MARCH 2016 / FREE / TOTALLYDUBLIN.IE
ONLY A CONSONANT APART The music of Iceland is resonating in the south west of Ireland
with KEVIN BARRY BLEEDING HEART PIGEONS BECKY LYNCH and FOUNTAIN PENS!
Sycamore Street on Meeting House Square
Dublin 2, Ireland Tel:+353 (0) 1 6703330
Dinner from 5pm nightly Brunch Saturday & Sunday from 12-5
Tell us a little bit about what Dublin Bar Academy is. It’s a training academy for hospitality related courses, like cocktail making, barista training, and wine and craft beer courses. The core of the business is a full-time bartender course, which we run as a franchise for the European Bartender School, which is the world’s largest school of that kind. We do eleven of these courses pretty much back-to-back on a yearly basis. That course is our bread and butter, because there are people coming from all over the world to do the course here and check our Dublin too. The European Bartender School has 25 locations around the globe, but we have the most bells and whistles added. We take them to Tullamore Distillery, we take them to Guinness and that’s all included, so we tend to get people who are very serious about bartending. You moved to new premises recently – tell us about that. Originally we were on Francis Street which was great, but we started to run out of space, which I suppose is kind of a nice problem to have when you’re running something like this. The venue was very cool but it wasn’t 100% when it came to taking it to the next level. When we found this space on North King Street, we realised it was a serious investment, but if we wanted to get to a more serious level education-wise, and to get different partners involved – we have Illy coffee and Vanguard
Richard Linden Head Instructor and Co-founder of Dublin Bar Academy
Tell us about your partnership with Linked Finance. That was while we were on Francis Street. Finance for most new businesses can be a little challenging and Linked Finance was really great for that time. It was a €10,000 loan. As a start-up you know you can have great ideas about the future, but at the end of the day if there’s no capital then you can’t realise them. How did the loan itself go? Did you get enough subscriptions and at the interest rate that you wanted? Yes. We were happy and it went through in only a week or so, and the loan was there. I’m not a fan of admin or a fan of paperwork, hence the direction in life which I’ve taken! Applying for loans, you know, it can be a lot of admin and a lot of paperwork, but I found Linked Finance was nice and clean and quick. It was brilliant. Would you use Linked Finance again? Will they still be useful for you in the future? Yes, absolutely. We haven’t started the next stage of financing yet but when the next round does come up I would definitely look into using Linked Finance again.
Beer and WSET wine courses and a lot of that is thanks to the space – then moving here to the bigger premises on North King Street was going to be the move for the future. We’re really excited to be here and we’re already seeing that it’s a great space for learning and working.
Dublin Bar Academy, North King Street. dublinbaracademy.com
issue 136 issue 137 Happy Nuge Year! the prettiest star The death of David Bowie hung heavy over TD Towers this month, a gobsmacking blow to receive on a dark January morning. The overwhelming influence of his artistry was visible in the multitude of ways he touched those who admired him, as a rock’n’roll star, a pop visionary, an experimental musician, a keen collaborator and an icon of transgression, impossible to pin down to any one defining moment from a lifetime of creativity. And obviously, that’s only the
issue 138 strange overtones
distant stuff you recognise as a fan rather than his own private legacy as a family man and friend to many. But even from that remove, the pull of his artistic gravity is strong and reassuring. RIP.
- Ian Lamont Usually we dedicate our March issue to the theme of Design but with Offset taking place in April this year, we decided we’d hold back and give the Rising Centenary our full focus. Just kidding! Instead we’re taking a trip to West Cork to hear the Icelanders sing and to Berlin to fetishise fountain pens, and in between we’re catching up with Irish writers, rockers and wrestlers as they make moves in their respective careers. - Ian Lamont
8 Roadmap Officer Ralph takes 8Hot Roadmap Kissing babies
10 What If 12 Rain, rain away Drop yourgo 12 What Ifguard The clapper
14 Nice Gaff Long Mile Works Shanzen 14 Design Ali G
16 Design Think it 100 notonout 16 Garb
Torino Away Kit
18 Garb Balloon Massacre Thirty three and a third 20 Ireland/Iceland Resonant Frequencies
Running for their Lives 22 Cian Nugent Midfield Rock’n’Roll Singer 26 Kevingeneral Barry Free as a bird
30 Refugees Uhh Yeah Dude 28 Seatbelts Redrawing Borders 30 Becky Lynch Dis-arm-her
34 Brand Chairlift 36 New Retro Moth toLesson, a Flame History Pt. 2 Pigeons 34 Bleeding Heart Happy. Happy? Happy.
40 Susan Boss Fight Books 42 Howe Cheat Sheets The body of anPens American 38 Fountain A synecdoche
44 Shoot Barfly 46 Gritty Urban Sophisticates The Problem with Strangers 44 Barfly In tents city
52 Barfly Gastro 54 Pizza cake Exposed brick FTW 52 Gastro
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Games 62 Gastro Playtime Hearth ledger 62 Games
64 Games Artsdesk 72 Survey the scene Puzzlebobble 64 Artsdesk Barking mad
66 Artsdesk Print 74 Cliff notes Pixels of doom 66 Print Love Poems
68 Print Film 76 Drive-In Saturday There was no ‘main’ Beatle 68 Film High in the Custerdome
70 Film Sound 78 Changing Time Darth Vader on tenor sax 72 Sound Spaz in the news Kanye
76 Sound Listings 80 The A-Z Swing out Sister 74 Listings But it did happen
P.S. Did anyone get any tickets for the Euros?
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FEBRUARY 2016//FREE FREE//TOTALLYDUBLIN.IE TOTALLYDUBLIN.IE JANUARY 2016 MARCH 2016 / FREE / TOTALLYDUBLIN.IE
THERE’S ONLY ONE CIAN-O
ONLY A CONSONANT APART The music of Iceland is resonating in the south west of Ireland
Cian Nugent finds his new voice
INSIDE THE INSECT MIND OF CHAIRLIFT’S MOTH
with with REFUGEES CAMPS IN SLOVENIA MARK BRADY with& THE RARÁMURI BRAND NEW RETRO UHHBARRY YEAH DUDE KEVIN SUSAN HOWE BOSS FIGHT BOOKS BLEEDING HEART PIGEONS SAINT SISTER and THE ALTERED BECKY LYNCH HOURS and RORY PARNELL MOONEY and FOUNTAIN PENS!
Coverphoto photo: Cover photo: Cover and this page: Chairlift, photographed by Cian Nugent, Jófríður Ákadóttir, photographed by Tim Barber photographed by Cáit Fahey Aoise Tutty at Three Castle Head, West Cork
Contributors Contributors KillianBroderick Broderick Killian Contributors
Tom Broderick Cahill Thomas Cahill Killian LizaCahill Cox Daire Collins Tom Stephen Cox Jonathan Creasy Ruairí Casey Dave Desmond Leo Devlin Conor Creighton LeoDevlin Devlin Ollie Dowling Leo OllieDowling Dowling Mark Duggan Ollie Jakub Dulak Cáit Fahey Mark Duggan Eduardo Herce Forget Jakub Dulak JohnHyland Hyland Eliza A. Kalfa John Tim McElwain MacGabhann Patrick Kelleher Aoife Aoife McElwain Gráinne Loughran Peter Morgan PeterMaxwell Morgan Luke Martina Murray Bernard O’Rourke Aoife McElwain Bernard O’Rourke Sharon Phelan Paul McHugh Anna-Grace Scullion Anna-Grace Scullion Martina Eva ShortMurray Rachel Sender Bernard O’Rourke Eoin Tierney Eva Short Eoin Tierney Cristina Tomàs DanielTomàs Simon Mònica TomàsWhite White Mònica Eoin Tutty Tierney What If Dublin Aoise DavidWall Wall Danny Wilson David DannyWalshe Wilson Eimear Danny Wilson Ruan van Vliet
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THIS IS WHERE
The lighting... it’s super flattering. The decor & private booths... your perfect stage. The cocktails and amazing food... deeelish! The people... well, style breeds style. The atmosphere... chilled out sophistication. The weekend... here, it lasts later. March at SÖDER + KO... let’s get together and make a little madness. See you there.
64 SOUTH GREAT GEORGE’S STREET, DUBLIN 2.
ROADMAP words Ian Lamont
F_FESTIVAL Keeping the theme of surprise festivals, F_Festival announced itself as a multidisciplinary festival, which takes places on Saturday 12th March at a variety of venues across the city, including Hangar, The Grand Social, Wigwam, Film Base, The Back Loft, Sweeney’s and the Gallery of Photography. The aim of F_Festival is to generate visibility and equality for women in the arts, building on the notable campaign of Waking the Feminists which began at the end of last year. Amongst those featured will be a capella duo Twin Headed Wolf performing with Spines and I Am Niamh at Grand Social, while the film screenings will be themed across four areas, She Is Avant Garde, She Is Herself, She Loves and She Documents. For the full line-up, check out facebook.com/ffestivaldublin, @F__Festival on Twitter or the F_Festival podcasts on radiomade.ie with Jack Olohan and Jana Felice.
Having branched out to host their first international venture with a London show in November last year, the internationally renowned design conference Offset returns to its spiritual home in the Bord Gáis Energy Theatre on April 8th, 9th and 10th this year, with another slew of high profile names like artist Robert Ballagh, Steve Averill, known for his designs of U2’s record sleeves and the enfant terrible of graphic design, Vince Frost. Ahead of the main event however, the team at Offset will be running Offsite: Amplify your City, a series of design-focused fringe events in a variety of spaces around the city from Wednesday 30th March until the end of the festival on Sunday 10th April. Amongst these will be a design-led walking tour, a ‘Meet the Curator’ tour of Dublin galleries giving participants access to the workings of the city’s cultural institutions, portfolio review sessions with established graphic and visual designers in Indigo & Cloth, a ‘sketch-crawl’ around the city entitled Offsketch, Designing Dinner (a bang-up feed in the Fumbally) and a series of unique window paintings by local artists throughout the week. To keep abreast of all the happenings, and to pick up tickets for the event itself, check out iloveoffset. com and @weloveoffset on Twitter. Images clockwise from top left: Cover of U2’s album Boy, designed by Steve Averill, photo by Hugo McGuinness. Serious Play by Stephen Kelleher The Cineroleum, Clerkenwell Road, London – a disused petrol station transformed into a cinema by Assemble.
THIRTY FOUR (SATURDAYS) Thirty Four is a café-cum-headquarters run by Home Beat founder Emmet Condon, based at 34 Lennox Street in Portobello. Last month Emmet launched Thirty Four Saturdays, which is a series of gigs in an unusual venue, i.e. his coffee house, each Saturday at 2pm. Last month they kicked off proceedings with performances from Come On Live Long and Sorcha McGrath’s Wounded Healer, while March’s roster includes Nocturnes with Pearse McGloughlin (Saturday 12th), Carriages (Saturday 19th) and MKAI (Saturday 26th). Of course you could just call in during the week and grab a cup of their Full Circle coffee and peruse some of the many mags they stock in collaboration with KIOZQ.
GET YOURSELF CONNECTED Keeping up a tradition that sees them collaborate with Irish artists to produce limited edition bottles of their delicious, Jameson have teamed up with street artist James Earley, who casual observers may be most familiar with from his spectacular transformation of Blooms Hotel into a technicolor tribute to Joyce’s Ulysses, to produce the ‘Connections’ edition. Explaining his design, Earley explains that the brief was very open: “The big question was ‘What does Dublin mean to you?’ and, to me, it’s the people and it’s the social connections that makes Dublin unique and special. So when you look at the bottle, there’s kind of a honeycomb effect of the line and dots connected to each other through these lines, a visual representation of the connection between people. Furthering on that, it’s the idea of linking from one side of the city to another and I thought the perfect way to represent that was through the bridges of Dublin.” Most obvious to the design is the Ha’penny, but elsewhere on the bottle, the eagle-eyed will pick out appearances from the Grattan Bridge’s hippocampi, as well as faces of Neptune and Anna Liffey who peer toward the sea and the source of the river respectively from the sides of O’Connell Bridge.
