What was it about Micho Russell's music and performances that was so unique and compelling, and that made him into a star of the folk revival? Niall Keegan listens to a recent double-CD collection which includes a range of previously unpublished recordings.
Alfred Brendel's new book is a reminder of how the really dedicated musician goes about things, writes John McLachlan.
Cellist Ernst Reijseger was among the improvisers featured at Bottlenote collective's recent performance during the Dublin Fringe. Anna Murray attended one of the six improvisations, which took place in a dilapidated Georgian house.
Since 2006, Louth Contemporary Music Society has been commissioning internationally renowned composers such as Arvo Pärt and Terry Riley, hosting ambitious concerts, and has issued several recordings. Garrett Sholdice listens to some of the promoter's most recent releases.
Adrian Scahill reviews an ambitious new history of Irish uilleann piping written by Colin Harper with piper John McSherry.
In The Jimmy Cake's fourth album, what's always at stake is 'compulsion', writes Stephen Graham, of the musicians, the material and the listeners.
The representation of women in the Leaving Certificate music syllabus is practically non-existent, writes Laura Watson, and revision is long overdue.
Anna Murray reviews Kirkos Ensemble's Blackout #3 at the Royal Irish Academy of Music.
In 'Children of the Stone', a new book by Sandy Tolan, two drastically different visions of music’s potential collide, writes Raymond Deane.
World-conquering labels and musically literate entrepreneurs – these are the keys to the creation of a music industry, writes Gareth Murphy, but is that what Ireland has?