Toner Quinn is Editor of The Journal of Music. His website is https://tonerquinn.com/
Toner Quinn
The first All Together Now festival took place on 3–5 August on the Curraghmore Estate in Waterford. It's where the new Irish generations come for freedom – or is it order, asks Toner Quinn.
Singer-songwriter David Kitt is leaving Ireland because of the housing situation, and music writer and DJ Nialler9 is 'stressed and broken' by it. Boom after bust after boom, the lot of the Irish musician never seems to change. There is a way to change this, writes Toner Quinn.
Irish National Opera continues to experiment and excite with a production of Gluck's 'Orfeo ed Euridice' in Galway and a spectacular performance by Sharon Carty, writes Toner Quinn.
The Irish Government has launched a new initiative, 'Global Ireland', with international aspirations – but what does it mean for Irish music?
The debut album from The High Seas trio contains feverish music and some classic moments, writes Toner Quinn.
Fiddle-player Conor Caldwell's diverse new album is inspired by both the historic work of collector Edward Bunting and the sounds of contemporary Belfast, writes Toner Quinn.
The RTÉ orchestras report has made recommendations in response to a crisis, but we have not heard enough discussion of the issues that caused it, writes Toner Quinn.
When we have instant access to every piece of music that we love, anywhere and anytime, something profound has happened, writes Toner Quinn.
The debate around RTÉ's orchestras points to deeper challenges – it's essential that we keep this conversation going, writes Toner Quinn.
The Galway Jazz Festival is on an ambitious new path – with over 40 events over 4 days held in October. Toner Quinn attended three sold-out shows at the Mick Lally Theatre.
What makes a political folk opera work? Do traditional musicians go far enough in their experimentations? And what is the 'social side' of classical music? Toner Quinn reflects on a range of questions raised by the musical riches at this year's Kilkenny Arts Festival.
Daring performances in 'The Second Violinist', a new opera by Donnacha Dennehy and Enda Walsh premiered at the Galway International Arts Festival, explore a range of personal and musical crises, writes Toner Quinn.
The suicide bombing at Manchester Arena was the second such attack at a music event in two years. What is to be the role of music in this 'age of anger', asks Toner Quinn.
Concertina player Cormac Begley’s creative journey has been one to watch, and his new solo album is an assertive next step, writes Toner Quinn.
Liam O'Connor's first solo album strikes the balance between virtuosity and style, writes Toner Quinn.
Johnny Óg Connolly's new song cycle for Liam Ó Maonlaí captured a range of atmospheres, from mystery to melancholy, writes Toner Quinn.
Michael Dervan's new book, 'The Invisible Art: A Century of Music in Ireland 1916–2016', is, like the Composing the Island festival last September, an attempt at addressing the ‘invisibility of composers in Irish life’ – but not all composers, writes Toner Quinn.
A line has been crossed. Will Irish musicians and composers participate in the new US regime?
The Journal of Music looks at what the parties are promising for music.
RTÉ orchestras will perform two nights of music by Stravinsky this weekend. We take the opportunity to look back on the composer's visit to Ireland in June 1963.
Having a harp on our coins only really matters if we give meaning to that symbolism, writes Toner Quinn.
RTÉ Lyric FM is in the news because of its schedule changes, but the strength of the response is a positive thing.
Ensemble Ériu, a group that combines traditional, jazz and contemporary music, recently toured their new six-part suite 'Stargazer'. Toner Quinn attended the opening performance in Galway.
The world of the professional traditional musician appears to be contracting, writes Toner Quinn.
Far from 'anything goes', programming a festival of experimental music may be the most difficult type of all. With a new artistic director, the Borealis festival in Bergen, Norway, seized the challenge, writes Toner Quinn.
The next steps for the Irish music industry require 'strong leadership', says a new report, but where will it come from?
Benjamin Dwyer’s new book asks hard questions about Irish musical life.
The feverishness around the idea of the ‘start-up’ is remarkable, and artists could learn a lot from it.
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