Using the finest quality ingredients from around Ireland, we here at Coco Bó aim to serve the best coffee, chocolate and ice cream that this city has to offer. Our ‘Made by Me’ counter is the first of its kind in Ireland. It allows you, the customer, to create your own personalised chocolate bar using whatever ingredients and chocolate type you most prefer. 65-66 O’Connell Street, Dublin | Mon–Sun: 10:00–19:00
ROADMAP words Ian Lamont
OPSH BOOK CLUB Last year burgeoning Irish fashion empire Opsh ran their first Book Club event, where they discussed Sophia Amoruso’s feminist-capitalist bible #Girlboss, and the event was such a success that they’ve gone back to the well. Monday 14th March will see them take over the Button Factory to discuss Louise O’Neill’s 2015 novel Asking For It, which, to great acclaim dealt with the hot topic of sexual consent. A panel featuring Jeanne Sutton (Senior Features Editor at Image.ie), bloggers Rosie Connolly (Hearts, Heels & Handbags) and Louise Bruton (Legless in Dublin) along with the author herself will discuss the central issue of consent, and a host of other issues pertinent to those growing up in the age of social media.
Telephones – the umbrella title for parties put together by The Locals’ John Mahon and Discotekken’s Louis Scully, kicked off their new monthly residency at Bar Tengu last month, giving them a regular home for their previously irregular parties in various lane-ways and yards around the city. The dynamic duo will be serving up the usual feast of disco, soul, Afrobeat, RnB, ’80s pop, house, Italo on the middle Saturday of the month behind Yamamori Sushi on Lower Ormond Quay, with the next editions taking place on 12th March, 16th April, 14th May and 11th June.
A TERRIBLE BEAUTY IS BORN Put together by artist Maria Parsons, The Terrible Beauty 1916 collection is a range of jewellery inspired by everyone’s favourite centenary event this year, the Easter Rising. The range features pieces that take inspiration from the ordinary and extraordinary people involved in the events of the Rising as well as the architecture shapes and imagery that we have come to associate with Easter 1916. Pictured is The Constance Seven Signatories Ring, created using solid sterling silver with a textured black rhodium plate detail and outer surface.
will also entitle you to 25% discount on the book
Alliance Française’s Franco-Irish Literary Festival continues to mend the bridge between our two countries burned so often on rugby fields in recent years, with a joint celebration of our two literary traditions. The festival takes places from Friday 8th to Sunday 10th of April at the Alliance Française building on Kildare Street on Friday and Sunday, with the Saturday hosted at Dublin Castle’s Castle Hall. The theme of the festival this time around, is ‘Food For Thought’ (or Les mots à la bouche) and suitably, the event also features literal grub as well as literary nosh, with a culinary show and the Literary Brunch on Sunday morning.
at Dubray Books.
For a full run down of events, see francoirishliteraryfestival.com
Tickets are available at bit.ly/opshbookclub and
New Music Night And Day Two new ‘New Music’ festivals appeared out of nowhere last month as both InSight and Music Current were announced within the space of a week. The former is presented by the Irish Composers Collective and Tonnta, and is a four-part concert series that will premier 20 works by emerging Irish composers including Anna Clifford, Ena Brennan, Natasa Pattern and Elis Czerniak. The concerts will take place in Smock Alley Theatre on Monday 14th March, Wednesday 27th April, Saturday 4th June and Monday 18th July. For more check out irishcomposerscollective.com Meanwhile, Music Current is a festival of contemporary electronic music put together by Dublin Sound Lab from Thursday 7th to Saturday 9th April, again in Smock Alley Theatre, which will no doubt feature a host of warbling oscillators and abrasive musique concrète over multiple speaker arrays amongst its line-up. For more see dublinsoundlab.ie/music_current
For more see terriblebeauty.ie or @TBeauty1916 on Twitter or @TerribleBeauty1916 on Instagram.
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WHAT IF DUBLIN... words What if Dublin team
Last month at @what_if_dublin, we took at look at the city at night. We were interested in people’s perception of safety and conducted a Twitter poll. Out of 54 votes, 59% said they felt safe on Dublin’s streets at night, while 41% said they didn’t. The results of the last ‘Your Dublin, Your Voice’ Survey, carried out for Dublin City Council in 2012, are even more eye-opening. This showed that 74% of people feel safe in Dublin by day, while only 35% feel safe at night. What can be done to tackle this problem? Contributing factors to the perception of safety in a city are its lighting and visible activity. Bright, busy streets are magnets that attract people and make them feel safe. But lighting is too often an overlooked element in urban design. It is a vital element of any functioning city and extremely difficult to achieve the right balance. Too dark and one feels intimidated, too bright and you kill the atmosphere and character of the city. As one of our commentators on Twitter, @equinns, put it: “A city totally cleansed of its dark nooks and crannies is a sterile, dead city.” Some of our city’s most beautiful locations are so dimly lit at night that only the very brave will risk entering these zones, for instance the Liffey quays, the canal areas and indeed the bay area. All possess the potential of being amongst the city’s most beautiful areas if properly illuminated. Our policy vis-à-vis lighting seems to have been developed in a very ad hoc manner. On Merrion Square, a “Museum of Lamps” houses an informal collection of Dublin street lights, depicting lights down through the years. Indeed the lighting design of our whole city seems to
The original image was kindly provided by Ciarán Murray of Come Here To Me! (www.comeheretome.com)
have this disjointed feel to it and where there is lighting it is often not utilised, or left in disrepair. With some thought, we could light up areas of scenic, architectural and historical importance. Planners, lighting experts and architects together could readily select lighting conducive to every environment where people would feel safer to visit. Transforming darkness into light could become a reality, adding considerably to the artistic imprint of an already incredibly beautiful city.
Next month we will be looking into Dublin for kids. What infrastructure for children does the city have to offer and what needs improvement? Get involved and send us your ideas via @what_if_dublin or #whatifdublin on Twitter, or email us at firstname.lastname@example.org
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Two courses for €19.95 is only available as part of the Two Course Promotion. Two courses includes Appetiser & Main. This promotion may be terminated at any time and is subject to participating restaurants whilst stocks last. ©2016 T.G.I. FridaysTM Ireland Limited.
DESIGN words David Wall
For Ali Grehan, using design to create lasting impact remains her goal despite changes in the scale of her work.
ince taking the role of City Architect in 2008, Ali Grehan has initiated and facilitated projects that have connected with the city, its designers and citizens. Grehan came to Dublin City Council from the Ballymun Regeneration project. There, she had taken on more typically architectural challenges, albeit in the context of urban growth and renewal. Previous to that she was part of the team planning out the early stages of the Luas, where she developed a taste for the complex world of urban design, public engagement and collaboration at scale. The Luas project was an intense period of discovery for Grehan, as part of an architectural team led by Alan Mee within the broader engineering team. “That was a real rollercoaster of a project to be involved in. It was groundbreaking. We had to invent and design the processes and the way of working as we went along,” explains Grehan. For her, there is a lineage through this work and her other roles in private and public organisations to the present day. Her own motivation – the design process as a means to create lasting impact – remains unchanged. “The level of scale and complexity have changed a bit, but the approach and expectations are the same. It’s still that wonderful dance with lots of different people moving in different directions, and yet somehow managing to move in the same direction.” Under Grehan, the City Architect’s office leads and supports projects which connect designers to communities. Ongoing projects include Design4Growth – which assists small businesses in using design strategy methods to aid their development – as well as design education programmes for schools. Another project was Pivot Dublin which, from 2009 to 2011, brought together a community of designers and policymakers to produce a bid
to propose Dublin as World Design Capital 2014. Although the bid was unsuccessful in its initial goal, the work of Pivot remains an active strand of the office’s work. The scope of collaboration, the conversations that the bid project initiated and the many offshoot projects are a source of pride. “It was a practical response to a complete lack of understanding of the value of design at a time when we needed it most. In 2009 and 2010 everybody was under so much pressure. Were we giving time to strategic thinking? Was anybody talking about looking at the problem and trying to design a way around it? There was huge pressure for quick fix solutions. Designers know that quick-fix solutions usually come unstuck. So it was a great opportunity to promote the value of design and designers,” Grehan asserts. Pivot also created a lasting impression on an international audience of designers previously unused to thinking of Ireland or Dublin as centres of design excellence. As Grehan puts it, this new audience was alerted to “Dublin design and our story. We should never underestimate how talented we are and how good we are at telling a story. I know that’s a cliché, but Irish people do have a spark that is recognised elsewhere and that people are drawn to.” Pivot highlighted the City Architect Division’s intention of maintaining a working relationship with a broader design community. There is a consideration for how communication is handled that sets the office apart from and above other civic facilities. This has been the product of a genuine engagement with graphic design, communication design and like-minded private and public organisations. And for Grehan, communication is as much about “motivating ourselves as communicating to the wider world.” “The public sector is a competitive environment”, she adds. “You’ve got to justify your
“There was huge pressure for quick fix solutions. Designers know that quick-fix solutions usually come unstuck.”
existence, prove your worth. And one of the ways of doing it is showing people examples of what you’ve done. That’s the only thing that really proves the point.” Seeing the impact of vision on a grand scale, and the potential for further collaboration are motivators for Grehan and her team. “The reward for justifying your existence is the opportunity to work on more interesting initiatives that other people are doing. That’s the motivation – and to see results,” she notes. “A huge problem is finding time to actually communicate the success stories. I think every department in DCC would say the same thing. A lot of work and time goes into trying to explain the proposal when it’s in the embryonic stage, and get buy-in at the development stage. But once it’s finished, finding time to go back and fly the flag for the project is hard.” She cites the recent progress around plans for College Green as a definite success, albeit at those early stages. “We’re really chuffed about College Green – the fact that the councillors are so positive about the project. It’s not firm or definite yet, but we’re gratified by the positive reaction. That has been so long in the making with a process that has been circuitous. The proposal is a huge collaboration – the road and traffic engineers being front and centre, the city architects pushing it as a vision and a dream. It’s taken years, and here we are with it within our grasp.” The next project for the City Architect’s Office is a collaboration between themselves, the American Institute of Architects, and a Dublin community which has yet to be selected. The Framework project will bring together an interdisciplinary group of designers to work with a community to develop a shared vision and an action plan. The project (under the Design Assistance Program moniker) has been running in the USA for over 50 years.
From far left: FrameWork pilot project launching end February 2016 see www. designframework.ie. Identity and website by Maria Hinds, photography by Aisling McCoy Ali Grehan, photo: Clare Mulvany Offset London titles by Aran Quinn; Damien Bastelica: animator, compositor; ECHOLAB: music company; Gavin Little: composer, sound design; Joe McHugh: sound design; Steve Lynch: composer; Michael Girandola: photography
According to Grehan, it is “extremely disciplined and systematic. There is protocol that is applied to projects regardless of scale. No matter what the challenge is – whether it’s an urban or rural community, the approach is the same. And it’s been hugely successful. You could be cynical about the story until you see the examples of what they’ve achieved.” In the USA, communities compete to have the programme applied to their area, with the selected community showing commitment and an intent to apply the resulting plan in order to secure the consultation, which is provided pro bono. According to Grehan, the designers will encourage communities to “unlock solutions that already exist.” For this pilot run of the Framework project, there will be an open call online for a community to put themselves forward. The pilot scheme will test the process in the Irish context and, Grehan hopes, establish a first successful local case study and have a meaningful effect on a community. A design-led approach has proven scalable and effective in making sense of complex organisations and relationships. But Grehan also notes that, at scale, “it can be politically inconvenient to adopt a design process. The world doesn’t work like that: life is often about compromise, about making decisions that suit some people and that definitely don’t suit others. Trying to knit design into that can be tough.” “What you do has to have an impact. And that has to be considered from lots of different angles,” she adds. “Working in a big organisation on a city scale means that nothing is a solo run and nothing can be credited to one person. So someone can see my fingerprints on the work [but] there are many other people’s fingerprints on the same things too.” In her own practice, “it’s as much about giving yourself new challenges and making sure that what you’re doing is relevant,” says Grehan. “The most important thing for me in whatever I’m doing as City Architect is that I’m constantly challenging the perceived limits of the role: doing new things, or looking at the work that we’re doing – the routine – and asking how that can be done better. So that’s how you keep it interesting. You’ve got to stay awake.”
