A High-Wire Act The debut album from The High Seas trio contains feverish music and some classic moments, writes Toner Quinn.
The New Normal? The RTÉ National Symphony Orchestra has just announced its 2018/19 season. Adrian Smith looks at the range of music on offer – from contemporary and classical to traditional – and considers some of the overall trends in programming.
Calls for National Music Policy at Oireachtas Meeting Representatives of DIT, Music Generation, the Irish Chamber Orchestra and Comhaltas call for legislation to address issues in music education.
Emanating Sparks At this year's Drogheda Arts Festival, Louth Contemporary Music Society presented a spectralist work from the 1970s alongside a postminimalist one from the last decade and a series of techno-inspired shorts. Brendan Finan finds the connections.
Glorious Shambles Gerald Barry's inspirations come from many sources – his new Organ Concerto, performed in Dublin in May, was partly inspired by a cat mourning the loss of atonality – or was it? Adrian Smith reviews.
An Otherworldly Destination Composer Judith Ring's first body of work featuring her own singing is both gentle and complex writes Shannon McNamee in her second Journal of Music/Galway City Council Music Writer Mentoring Scheme review.
Reimagining Belfast 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.
Hamilton's Relentless Pursuit Andrew Hamilton's 'music for people who like art' was the nearest thing to a smash hit in contemporary music, writes Adrian Smith. A new recording on the NMC label includes works composed either side of it too.
Strange Type of Orchestra Love 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.
Misunderstandings, Trickery and Guile Irish National Opera's production of The Marriage of Figaro was fresh, visually arresting and cartoonish, writes Brendan Finan. But why does opera still rely on women's stories as told by men?