the podcast today to look ahead to the weekend's festivities and to explain what festival goers can expect from the rest of the Wild Words lineup. She also talks to Ingle about her exciting year ahead, which includes another appearance at Dublin's Olympia theatre and a two day celebration in December to mark her 50th birthday. But first, Irish Times Journalist Niamh Browne is here to talk about the biggest stories of the week, including Taylor Swift and Travis Kelce's big announcement, the discussion around Serena Williams' latest endorsement and all the latest on the CAO offers which came out this week. Hosted on Acast. See acast.com/privacy for more information.

Today Carl Kinsella and I discuss a wide range of stories from the horrors continuing in Gaza to Donald Trump's militarisation of Washington D.C. and the Electric Picnic scam everyone's talking about. Check out the church moving imagery here.Pre-order Carl's book At Least it Looks Good From Space here.To support the podcast and access bonus episodes, join the community on Patreon here. Hosted on Acast. See acast.com/privacy for more information.

The pod is back after a couple of weeks off. Mick and Paul discuss the loss of their friend and colleague Mick O'Neill, and some of this week's biggest crime stories. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week marks 80 years since the atomic bombings of Hiroshima and Nagasaki, and we're taking a deep dive into Japan's extraordinary economic story. In part one of our two-part series, we explore how Japan went from a feudal, isolated society to one of the most powerful economies in the world. With our guest Russell Jones, a brilliant economist and my old boss, we look at the Meiji Restoration, post-war reconstruction under America's wing, and the wild property and stock market bubble of the 1980s. Along the way, we chat about Trump's war on economic statistics, a touch of Cold War nuclear tension, and even a special Electric Picnic-related announcement! Hosted on Acast. See acast.com/privacy for more information.