CLIENT STORIES OFFSET – MOTION GRAPHICS BY GOLDEN WOLF AND ARAN QUINN
Since 2009, Offset has attracted international stars and placed them alongside local talent in a true celebration of creativity. Offset’s motion graphics, shown to introduce speakers, have set the tone for this celebration. In recent years Bren Byrne and Lisa Haran of Offset have worked with a variety of creatives to produce these distinctive and memorable treatments. In 2015, Offset ran two events working with Golden Wolf (for their Dublin event) and Aran Quinn (for their London event) respectively. “We like to keep our brief as open as possible,” says Byrne, “because Offset represents a lot of different things to a lot of different people; and because our speakers come from such a wide range of disciplines.” In each case, the teams have been a speaker or attendee at Offset so there was a clear sense for the context of the work. “It was a balance between who we think would do it, and people whose work we like,” says Byrne. With Golden Wolf “[the process] was really smooth. They delivered everything on time. Because they’re professionals, we got everything in the right format, and they were able to produce teasers from it for promotional use.” Working with Quinn, an Irish animator based in New York, the process was different. Quinn has a full-time role at Mill+, so the work was done in his spare time. In spite of these differences, “it was smooth again”, according to Byrne. “Because of the time difference, we would talk to him 3.30pm here and we’d have a half hour with him before work. We had enough lead time on the project for him to work on it at weekends. He got in some friends and colleagues who worked around the clock at the weekends to do a stop-motion piece.” “We rely on people’s good will to push it beyond the assigned budget because it’s Offset, and it will be in front of an audience of their peers. In the past that has been frightening for some people – an audience of 2,500 creative professionals, all savvy about what they’re doing. It’s a challenge and we try to set it up in a way that’s fun and as enjoyable as possible.”
For more on these topics, check out: designframework.ie (launching in March) pivotdublin.com dublincity.ie/cityarchitects
GARB words Honor Fitzsimons
THE SHAPE OF THINGS TO COME
Caoimhe Mac Neice specialises in pristine, precise clothing that embodies a delicate sensuality. Her light-as-air graduate collection Warp was snapped up by ID2015’s In the Fold exhibition, followed up by a well-received showing of her SS15 collection at ON/OFF, also at London Fashion Week. Here, we catch up with the up-and-coming designer to find out more. Did you always want to become a fashion designer? I think I probably always did, but not consciously. Growing up, I would always draw clothes in my books but I thought that maybe I wasn’t cut out for the fashion industry as it moves so quickly and I move quite slowly. I went to NCAD and I did my core year there, and by the time I had finished that, [fashion design] really was the only thing I wanted to do. I had first thought that I wanted to study painting, but I think that might have been a bit of a disaster. Did you do any internships during college? I did my internship at Peter Jensen in London over a summer while I was in college. I really enjoyed it there, his work is very feminine and we were working on these beautiful silk dresses. I mostly made up toiles, but I was also the fit model there which was hilarious as I couldn’t fit into most of the clothes! I was very lucky to be there as the team were very nice and friendly, and I think it was great to have a really positive work experience at a fashion label. Up until that point, I found that in NCAD with pattern-cutting and making, there very much is a certain aesthetic there, and before I went on my internship I was much more interested in menswear. Being at Peter Jensen really taught me the beauty of making a simple dress that’s very feminine and elegant. What are the particular concepts or ideals that drive your work? I really design through construction, and the making of a garment. I never design through drawing. I wouldn’t really pay too much attention to fabric either, it’s always what the construction and the shape and silhouettes
Whatever the occasion, Pacino’s makes it one to remember!
ing, and put them all together and that would be my research process. I would go on to sketch and take elements from painters I like, it tends to mostly be artists that I’m inspired by. Then I’d start toileing up and it evolves from the design work. It’s nice to sew up a few designs and see how they’re working together, and at that stage of the making I would put a critical eye to it. That’s the most exciting part of doing a collection – seeing it come to life. We produce everything in Dublin, as it’s still small scale, I would work on the samples and toiles, but my machinist sews up all of the production. It’s easily contained at the moment which is nice because I get to have control over everything and be very particular.
are. I would rarely use more than one fabric in a collection and the colours I use as well are very tonal, I like to get started straight away and start making things. What is your design process? Well, I am just figuring that out still as I’ve only done three collections, and have just come out of college, but what I generally do is think of an actual shape. For example, in my graduate collection I pattern cut shapes, like squares and rectangles, and I took those shapes and draped them in loads of different ways on the stand. I stayed very strictly to those shapes because I found I got much more interesting designs, and came more naturally to it. With the SS16 collection I decided to do the opposite to that, where I stuck with one silhouette, which was a very basic dress shape, and then tried to see how I could play around within that silhouette. Why do the technical aspects of garment construction interest you? I think it has something to do with the fact that my Dad is an engineer and my Mam is a science teacher, so trying to figure out how the technical aspects of how [garment construction] works and fits together has always interested me. Pattern cutting was my favourite part of college, and still
funding and Iplanning. But seeing islike now. Even now don’t outsource that what to anyyou’ve is acutting really amazone else,created I do allbeing of theworn pattern myself. ing feeling, it sort of gives you a boost to get through those bits.the inspirations Could you tellboring us about for your SS16 collection? into for your ItWhat really were startedyou withlooking me watching a lot of SS16 collection? Netflix and binge-watching The X-Files! Like started by looking at thethe artwork of Wesley I Isaid, I decided to design SS16 collection very differently to how I had done before. Triggs and François Morelli, they’re very Igeohad visual references there, whereas with allthe of metric abstract artists. Their lines formed the otherincollections I hadn’t, I would start shapes the garments and the moodjust of the bycollection making. was For this collection it wasPatti all about inspired by a young Smith, Agent Scully and the she the wore just very relaxed and‘power cool. Isuits’ thought strucwith covered buttons onher them. The whole turehuge and linear shapes, with attitude was collection was kind of Iaused daydream ‘what if a nice little contrast. a reallyofnice 100% Scully loose and loosened herhow buttons’! cottonletand a lamb’s leather, Iup love fresh Itand wascrisp kindwearing of frivolous, and a jokeyou with myself cotton makes feel. I like through the whole Actually, fresh colours, but collection. I myself would wearwith a lot this collection I was lot of of black. When I’m listening designingtoI atend toThe think Supremes and Diana on loop sofor that was ‘fresher’ than maybeRoss just designing myself. an influence too. For theyou fabric, used the same throughCould tellIus about yourone design proout the collection, it was a really strange fabric. cess? I Iwas very by light crêpe around but I fused with a willastart looking me, itusually very heavy-weight bonding on the back. So going to IMMA and compiling imagery onit has kind of strange quality, like theainternet. I tend to save ait’s lotalmost of imagery, anot wipe-able fabric. I was about even specifically forjust thatthinking collection, but laboratories andI sterile things, it’s something for the future. also look at people around the you really have streets and get to thesee. mood from how I’m feel-
Do you have any favourite designers or style icons? In terms of designers, I like the new wave of London designers like Craig Green, who has a really interesting style, he has a great balance of creativity and conceptual work, and still manages to be commercial. I like Faustine Steinmetz for her technique and fresh colours. I guess these are designers that have a nice signature and know their brand. I think everybody loves FKA twigs, she’s got such a cool I think anyone Which designers dostyle youthat admire and why? loveCristóbal to see herBalenciaga in their clothes. I would really love and Hubert de Givenchy, they would probably be my favourite What kind woman do you seeSimons wearing ones, and alsoofMiuccia Prada and Raf – your designs? particularly with those two designers, they have such a strong aesthetic but still remain A girl who’s quite comfortable in whoincredibly they are, fresh. With Balenciaga Givenchy I really that has a strong senseand of their own style. I guess admire the silhouettes they use, especially sometimes you can bethat surprised about who for the time worked in, theyou 1950s, it would buy that yourthey work. Sometimes might really ground-breaking. have was an image in your head of somebody, but they can be totally different and I like that. I like What on itnext? whenare theyyou takeworking it and wear their own way. I Atguess the moment I’mwho in the middle ofgood designing somebody appreciates design,an AW which will be they the first collecnicecollection, quality, and think that can AW incorporate tion done, I gravitate towards SS. the that pieceI’ve into theirusually wardrobe as a staple. Right now I’m working on orders for the SS16 collection, dresses for What aremaking you working on private next? clients. I also a special capsule blackgoing I’mhave currently working on collection AW16, so of there’s dresses Made Store & Gallery on thedarker top floor to be ainlittle change-up and be much than ofprevious the Powerscourt Townhouse, so at that’s collections. I’m looking the defiphotognitely checking raphyworth of Sally Mann, out. the mood she creates in her work, so it’s going to be a bit more romantic. It will be a touch more feminine with some subtle beading. The darker nights allow you to dress up Caoimhe’s SS16a collection is made-to-order a bit and make character for yourself. from her studio in Portobello, Dublin 8. You can contact herisat info@caoimhemacneice. Edel Traynor stocked at Atelier 27, Drury com andDublin see more on can her website at her work Street, 2. You see ore of caoimhemacneice.com at edeltraynor.com
GARB words Honor Fitzsimons
SHE SELLS SEA SHELLS Since establishing in 2012, Bláthín Ennis’ distinctive brand of boldly sculptural yet delicate and feminine fashionfocused jewellery has earned her the title of Jewellery Designer of the Year at the 2014 edition of the Irish Fashion Innovation Awards. Her designs have been worn by Nicole Scherzinger, Vogue Williams, TV presenter Kathryn Thomas, and are stocked in stores nationwide after successful participation in Brown Thomas’ Irish Designer’s CREATE initiative.
How did you come to develop your own brand? I finished college in 2011. I suppose I never set out to have my own brand or business, although I felt I would always like to. I moved back home to Wexford and was looking for work there, but a lot of positions had been taken. I had applied to my local garden centre – I love gardening in my spare time so thought that would be a lovely thing to do. They had heard that I went to NCAD, so they asked me to participate instead in their Christmas Design Fair and offered me a stand free of charge. My degree collection was all inspired by the working woman, and I designed couture accessories that complimented the ‘little black dress’. My whole graduate collection was made to give myself the opportunity to make a ready-to-wear line, so I tentatively experimented on creating a ready-to-wear jewellery line. I was so nervous going into the fair, showing work to the public at a sales level, and I think within the first hour I had completely sold out and I got a huge amount of compliments on the point of difference of my work. I decided that this could be a good road to take as I really wanted my work to be accessible. Your work really does have a strong point of difference. Would you describe yourself as a jeweller, a fashion designer, or somewhere in-between? I specialised in Embroidered Textile Design in NCAD. During my third year in college I interned with New York based fashion designer Diane Von Fürstenberg, so I have always had a huge interest in fashion. My degree collection combined both fashion and textiles and I was one of only six textile designers who participated in the college fashion show, so I would definitely describe myself as somewhere in between. At the moment my focus is the jewellery market but I have many more ideas up my sleeve! Where do you get your inspirations from? I like to think my pieces convey strong, structural and unique shapes, but at the same time I am always focused on creating a feminine and wearable element in them. My current blush collection for SS16 was inspired by the Centaurette
cowslane temple bar, d8 powerscourt townhouse, d2 01 6125260 www.thegarden.ie
We chat with Ross King, manager of Davey Davey Mens, about men’s grooming, live bands in the salon and winning the L’Oreal Colour Trophy: Last year you won a L’Oreal Award, tell us about that, and what inspired you to become a stylist? When I was younger I loved to draw and was interested in art, but was also quite practical and wanted to work with my hands. Hairdressing is a form of art, and you can sometimes get very creative when taking part in photoshoots or entering competitions. Myself and Rob, one of our stylists, won the Men’s Image Award in the L’Oreal Colour Trophy last year which was a great way to express our creativity and love of men’s fashion and grooming. So, is colour popular with your male clients? Yes, I think that may be surprising, but we do a lot of colour in the salon. Many men look for a style of colouring called ‘camouflage’ which helps to hide the greys while looking natural.
scene in Walt Disney’s Fantasia. Walt Disney as a visionary has always been an inspiration to me, how his work is accessible to children and adults alike. In the Centaurette scene, there are these half-women half-horses, and you can see their strength but they are still very feminine with the feminine embellishments that they wear and the soft colour palette of the scene. I wanted the collection to have heavy sparkling embellishments and strong shape, yet in a very feminine, light blush colour. Could you tell us about the materials you use? I’m very passionate about sourcing unconventional, unusual materials and I source different things from all over the world. The most distinctive style that I would be most associated with at the moment is my light shell mesh and crystal. It’s light, easy to wear and a more contemporary design-led approach to jewellery. I don’t tend to start out with a very specific end-point in mind when I’m designing and experimenting, I tend to let the material speak to me and work with it instead of forcing an idea. It’s quite an organic process. What would you say is your proudest moment since establishing your brand? It’s hard to pinpoint one moment since starting my business. I’m totally overwhelmed and humbled by the support from my lovely retailers and customers in Ireland. Their support has kept me in business and I am so grateful for this. But defi-
nitely, walking by the Christmas windows of Brown Thomas on Grafton Street last December and spotting my couture neckpiece in the window was the ultimate surprise and a very proud moment for me! Since I was a small child I would visit these windows every year and look on in complete awe and their incredible displays. It was a ‘pinch myself ’ kind of moment! What do you have in the works for 2016? I’m currently working on an exciting limited edition of 14 karat gold jewels that I will be launching over the next few months. I’m very lucky that 2015 was a great year for me so I’ve now taken on two staff members, as I’ve pretty much have had to do everything myself so far. I want to keep everything being made in Ireland so to get help with that now is great. I’m also looking forward to expanding the brand abroad during the year and looking at retailers in London, the UK market and Europe as well.
Bláithín Ennis Jewellery is stocked at The Kilkenny Shop, Nassau Street, Dublin 2. You can find out more at blaithinennis.com
Tell us what makes Davey Davey Mens different from other men’s salons? It’s a place where you get a very high standard experience from start to finish. Firstly, we take appointments - we do take walk-ins if we are available - but our client’s love having their designated time and know there will be no waiting, especially if they book in on a lunchtime or require an evening appointment. We give a hot towel facial, do the Turkish flame and complimentary beard trims with every cut. Clients can avail of our complimentary drinks menu which includes tea, coffee, wine or a nice craft beer. We also sell an amazing selection of accessories from Peckham Rye, ranging from silk scarves, ties, socks, cuff links and tiepins. They make great gifts which our client’s love so they can pick up a gift while getting their hair cut. Any exciting events planned? Yes, we have our next barber sessions with Today FM, where Dermot & Dave do their show from the salon and a band does a live set during the show. It’s been a great success so far; we’ve had The Coronas, The Strypes, Gavin James, Ryan Sheridan and James Morrison. We have some great bands/singers coming up which I can’t tell you about, but I recommend keeping an eye on our social media pages as we run competitions so people can win a chance to attend the sessions. We are also shooting a new collection of images for the salon, again allowing us to showcase our creativity when it comes to cutting, colouring and grooming for men. To book an appointment with Ross or one of his team, contact Davey Davey Mens, 24 Stephen Street Lower, Dublin 2, at 01-6078999 or www.daveydaveymens.com
THEREâ€™S SOMETHING IN THE AIR Icelandic and Irish music are chiming together in the wilds of West Cork, fastening the connection between these two distant and peripheral parts of Europe. words and photos Aoise Tutty
Clockwise from right: Sam at the bar in Levis’ in Ballydehob; Jófríður in Connollys; Session at Levis’; Soundchecking in Connolly’s Previous page: Jófríður at Three Castle Head
“It wasn’t just your music, it was like feeling Iceland. I instantly saw the parallels between Iceland and Ireland and the music, your choice of notes, your ability to convey emotion through your voice. That’s something that I’ve only ever heard Irish people do like that, it’s quite unique and that really had an effect on me.” Sam McNicholl is talking about an intimate solo show in a pub in Clonakilty last summer by Icelandic singer and guitarist, Jófríður Ákadóttir. I was there that night also, and I was equally mesmerised as I listened to Jófríður’s quietly evocative and emotionally resounding music take the audience on a spellbinding journey from Ireland to Iceland and back again. This show was a more important moment than any of us could have imagined, a precursor for things to come. Fast forward seven months, I am sitting comfortably in Sam’s kitchen, in his home which spirals around Connolly’s in Leap in West Cork, a much loved and renowned live music venue, that’s hosted some of the world’s most influential artists. Having initially been pioneered by his father Paddy, Connolly’s is now managed by
“Your show in De Barra’s had a profound effect on me,” says Sam.
Sam, who reopened the bar, nine years after its closure, in December of last year. Doors on several levels of the McNicholls’ home lead into the central hub of Connolly’s, a room so full with heritage that it can’t help spilling out onto everything it touches. As Sam and Jófríður muse over the anecdotal connectors that brought them to this point, I marvel at the assuredly countless stories shared here by people through the years, all the history made in these rooms by artists and musicians over cups of tea and pints and conversations. Jófríður first came to Ireland in 2014, invited by Colm O’Herlihy to play at Macroom’s Mountain Dew festival with Samaris, one of a few bands she plays with (Pascal Pinon and Gangly being some of the others). Colm, another “silent connector” as Sam puts it, has been part of the creative collective Feel Good Lost and is responsible for booking and organising many of Jófríður’s first shows in Ireland with Samaris, including that fateful show in De Barra’s last summer. Colm is now moving to Iceland to work with the record label and musical collective Bedroom Community, which was founded in Reykjavík a decade ago by Valgeir Sigurðsson, Nico Muhly and Ben Frost. In September 2015, Jófríður was invited by Feel Good Lost to play at Sounds from a Safe Harbour, a new music festival held in Cork City put together by director Mary Hickson and curator Bryce Dessner (of The National fame), which had a pronounced focus on Icelandic music in its programme. The Ireland : Iceland Project, which was founded in 2009 by Kathy Scott, has also been a pioneering movement responsible for nurturing this cultural dialogue between the two island nations. Heading in the other direction, Sam, who is also a drummer, was invited, along with the band Talos, to play in Iceland at the celebrated Airwaves Festival last November, where he performed seven shows, both with Talos and with Dream Wife, another Icelandic group. Sam was as taken aback by the raw and stark beauty of Iceland as I had been, when I (coincidentally) visited this geographical paradise in November, a trip which I now believe was unconsciously inspired by seeing Jófríður’s show and hearing her visceral description of the landscape there. “I’ve never driven through a country and have it feel like counseling,” says Sam. “I had an absolutely awakening experience spiritually to the land. Your landscape reflects who you are, and your’s is elemental. I had this feeling in Iceland, [with] the lava is coming from the earth and there’s snow – fire and ice – for the first time ever I was really conscious of the fact that the land we live on all comes from the core of the earth.” “The Icelandic landscape is so geographically new, it’s not been shaped by wind and surroundings,” says Jófríður. “Ireland is a lot more ancient in a way, so when I come here I feel a lot more connection to how ancient it is. It’s beautiful in a different way – it’s much more peaceful.” Growing up in West Cork, where this story unfolds, Icelandic music somehow connects to me on a very deep level, the wildness of the environment and the sea. One of Jófríður’s new
Ireland is a lot more ancient in a way, so when I come here I feel a lot more connection to how ancient it is. songs is titled Old Grey, which seems to capture this innate feeling, how the poetry of the landscape flows into the sounds in an inexplicable way. The fire and ice of Iceland somehow marries with the green fertile earth and water of Ireland in what feels like an epic love story spanning centuries from when the very first settlers in Iceland, Irish monks from the Skelligs, brought with them Celtic tradition and music to the untouched and ceaselessly regenerating landscape in the far north west of Europe. “There was an incredible composer, Linda Buckley, who performed a piece [at Sounds from a Safe Harbour] that she wrote that was built on an Irish folk song,” explains Jófríður. “I sat there and I think I cried because it was so powerful. I think she was singing in Irish, the melodies were insanely beautiful, and the story behind it, to be able to express something so deeply through music. It was a really powerful experience.” “I remember being in Cork and walking down the main street and there were these kids playing trad music, it was amazing and I just stood there mesmerised; ‘How can they remember these melodies?’ It was just crazy.” Perhaps this is the root of the connection, and what brings us here to Connolly’s today, an hour before Jófríður plays an intimate show in another nearby pub which oozes history and character, Levis’ in Ballydehob, alongside her friend, poet and fellow musician Ásta Fanney. “I love coming here… the people here are amazing, the venues are small and intimate and people actually come to listen to the shows even in the smallest, weirdest town in the most obscure bar. That’s something you don’t get in a lot of places.” The next day we head out to Three Castle Head, one of the most stunning locations in West Cork, but one that is well hidden. It is a spot which, for me, perfectly illustrates the geographical links between the two islands, on one hand stark and wild, on the other ancient and magical. The Atlantic Ocean crashes wildly against the cliff edges here and, in theory, one could sail directly from one island to the other from these richly steeped ruins. Amongst the myths of Icelandic settlement there is a tale of Norwegian Vikings once coming to Ireland and taking back with them a hoard of beautiful Irish
Left to right: Sam McNicholl, Ásta Fanney, Peter Hayes, Jófríður Ákadóttir
cailíns, which became one of the largest groups of settlers on Iceland, and yet another deeprooted link. As another storm brews here, and the wind whips our hair in every direction, the sense of freedom expressed by Jófríður, and Icelanders in general, comes to mind. Sam, I feel, again hits the nail on the head, talking about Icelanders: “Whatever self-consciousness is, they’re the opposite. The way Jófr is, it’s like freedom, total freedom, and I think that’s lacking in Irish culture.” Perhaps centuries of guilt and repression have made it more difficult for us tap into that sense of freedom, but there is a recognition of both the external wildness and the reflections of past and present that unite the two cultures. With the continued inspiration of artists like Jófríður and the crucial existence of venues like Connolly’s, I am in no doubt that the freedom, wildness, emotional richness and sense of ancient history which our music is saturated in will only continue to grow and the link between Ireland and Iceland will, in Sam’s words, “only get stronger and bigger and badder.”
Top right: Iceland Other images: Three Castle Head
To find out more about some of the music and events mentioned here, visit fb.com/ConnollysofLeap irelandicelandproject.com bedroomcommunity.net and soundsfromasafeharbour.com. Aoise Tutty - 92circles.com
words Eoin Tierney
Celebrated author Kevin Barry wrestles with using a voice we can all hear in our own head, that of John Lennon, in his latest novel Beatlebone.
uite like his characters, Kevin Barry is an eloquent and energetic speaker, who loves to lash on the foul language. This became quite clear in a recent Irish Times interview, where the judicious use of asterisks gave it the appearance of a sensitive wartime document. With Beatlebone, his second novel, Barry took the decision to write in the expletive-heavy voice of John Lennon. The book fictionalises an attempt by the former Beatle to reach his island in Clew Bay for a spot of Primal Screaming, with his trusty driver Cornelius O’Grady on hand to steer him clear of paparazzi. Barry’s great gift for dialogue is seen in the convincing representation of Lennon’s speech, with Beatlebone receiving the 2015 Goldsmith Prize as a result, an award reserved for daring experimental fiction. Each of Barry’s books has met with considerable success. City of Bohane, his first novel, was released in 2011, and received the IMPAC Dublin Literary Award two years later. The first of two short story collections, There are Little Kingdoms, picked up the Rooney Prize in 2007, and the short story ‘Beer Trip to Llandudno’ from his second collection, Dark Lies the Island, secured the Sunday Times EFG Short Story Award in 2012.
Before electing to write full-time, Barry held down several freelance gigs for newspapers like the Irish Examiner and the Guardian. It wasn’t long before journalism started to leave him unfulfilled though. “I knew I wasn’t using the part of my brain that I wanted to use, the murky, self-conscious place where fiction and drama happens. I had to get poor for a while and just write loads of awful fiction before I started to get anywhere.” That necessary deprivation was actually what prompted the move to Sligo. “Keep your overheads low is the best advice for a writer. Someone said Leitrim is cheap, so we went to look at a place – the only thing missing was the noose – then in Sligo we saw the barracks. It was in poor enough nick but we immediately thought ‘Aw grand’.” Beatlebone opens with a quote from John McGahern, and the writer’s home is in similar surroundings. “It’s very similar building and era to the McGahern barracks actually. They built them well, big thick stone walls… I was hoping there’d be fucking ghosts. Not a flicker, in the seven years [we’ve lived there] – to my horror!” Barry places real value on variety when it comes to writing, which can be seen in his output. His novels are radically different, but his command of a range of styles is best seen with his short stories. “I like unpredictable writing careers, where you’re never sure what the next novel is going to be. I also believe that I don’t have a single style. The story and the subject dictate the style, rather than vice-versa. I’m hoping to unnerve myself in some way.” City of Bohane, set 50 years in the future, follows Gangs of New York-style tribes vying for dominance, where the use of a knotty type of slang, like a Gaelic Nadsat, is widespread. The dialect Barry developed was singled out specifically for praise, but its origins are quite surprising: “I didn’t realise that doing cub reports and council meetings in Limerick around 1990 would really help me write City of Bohane 20 years later. So much of that world is drawn from the stuff you find around Limerick and Cork as a young journalist. The accents in City of Bohane are Limerick and Cork, an amalgam of those two accents, somehow.” That delay from when Barry lived in Limerick and Cork to when he got around to writing City of Bohane was important, letting the language of the book to collect and mature. “There’s a natural lag period before your life starts showing up in your work, before events or emotions in my life have sufficiently embittered me before they have to come out. I left Cork in 2001, and started writing in 2009 – that seems to me just enough time. It’s very hard to write what happened to you last year, but think back nine, ten, eleven years it’s often just enough. It’s marinating, or composting, sitting back there and sorting itself out.” The initial germ for Beatlebone struck Barry while he was cycling around Clew Bay; aware
that one of the islands used to belong to John Lennon, the idea persisted through several different versions. “I recorded a short little radio essay about it, thinking that will take care [of it]. It came back and I wrote a magazine piece for people in Belfast about it. [Then] I put it in a story, ‘Dark Lies the Island’, I refer to John’s island in passing. I thought, ‘Surely that’s enough!’” The pull to turn the central idea into something bigger proved too great. “I found one day I was at the desk, writing dialogue for him, and I thought, ‘Fuck!’ I was terrified, because I knew that as a novel, it was a very scary project to undertake. There are billions of fucking people out there who have in their mind a very good idea of how they think John Lennon should sound like. You’re taking a big risk to do that.” Writing from the point of view of a wellknown singer certainly paid off, a belief seconded by country musician Steve Earle in his review for the New York Times. Earle, who would know presumably, having written in the voice of legendary singer Hank Williams for his novel I’ll Never Get Out of This World Alive, salutes Barry’s bold decision: “Only a literary beast, a daredevil wholly convinced he was put on this planet to write, would ever or should ever attempt to cast a person as iconic as John Lennon as a character in a tale of his own invention. Kevin Barry... is that beast.” Reaching a point where Lennon’s voice held the right balance of nasally cadence and snarky Liverpudlian didn’t happen overnight. “A lot of it is described in the book, watching YouTube and transcribing and trying to get the intonation. It was an awful lot of dogwork, hundreds of thousands of words of drafts, most of it absolute bollocks, but just here or there you’d get a sentence that you’d maybe go, ‘Oh, that’s kind of off-the-beat, it sounds a bit skewy, that might work.’” Establishing a clear sense of place is just as important within the writing process. Barry got to know Clew Bay very well, even tapping in to some of the area’s mystical frequencies, which helped inform the writing of Beatlebone. “I go on about this to a fault, but I always tune into particular feelings that particular places have, the energies, airs and vibrations they give out. As I cycle around Clew Bay, it’s a very beautiful place, but I’ve always had this eerie, haunted feeling off the place as well. It’s kind of a sombre valley, and I wanted to get that atmosphere into the book as well, of hauntedness in some way.” Asked if he would identify himself as a big fan of the Beatles, especially after writing a book about one of them, Barry lets his surprising position slip. “The weird thing is I’ve never been a huge Beatles fan, [but] I love the White Album, it’s one of my favourite records.” Many of the references to Beatles songs strewn through the text come from Lennon’s lyrics on the White Album, like I’m So Tired, Yer Blues and Glass Onion. “In my own psychedelic period, in the late ‘80s, early ‘90s, when we’d be doing loads of acid and ecstasy in night clubs in Cork, always at about seven in the morning the house music would be taken off and someone would sneak on the Beatles. And it would always make very perfect sense.” Barry explains that it was never his desire to present a straight account of Lennon’s quest
“There could be nothing worse than writing a safe novel about John Lennon. It has to be wacky and wild, and fucking nuts, if it’s going to be any way true to the spirit of its subject.” to find his island. “I wanted to keep the actual world at a bit of a remove. So I would take facts like him owning this island and so forth [but] I wanted everything that occurred within the covers of the book to be so wild and out there that the reader couldn’t take them as any real representation of reality.” These narrative wig-outs circumvented the normal rules and structures of a standard biopic. “There was a very dangerous moment two years in when I started to get a voice for him that I thought was convincing. I thought to myself, ‘I could now do the standard biopic version, and there would be huge commercial appeal for a book like that.’ But there could be nothing worse you could imagine than writing a safe novel about John Lennon. It has to be fucking wacky and wild, and fucking nuts, if it’s going to be any way true to the spirit of its subject.” This approach would result in many of the more out-there sequences. “That was giving me sections like ‘The Rants’, where [the characters are] just told to sit down and tear fucking strips off each other, and it was very scary to write a section like that.” The intentional falling-away of the plot structure could be said to actually resemble a Beatles’ album. “The White Album is a record that goes out of control. It’s a glorious mess with lots of mad word play that they’re just fucking throwing out.” Beatlebone is broken up into nine parts, nine being a number of mystic significance within in the novel, and to Lennon himself. Several sections display different styles, for example part four, ‘The Rants’, eschews prose completely. Presented instead as drama, the names of speak-
ers feature beside their dialogue, and the section contains numerous stage directions. Section six is an even greater departure that leaves fiction behind altogether. It is a factual essay about the research and writing process behind Beatlebone. This points to the book as not simply an outlandish tale, but one with a strong basis in reality. The essay would make a suitable afterword, but what is striking is Barry’s decision to include it at the half-way point. Barry explains that the intention behind the essay was to throw off any reader who may have gotten a handle on Beatlebone by that point. “Up to then I managed to get a very nice double-act with John and Cornelius. Then I thought, if I play it out, it’s just a quirky road-movie. I wanted to bring it up a level. By showing the workings of the novel really, that’s how I could lift it up a bit. What I’m presenting is a very tall tale: John Lennon bogged down in County Mayo. It was really nice to come along and qualify that. The island was there, he owned the island, he went out there twice… A lot of people don’t know about Dorinish island – they do now!” Dipping his toe in theatre with section four of Beatlebone, Barry recognises the draw of switching mediums. “I’m increasingly writing with actors in mind, I’ve been writing radio dramas and short films, and a couple of plays [are] at my desk at the moment.” For a writer who takes so much care in crafting dialogue, drama seems like a natural place for Barry to go. “I noticed lately when I start to write a short story it would very quickly become an ‘I’ voice and I would take all the usual furniture of the short story out, and just be left with the voice and dialogue. It’s very evident that the work is pushing me to write with actors in mind, essentially. It’s more sociable, it gets you out of the house, which is nice, after a long prose project.” 2015 also saw Barry experiment with the role of editor. Together with wife Olivia Smith, with whom he shares co-editor billing, Barry released Winter Pages, Vol. 1 before Christmas. An annual arts anthology, it brings together fiction, poetry, interviews, and art, with a mode Barry increasingly finds himself writing in: essays. “Beatlebone really pushed me in directions like really getting interested in writing essays, and getting essays in from people that really blew me away: Claire Kilroy’s piece about new motherhood; Mark O’Connell had a great piece about a priest having doubts in west Dublin. I love the essay as a form lately, but they’re fucking harder than they look!” Winter Pages also includes interviews with the Rubberbandits, and a discussion between Barry and Tommy Tiernan which took place at the Borris Festival of Writing. Based on their shared love of the madcap and language – curse words and otherwise – it’s not hard to see Barry and Tiernan as kindred spirits. “We’re very close in age, and geography… I was very nervous about [the discussion]. I love his stuff, I think Tommy’s brilliant. Really smart, kind of fucking tuned in to weird vibrations. He’s a serious head on him, so it was fun to do it.” Kevin Barry’s Beatlebone is out now, published by Canongate. Winter Pages, Volume 1, edited by Kevin Barry and Olivia Smith, is also out now, published by Curlew Editions and available from winterpages.ie
LEGWEAR SPECIALIST 25 R.H.W, DAWSON ST, D2 WWW.TIGHTSDEPT.COM (DELIVER WORLDWIDE)
Franco-Irish Literary Festival 8,9,10 April 2016
Food for thought Les mots -a la bouche Lon anama
Baldoyleâ€™s Rebecca Quin is kicking ass and taking names across the world as Becky Lynch in the WWE.
words John Hyland illustrations Ruan van Vliet
’ll fly out on Friday morning, go find a gym, go get some healthy food, go to the show, do the show, drive to next town. Wake up, find a gym, find some good healthy food, go to the show, drive to the next town. Again: gym, food, show. Monday you’ll wake up, find a gym, work out, we’ll have Raw all day. Tuesday’s the same: go to the gym, then the venue for SmackDown and main event all day Tuesday. Wednesday I’ll fly home, I’ll either chill out, talk to my friends, talk to as many people as I can from back home, it’s a rest day so I’ll do a little bit of yoga. Thursday I’ll wake up, do some yoga, chill out, talk to my ma, then I’ll work out later on in the day, run my errands, do laundry, pack my bag and get ready to go. Then off I go again on Friday. No time to get bored, I’ll tell you that!” Speaking to Rebecca Quin, it’s clear that for all the accusations that professional wrestling isn’t a real sport, it’s definitely hard work. Officially billing itself as “sports-entertainment”, World Wrestling Entertainment is certainly more theatre than traditional sport, but it’s no less athletic for the distinction. Rebecca wrestles under her ring name, Becky Lynch, as part of WWE’s Diva championship, after moving up from the NXT developmental championship for new talent. Hailing from Baldoyle, Rebecca is one of the very few Irish to make it in the WWE scene, and she’s keen to talk about where her interest in wrestling came from and how she finally made it.
er brother Richy’s interest in wrestling was a big a part of what drew her to it when she was young. “Me and my brother used to watch it together for as long as I can remember. What particularly drew me in was Mick Foley and Lita. Lita because she was just so cool, such a badass, and she was the most relatable to me, just a little rock chick that did what she wanted, a tomboy. And then Mick Foley who’s just so sympathetic, any time he would come on the TV when my brother would be watching it I’d always want to know what was going on with Mick.” Watching as a kid, as one of millions of fans, Rebecca didn’t initially harbour thoughts of wrestling when she grew up. “I never for a second even considered that I could be a wrestler. It was such an out-there dream. There was no wrestling school in Dublin, it didn’t even register as a thing I could do. Of course I looked at it and thought ‘that’s so cool, that’d be amazing’, but I didn’t think that I’d ever be doing it.” When Rebecca was 15, her brother Richy was making moves to try and become a professional wrestler, and the realisation that this was a possibility for her began to grow. “I decided I wanted to change my life around, I wanted to get fit, and at the same time my brother was going to go over to England to try and be a wrestler. He found a school over there – NWA UK Hammerlock – but I didn’t think my mother was going to let me go over to England to train to be a wrestler. But then we found out that Fergal Devitt – Finn Bálor, NXT champion at the moment – was opening a school down in Bray. So I went along, and from the second I went down there I was just hooked, I absolutely
loved it. And still it seemed like too much of a far-out-there dream, you know?” At that time, Rebecca still had her mind on other things, and began following a more traditional route before she definitely decided that she wanted to throw herself into wrestling. “I was still going to college, studying to be a lawyer. I remember sitting backstage, it was in a hall in Kildare, me and my brother had just done a tag match and I remember looking at him and saying, ‘This is what I’m meant to do.’” But even with that realisation at age 17 that this is what she wanted to do, the path to WWE still wasn’t a smooth one, and her first real attempt to break into professional wrestling ended with some disappointment. “I moved over to Canada when I was 18, I dropped out of college. And I ended up wrestling around Japan and around America, Canada and Europe. Then I fell out of wrestling when I was 19, because I figured I needed to get a stable job. So I ended up working as an air hostess for Aer Lingus, I went back to college and I did every other job I could imagine. But throughout the whole time there was something in me saying, ‘I’m not doing what I’m meant to do.’” Back in Ireland, Rebecca slowly drifted back towards wrestling, after putting both her athleticism and theatre degree to good use. “I started working as a stunt woman on Vikings. And I went down to training school Main Stage Wrestling with my friend Joe Cabray, who was also hired in WWE for a little while. And he saw that I still had the passion and I had the footwork and said, ‘Would you ever think about going for a try-out?’ But I thought I had my life planned, I was going to move to New York at
that stage.” But Joe urged her to think about it, and eventually, seven years after quitting wrestling, Rebecca realised what looked like staying a childhood dream, and was accepted to WWE’s NXT development programme. “I wanted to start off as a blank canvas, my confidence wasn’t there. It was really an amazing growing process, trying to rediscover myself in the wrestling world, knowing that with everything that happened this was one hundred percent where I wanted to be.” In developing the character of Becky Lynch, Rebecca tried out countless characters, but none seemed right for her. “Really it’s been about stripping it back, and finding a certain element of my own personality then turning that up a bit. She’s a firecracker, you know? She just wants to get down to business, just wants to fight, has struggled against a lot for a long time. She’s defeated the odds and battled a lot of the demons whether they come in the form of Charlotte, Ric Flair or Sasha Banks, or whether they come from her own head. And now she’s just determined on where she wants to go and what she wants to stand for.” The Becky Lynch character has long orangered hair, and dresses in a long leather coat with steampunk welding goggles perched on her head. Though she looks more like she could have stepped out of a Final Fantasy game, her nickname “Lass Kicker” is usually emblazoned in a tartan typeface – possibly a US confusion of all things Irish and Scottish. Rebecca is very aware of playing up the ‘fighting Irish’ stereotype, and how it can work to her advantage with different audiences. “The red hair is less about Irish, and more
because I always wanted orange hair ever since I saw The Fifth Element, and there’s a bit of steampunk in there. But obviously it is synonymous with Ireland and I’m so proud of where I came from. And I think that’s unique in itself, because there’s never been another Irish woman in WWE. And being Irish is the new in thing at the moment! With Conor McGregor, with Sheamus who’s just been the heavyweight champ, and then we’ve got Finn Bálor as the NXT champ. Now it’s just time for me to win the Diva’s championship!” The Becky Lynch character does seem to have grabbed fans’ imaginations, and Rebecca’s Twitter and Instagram feeds are full of reposts of fan art she’s been sent. They range, as you might expect, from excellent likenesses to scrawled children’s drawings of their hero. But they also include manga versions, a clay model and I spotted My Little Pony and The Grinch crossover drawings – My Little Becky and How the Lynch Stole Christmas, maybe? Add to this the constant pictures of cosplayers dressed as her, and the explosion of Becky Lynch costumes at Hallowe’en, and all this attention on her image could be daunting. “It’s surreal and it’s the best thing in the world. And I’m just such a huge fan of any sort of creativity, so when I see the fan art that they do, it blows my mind. I’m just so grateful that they would pick me as their subject to draw. And then dressing up as me for Hallowe’en – I remember dressing up as Lita!” The next objective is to feature in one of the videogames. “Hopefully the next one, 2017. That was always the goal, to be in a video game and to have an action figure!”
WE, obviously, isn’t devoid of gender and sexuality problems, and the issue of the sexualisation of the female performers is one that’s linked to the costumes and fan art. There are also accusations that female wrestlers are often used for storyline purposes as reasons for the men to fight each other, and rarely the other way around. Openly gay, lesbian or bisexual pro wrestlers appear to be a rarity, and the storylines have remained heteronormative, although WWE was praised for its vocal support of Darren Young after he came out. Rebecca is extremely positive about women’s involvement, however. “When I watched in the Attitude era, there were women that were kicking ass like nobody’s business, so the role of women in WWE has always been really important. I think we’re taking that and we’re building onto it, and we’re getting more and more attention.” There was a scandal last year when AJ Lee publicly called the WWE CEO out on the fraction of screen time and pay that female wrestlers get compared to their male counterparts, and that seems to be improving. “The way our matches are going, we don’t want them to be good just for women’s matches, we just want them to be great, stand-alone matches regardless of gender,” Rebecca tells me. “I think the only way we’re going is up – we were a semi-main event on the Royal Rumble, myself and Charlotte, Sasha Banks and Bayley have main-evented down in NXT. The future is just so unbelievably bright for women in the sport. We’re going to have a huge influx of female talent in the next few years.” Supporting newer female talent is something that Rebecca is very proud of. “It’s also a huge
motivational factor, and it reminds you that you have to keep working,” she says. “We’ve got to work together to make sure that one day we’re main-eventing WrestleMania, that’s the ultimate goal. And not just as a gimmick, but because we deserve it.” This support is important for Rebecca, as she feels she was well looked after as she was coming up. “William Regal has always been great to me, I owe him a lot. Lita and Mick Foley, too. They say never meet your heroes, but to be honest with you in my experience that couldn’t be further from the truth.” WWE will be touring in Europe in the coming months, including dates in Belfast (Wednesday 20th April) and Dublin (21st), and Rebecca is extremely keen to be back fighting on home turf. “Please God, I’m there, because last time I was there back in November it was one of the best experiences. It might have actually been the most nervous I’ve ever been as well – just to perform in front of my home crowd. But the reaction was just incredible. It was amazing, especially having gone to see WWE when they were in The Point, as it was back then, and then being on the other side: what’s happened! The reaction and the responsiveness and the support, it just makes you so proud to be Irish.” Her connection to home is still strong. “On my days off, I will spend most of my time on Skype to friends back home in Ireland,” probably why she hasn’t lost a drop of her Dublin accent. “That’s been the greatest support structure as well, and reminds you of all the important things. All my friends and family are the reason I got here in the first place, I’d be nothing without them and I’d never forget that.” Contact with the fans is also a big part of Rebecca’s life and work. Between her Instagram and Twitter she’s got easily over a million followers, a level of direct exposure that she never had to her wrestling heroes when she was young, and a level of personal feedback that wrestlers of the past never had from their fans. “It makes you feel a lot of love, and I’m humbled by it. But it also allows you as a performer to be able to see what people are tuning into. I think that helps you perform better because you can tell what people like and maybe what they don’t like. And then you are able to respond to them and tell them how much their support means to you, and I think it’s great for fans to know that they’re actually contacting you directly.” But what does her mam think about it, 15 years after Rebecca was worried she wouldn’t let her join her brother in England to train? “I’ll tell yeh, the battles were real. My mam wasn’t the biggest fan of me wrestling when I was younger. But now she’s just my number one fan. She’s happy to see me in company where I’m so looked after. She’s happy that I’m doing my dream, doing what I want. Because she fought against me wrestling when I was younger, we battled. I pursued all the other things that I did, which were safer choices and had her a lot happier, because trying to make it to WWE is a risky thing, there’re only a few people that make it here. But seeing that I did make it, she’s proud of me. Her support means a lot, and of course she’ll always be there to keep me grounded.” Rebecca will be returning Ireland and taking to the ring as Becky Lynch in WrestleMania Revenge in Belfast’s SSE Arena on Wednesday 20th April and Dublin’s 3Arena on Thursday 21st April.
words Danny Wilson photos Matthew Thompson
Limerickâ€™s Bleeding Heart Pigeons begin to take flight with the release of their debut record, Is.
“We were kind of signed on promise rather than actual material, but it’s worked out OK for us I think.”
leeding Heart Pigeons are a curious proposition within the Irish music scene, or perhaps more accurately, just outside it. On one hand, they are comprised of three young men who’ve known each other since their early teens, and started playing together together in a set of circumstances so innocent, relatable and organic that they walk a line between mundane and heartwarming. Having done their time playing Muse covers in a shed, like countless after-school rockers before them, they started to work on a couple of originals. So far so standard. For most this is where the story ends, but for Bleeding Heart Pigeons something almost entirely unheard of occurred: their sweeping brand of art-rock made it’s way from their weather beaten wilds of the West to the ears of a major label. Now, following years of build up, their debut full length is finally ready for release through Virgin. In a domestic music landscape that remains as parochial as our own, the endorsement of a major label brings with it a potent mix of envy and suspicion. Who are these upstarts and why the vote of confidence? We called up frontman and guitarist Mícheál Keating to find out how it feels to finally have the record primed for release and just how these Pigeons ended up making the big boys coo. So, we’ll start at the start. How did you guys start playing together? You’ve been doing it for a few years now, right? We’ve been playing for about eight years now. I went to school with Cathal [Histon, synthesizers] and we went to a summer camp in our local music school where we met Brendan [McInerney, drums]. We kind of hit it off, we all
L-R: Cathal Histon, Mícheál Keating, Brendan McInerney
had similar senses of humor. So we stayed in contact and shortly after the camp we started playing together in my garage. What age were you going to this camp then? Cathal and I were both 13 and Brendan would have been 12. He was just about to go into secondary school. We were just playing covers, Rockin’ In The Free World and that kind of stuff. We did some songwriting as well, it was kind of an early experience of what goes into that. So you guys have been playing together ever since then? How did a garage band come to the attention of folks like Universal? Yeah, until 2012 we were just playing in my shed at home. We’d never really had any gigs, just because we are kind of from the middle of nowhere so there was never really anything going on. So in 2012 I spammed Little Green Cars on Facebook with one of our songs and then they passed the song on to their manager. He got in contact around April 2012 and by December we’d signed to Virgin Records. It all happened really quickly. We didn’t have many songs. We were kind of signed on promise rather than actual material, but it’s worked out OK for us I think. Well, a vote of confidence can’t be too bad that early on. It was good but at the same time when you are suddenly launched into that world of A&R people you’re kind of wary of people giving you compliments. You get so much of it sometimes it can just feel uncomfortable or fake but, at the same time, they put their money where their mouth is.
Do you think in a way it was kind of beneficial to be coming from a position of relative isolation? Did that situation, removed from the cross-pollination of ideas with other acts, stand you in good stead as time went on? I think it did. We never really came across many other Irish bands so I think what we were doing was just researching music on the internet and finding what we liked, listening to it more and more. For us, that’s where our music would have come from. I think it’s been very beneficial to us, it makes us a bit a more stand-alone, which can be a little challenging, but it’s always good to challenge yourself in that sort of way So you’ve been appearing on ‘ones to watch’ lists since 2012 or 2013. Why such a long gestation period between now and then? How much of that was recording and how much was letting the album sit for a while? Well, we signed in December 2012 and played Other Voices around that time and there was a small bit of buzz. Then me and Cathal finished out our year in college and deferred our courses. Brendan was still doing his Leaving Cert. that year too. We were working a little bit on songs then, jamming every week. It took us a while to finish a lot of the songs, to write lyrics for them, to develop them until we were happy. So it gestated for about a year and half and then in July 2014 we went and recorded the drums in Liverpool before coming home to record the rest of the album. So, by the end of 2014 it was all mixed and we’ve just been waiting for the right time to release it. It can take a long time, especially for a debut album, the major labels seem to take an awfully long time to decide when to release. So we’ve been waiting a year for it to actually come out.
So would you say there’s any benefits or negatives to working on something like that for such a long time? Did it breed a kind of culture of second guessing yourself? Or was there always a real certainty despite the fact the process was drawn out? I’m wondering about the second guessing, but I don’t think so. In a way, I don’t think it’s been as long as it seems. We finished school in 2013 and one year later we’re recording the drums so all the structures of the songs were in place by then. Considering especially that people are finishing school and starting college, those years can seem like some of the longest ones, since you’re going through such dramatic changes in your life. It probably feels like an eternity ago that you were still in school. Yeah, there have been dramatic changes, but in a way you can’t help and look at it like it’s still the same. I’m still sitting in my parent’s kitchen as I would have been on a weekend when I was first going to college. We’re hoping that this year is going to the be the one where things change for us since we’ll be able to get out there and play the music for people. When you were working on the album, how concerned were you with thematic unity between the songs? In your mind, were you always working on the record as a whole or was it song to song? Very much the first one. We’re all massive ‘album fans’. No matter what we were doing we were thinking about the album as a whole and what kind of themes and sounds we want on it. I think we managed to make an album album. For me, theme-wise, it’s quite existential and concerned with all the changes you were just talking about. There’s a lot of isolation on there, just trying to reassess what’s happening in our lives. It struck me as pretty remarkable that you have two nine minute tracks closing out your debut record. Were there any raised eyebrows over that? If there was, I certainly didn’t see them. The label were really supportive in the sense that they were almost non-existent, which is exactly what we wanted. They let us do our own thing, produce it ourselves and all that kind of stuff. I didn’t hear any complaints. I was struck by Song With No Meaning. Do you buy into the idea that there’s an obligation on a song to have a meaning? I mean, for a song to be successful as an enterprise, does it have to have a clear authorial intent that is comprehended by the audience? I mean, traditionally, you’d say yeah that a song has to have a strong meaning but then again you’ve got stuff like Hit Me With Your Rhythm Stick. For me, with that song, I just liked that as an idea for a song since there’s a few angles you could come at it. There’s the idea you were talking about there, but also there’s the idea that the song is just about trying to find meaning in life and failing to do so and the realisation that you don’t really need meaning, you can just do whatever you want and it’s a kind of liberating thing. I was reading the essay you put out in advance of the album. It deals with those
“I definitely really wanted it to be a Limerick accent on the record, that’s me, that’s who I am, I’d cringe if it was any other way.” ideas of searching for meaning in your own life and how, for you, the writing of the songs themselves offered a kind of means for doing that. Is that sort of uniquely personal, inward-looking meaning in a song important to you? Yeah, I definitely think they do. Writing the songs helped me to explore certain concepts that were making me feel certain things. It’s an aid in rationalising the things you feel. In a way, when I go back and listen to a song that’s finished it makes me feel like I’ve gotten through something even though all I’ve done is write a song. It’s quite powerful for me in that way. It means a lot. I was talking to Cian Nugent recently about his starting to sing on his new record and he had a lot to say about the importance he put on singing in his own accent. On the record you’re very much singing in your own accent. Was that something you considered before? It was definitely something I considered. It can be hard to sing in your own accent when you listen to so many English or American bands. When you first start singing you’re usually singing somebody else’s song so when you sit down to write your own you have to try and break down that wall that your brain has put up accent-wise. I definitely really wanted it to be a Limerick accent on the record, that’s me, that’s who I am, I’d cringe if it was any other way. Even going back and listening to earlier recordings the accent thing is always something that sticks out to me. I do try and make my actual accent work in a singing voice which isn’t always easy. In Limerick there can be a lot of deep vowels and stuff like that and sometimes it just doesn’t work musically but you do the best you can. It was a gradual struggle but I’m fairly happy with where I got with it on this album. I’m glad you think I sound like I’m from Limerick.
So you hadn’t really toured that much beforehand. Will the gigs surrounding the release be your first real time on the road? You’re right. We’ve only really done one proper tour before and that was more a practice run. It was November 2013 and we just did a week with Little Green Cars in the UK. That was just a little taster though. So hopefully we’ll get a bit more time on the road. I’m saying we’re looking forward to it now but we could just end up hating it [laughs]. So was there any hard learned lesson from the one week warm-up tour? What I remember was I got my first pair of Doc Martens the day before we went on tour and wore them all week and by the end I couldn’t walk at all, I was crippled! So I won’t be buying a new pair of shoes before I go this time... or at least bringing a spare pair! Bleeding Heart Pigeons’ debut album, Is, is out now on Virgin EMI as a download and a limited edition vinyl. They play Upstairs in Whelan’s on Saturday 12th March, with tickets costing €10. For more see www.bleedingheartpigeons.com
Well, it was apparent to me anyway. You have to wonder when the record makes it’s way over to the States where they’ll place you! Well the lyrics are on the sleeve anyway [laughs]
Parker, Future Shock and the new love of old stationery.
words Conor Creighton
efore Christmas I had the pleasure of helping my friend Luca open a pop-up in Neukölln in Berlin. Ordinarily the space is Luca’s office, but he decided for the month of December, and a smidgen of November, to transform it into a shop and a venue. The shop would sell stationery and the venue would showcase various artist talks, small exhibitions, book presentations and so on. The idea to sell stationery alongside the events appeared very serendipitously to Luca: he had an old friend with a large collection and some money problems. One night over a beer, I came up with a name. Luca liked the name and asked me to partner with him. “Stationery,” he said, “is the new bicycle.” A cheap form of transport? “More shiny things for people to own.” Paper Scissors Shop opened on a Thursday. That night two great artists gave presentations. One of them had found a collection of 16th century erotic Italian art that she’d reprinted with layered text cues to look like Snapchat. The other artist had created a series of instructional books. One was called How I Made it in the Art World. The pages inside were blank like a notebook. You had to go off and make it yourself and then write your experiences. Thanks for nothing. The two artists talked and there was some free wine and a gin sponsor but no matter what happened at the front of the room, you couldn’t keep people’s eyes off the back and the shelves of old stationery. And eventually you couldn’t keep their hands away either. They wrote their name with the fountain pens and stacked pencils inside the desk tidies. The desk tidies resembled tiny Oscar Niemeyer offices. They sharpened every single blunt (or even not-so-blunt) pencil
they found in the office using the cream and grey Panasonic Point-O-Matic electric pencil sharpener. They went at it for so long that it started to send out smoke signals. At the end of the night when we sent them all home, we found a tiny fort made out of 1960s Italian spiral notebooks and a Staedtler Mars plastic eraser bound tightly in rubber bands trapped inside. They’d left a message on a post-it written unmistakably by a sharpie. “Help”, it said, “they want to rub me out.” Over the course of the following weeks, it didn’t matter who we brought into present or talk or perform, the only thing the audience ever had eyes for were the mechanical pencils, the Stabila collapsible rulers and the fountain pens, for the love of Jesus, the fountain pens. We might have flown Steven Avery in for the night but you’d not hear him for the sound of young men furiously scribbling their own names on square sheets of paper over and over again. The artists who came out, their hearts on their paint-splattered sleeves, were no match for the allure of split nibs, matt black barrels and metallic clips that made a particularly appealing sound when you fastened it to your shirt pocket. We’d open up between 10am and midday, depending on what had hit us the night before. Every day there was some Swede or Korean or young English gentleman shivering in the cold outside our window waiting to be let in. Before Christmas came, the shop had sold out of almost everything but the leftover pencil shavings. The fountain pens were the first to go. To a certain bunch of people, mostly men, mostly in their 30s or 40s, holding a potentially extremely leaky device between thumb and trigger finger brought as much joy as a wedding video. They held them up to the light. They wrote their names in joined-up writing – a style they
thought they’d forgotten, lost like whistling, single-tasking, reading books – and oohed and aahed as l’s became e’s and m’s and g’s grew tails that sailed upwards and away like scarves caught in the wind. And then they bought them and walked out of the shop with their pen clipped on either the neck of their tee shirt or inside the pocket of their jacket, like tiny badges belonging to secret clubs. Everyone wanted Parker. There were Pilots, Crosses, Heroes, Paper Mates, Auroras and Schaeffers in ballpoint, felt-tip and fountain, but the crowd who came along to our store only wanted one brand. This was not an isolated incident. While our shop was going through stock quicker than a Radioshack on Black Friday, Parker Pens noticed a nine percent growth in the sale of fountain pens throughout 2015 too. A company that had been beaten, dragged to its feet, slung over a chair and then beaten again was somehow, in spite of its own redundancy brought about by a rapid evolutionary trend towards writing with thumbs instead of fingers, making a comeback. That comeback rested on Parker’s good looks. It also rested on the brand’s onceupon-a-time ubiquity. But more than both those things the Parker pen was making a comeback because of Accelerationism. Our system of living is growing at such a nauseating pace and knowingly or not we’re all dying for someone to arrest the pace if only for a little and the Parker, the simple Parker fountain pen that you have to load, shake, blot, wait a second if the ink’s too cold, a little longer if it’s too hot, is like two heavy feet promptly slammed on the brake pedal. Taking out a fountain pen is in a way like taking three deep breaths. But to understand that, it’s best to look at this. Parker didn’t invent the fountain pen, but they certainly took it further than any other pen company. They arrived on the scene four years after Waterman, the first fountain pen brand.
They quickly began to improve his original design, which wasn’t difficult to do because most fountain pens at that time, like the name that spawned them, shot liquid everywhere. Parker developed a ‘lucky curve’ feed which sucked ink away from the nib when not in use and when that didn’t work they invented Quink, which – wait for it – was a quick-drying ink. But the greatest leap Parker took was the production of the pen that earned the company $400 million over its 30 year history: the Parker 51. The advertisers billed the 51 as “the world’s most wanted pen”, and be careful what you wish for, because that’s exactly what it became. By putting more time into the design, the Parker 51 has a hooded nib, which looks a little like a penguin sliding across the ice on his belly, and by making it more expensive than other office pens, Parker weren’t only offering people the chance to own a writing device, they were offering them a piece of luxury. It didn’t hurt the Parker 51’s image one bit that their pen resembled a Mustang P-51 bomber either. In spite of their production being forced to stop during the war, the demand and the waiting list for orders kept growing. When the war in Europe did finally end and General Alfred Jodl signed Germany’s surrender he used the 51. Parker: a pen, a fountain, a synecdoche for global peace. The fountain pen, and notably Parker, scrawled its name on the consciousness of society as a reliable, stand-up brand. Something you could trust, and at a time when you can not trust the internet or your phone and the weather is playing a game of lucky-dip in relation to the sequence of seasons, the fountain pen, the-waita-minute-till-I-find-some-paper fountain pen, is for good or bad, seen as a type of beacon. It harks back to a less manic time. Did you ever hear of the Time Warp Wives? It was a story the Daily Mail broke a number of years ago about a group of women in Liverpool, friends really, who were so overwhelmed by progress, by what futurist Alvin Toffler called the Third Wave, that they’d made the decision
along with their husbands, to stop playing. They picked a period that suited them best – for most of them it was the ’50s, some settled on the ’60s – and decided to devolve back to that period eschewing the majority of developments that had come since. They claimed to be happier. Amish people do a similar thing and they claim to be happier too. Luca has a Nokia 3210 and he never stops smiling. Is that enough to explain the comeback of the fountain pen? A mixture of nostalgia and neophobia with a view to making you happy, or at least a little less panicked? Panic is nothing new, humans are after all the least stable organism on the planet. If you want stability become an ant. Zip back in time 4,000 years and find yourself a colony and you won’t see any difference between then and now, apart from the fact that the soil they’re playing in has been stripped of a lot of its nutrients – that’s our fault, by the way. Humans change constantly. Feudal man wouldn’t even know how to start a conversation with his caveman cousin and the evolutionary leap we’re in the throes of now is going to produce something equally transforming and equally confusing. Singularity, a time when humans and the technology they use are no longer separate, doesn’t seem as far-fetched today as it might have 20 years ago. And that’s because of the exponential progress curve carrying us forward. Gen X-ers are ten times more advanced than the Baby Boomers. Millennials are 50 times more advanced than Gen X. Gen Y will be a thousand times more advanced than the Millennials and so on. It’s all so frigging fast it makes you nauseous. The thing about fountain pens is that they’re not fast. If you want to write quickly you type. If you really want to write fast with a pen you buy a ballpoint or a Paper Mate. A fountain pen is not a pen for someone in a hurry, it’s for someone who wants to slow down. It’s the chirographic equivalent of taking yourself off into the countryside, finding a big open lake, dropping
onto the long grass and just taking it all in. The fountain pen is like a good old pipe except it won’t give you cancer. It won’t give you cancer yet. Thích Nhất Hạnh is a Zen Buddhist monk that you might have heard of. He just missed out on the Nobel Peace Prize once. He’s also famous for his artwork, huge pieces of calligraphy that he makes using an ornate quill, but also a simple fountain pen. He says it makes him mindful, present, still – the antidote to motion. There’s something in that and shoppers get it. Amazon, like them or not, shipped four times as many fountain pens last year as in any year since the company started. It hasn’t harmed the fountain pen’s cause that their price has started to rise. About a decade ago the most expensive pen ever was the Montblanc Mystery Masterpiece fountain pen which cost just less than three quarters of a million dollars. And just over two years ago the Fulgor Nocturnus, designed by Tibaldi in Florence, sold for $8 million at an auction in Shanghai. The pen was covered in 945 black diamonds and its size was a tribute to the proportions of Pi and scaled on the natural ratios that exist between branches and their leaves. It’s not a pen that you’d lend someone, let alone something you’d carry in a shirt pocket. A fountain pen, once you own it, can only really have one owner. The nib has a bit of give in it and slowly bends to fit the unique pressure of one hand. You notice it when you pick up someone else’s that it scrapes at the paper somewhat like a horse not used to the different weight of a new rider. It’s a bio-mechanism of sorts albeit a pretty rustic one, the presager of touch screen, voice activation, kinetic power and geo-tagging but slower, altogether much slower. Paper, Scissors, Shop closed its doors five weeks after it opened. As all pop-up shops do. We thought about running another shop selling more obsolete, comfort tools. I suggested we sell abacuses, Luca suggested flint and sticks.
A taste of Pakistan at the award winning
Kinara Kitchen U P S TA I R S B A R & R O O F T E R R AC E
01 6687170 Available for corporate hire Check out our cocktails by Paul Lambert, Bar Manager
The Pen Corner
Sunday February 7
No. 17 Ranelagh Village, Dublin 6 T: 01 406 0066 @upstairsKK Email: email@example.com www.kinarakitchen.ie
Ireland v Wales 3pm Lunch from 12pm Dinner from 5pm
Saturday March 12
Ireland v Italy 1.30pm Dinner from 3pm
Saturday March 19
Ireland v Scotland 5pm Lunch from 1pm Dinner from 5pm
Fountain Pen & Fine Stationery Specialists 12 College Green Dublin 2 Tel/Fax 01 - 679 3641
Sister Restaurant of Kinara, Clontarf and Kajjal, Malahide.
Welcome to Zaragoza, where youâ€™ll find deliciously fresh Mediterranean tapas served with the warmest Irish welcome. A contemporary fusion of modern, authentic cuisine presented in a convivial atmosphere, Zaragoza is not just a place, itâ€™s a destination.
South William Street, Dublin 2 Ph: 01 6794020 Opening hours: Monday - Sunday - 12noon - Midnight (last orders 11pm) SueseyStreet_TotallyDublin_REV2.indd 6
The Dublin Pub Guide
The Meeting House
THE PORTERHOUSE central
SÖDER + KO
In spite of its playful ethos, this venue takes its cocktails seriously, shaking up popular classics as well as quirky new creations to keep us guessing. Signature snifters include a startlingly exotic Lychee and Lemongrass Sour, and an Emerald Collins that switches gin with whiskey to delicious effect. Located in the bosom of Temple Bar, the Meeting House terrace is the perfect spot for sharing pitchers with friends as the sun goes down. Inside, it’s at once cool and welcoming, lively yet laid-back, and the scene hots up at the weekends when DJs mix soul, funk and disco into the early hours. You might even see the sun come up again.
The Porterhouse in Temple Bar opened in 1996 as Dublin’s first microbrewery. Brewing three stouts, three lagers and three ales in the tiny brewery created much demand for the brews and lead to the growth of the craft beer market. Seasonal beers are available alongside their regular ten drauaght beers they brew, namely Plain Porter which won a gold medal twice for the best stout in the world!
Experience the magic that single estate handcrafted vodka brings to a cocktail with Absolut Elyx. Taste the Skandi influence in their craft beers, ciders and in our signature serves or try a classic cocktail with a SÖDER twist. Discover 3 bars each with a different vibe, a heated beer garden like nowhere else in Dublin and a late bar ‘til 3am on Friday and Saturday. Whether for a few drinks or to party ‘til late, it’s the place to be.
Meeting House Square, Dublin 2 All cocktails just €6.66 on Sundays & Mondays themeetinghousedublin.com 01 670 3330
McDaids is, if we’re honest, the kind of place where you’d call yourself lucky if you’ve nabbed a seat early in the night. Its much cosier, shoulder-to-shoulder affair where an unbeatable Guinness is only a quick shuffle away and commenting on overheard banter is de rigeur. The perfect place for whiling a night away righting the world’s wrongs with a few close friends or quiet pint in Brendan Behan’s memory.
O’Donoghue’s is one of Dublin’s most historic drinking establishments located just off St. Stephen’s Green in the heart of Dublin. Probably best known for its traditional Irish music, session still take place daily, midweek from 9pm, Saturdays from 5pm and all day on Sunday from 1pm. O’Donoghue’s has a rich history in providing a welcome for locals and visitors alike to play a tune or enjoy a pint. A menu of soup, stew and sandwiches is served daily from noon.
Generator hails a return to the proud tradition of innkeeping; providing lodging, food and of course, drinks. A relaxed venue where you can enjoy a selection of craft beers, the trusted classics or something more suited to a backpacker’s budget. Expect to meet guests from all over the world as they stop over in the fair city. It provides a perfect opportunity to practice your rusty Spanish, Portuguese, Italian or German. Situated in the ever-present yet up and coming Smithfield Square, right on the Luas tracks, Generator is a refreshingly different interface beween Dublin and her visitors.
3 Harry Street, Dublin 2 01 679 4395
16-18 Parliament Street, Dublin 2 45-47 Nassau Street, Dublin 2 tel: 01 677 4180
64 South Great George’s Street, Dublin 2 01 474 1590 info@soderandko soderandko.ie
Fb: Porterhouse-Brewing-Company @Porterhousebars
15 Merrion Row, Dublin (01) 660 7194
Smithfield Square, Dublin 7
Hours: 10:00 a.m. – 12:00 a.m.
01 901 0222 www.generatorhostels.com/Dublin-Hostel
Signature snifters include a startlingly exotic Lychee and Lemongrass Sour, and an Emerald Collins that switches gin with whiskey to delicious effect. Located in the bosom of Temple Bar, the Meeting House terrace is the perfect spot for sharing pitchers with friends as the sun goes down. Inside, it’s at once cool and welcoming, lively yet laid-back, and the scene hots up at the weekends when DJs mix soul, funk and disco into the early hours. You might even see the sun come up again. Meeting House Square, Dublin 2 All cocktails just €6.66 on Sundays & Mondays themeetinghousedublin.com 01 670 3330
new Mint Bar evokes the glamour and style of the historic building’s 1920s heyday. Classic leather seating and stylish wooden furnishings complement the original stone walls and unique vaulted ceilings of the former bank, whilst warm lighting helps create a cosy and welcoming atmosphere, while the Onyx bar provides a stunning centrepiece. To do justice to these striking interiors, The Mint Bar’s renowned team of expert mixologists have developed an innovative and exciting drinks and cocktail menu combining familiar and updated classics with signature creations, while keeping the new food menu simple and seasonal. The Westin Dublin, College Green, Westmoreland St, D2
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reservations@ 085 874 790
THE HAIRY LEMON Neary’s
Grogan’s Grogan’s Neary’s
The Hairy Lemon that is based in the of Dublin and located Creative There’s a reason Nearys hascentre remained so consistent over in thethe decades Quarter in Dublin This traditional Irish pub in a 19th century the formula works.2.Housed in an elegant sliceresides of Edwardian Dublin withhouse its and is justinterior about as as its Yearsbuzz of memorabilia old-world stillunconventional in pride of place, thenamesake. early evening in Nearys is a on walls a Granny’s Kitchenranging servingfrom real theatre-goers traditional Irishand food. Live rarethe sight to and behold. With a crowd thespians sports! DJs every Friday and Saturday night. Upstairs venue free hire from the nearby Gaiety to local suits and Grafton shoppers, Davefor and histo fit up to of 150 people! TRAD SESSIONS team old-school barmen will takeEVERY care ofSUNDAY! all your needs.
Grogan’s Pub has been a mainstay in Dublin since time began. When you Grogan’s Pub has been a mainstay in Dublin since time began. When you walk through thethat doors you get sense of being catapulted to a There’s a reason Nearys hasaremained so consistent overback the decades walk through the doors you get a sense of being catapulted back to a bygone era when where a place thatslice everybody knew your name. the formula works.pubs Housed in an elegant of Edwardian Dublin withThe its bygone era when pubs where a place that everybody knew your name. The decor has not changed almost 40 years, the buzz way itinshould old-world interior still ininpride of place, the and earlythat’s evening Nearysbe. is a decor has not changed in almost 40 years, and that’s the way it should be. Do theirtolegendary toasted sandwiches pint of plain and admire all raretrysight behold. With a crowd rangingwith fromatheatre-goers thespians Do try their legendary toasted sandwiches with a pint of plain and admire all the hanging from are, by shoppers, the way, available buy. fromartwork the nearby Gaiety to the localwalls suitswhich and Grafton Dave andtohis the artwork hanging from the walls which are, by the way, available to buy. team of old-school barmen will take care of all your needs. 15 Sth William St, Dublin 2 15 Sth William St, Dublin 2 1 Chatham Street, Dublin 2
One of the watering holes, of Poolbeg Named aftercity’s the most policeadored , who turned a blind eyeMulligans to the liquor rooms Street of One of the prohibition city’s most era, adored of Poolbeg Street was originally a shebeen before it went legit allMulligans theasway back inpop-up 1782, makthe 1920s The watering Blind Pigholes, launched a monthly was before it went legit the way back in 1782, ing itoriginally amongst oldestat licensed premises inallDublin citySince and then, just aThe fewmakSpeakeasy bar,athe inshebeen secret, a well-known Dublin venue. ing amongst the oldest premises inbrewery. Dublin city and just a fewcreak years younger than Arthuranlicensed Guinness’ famous Inside, the walls Blindit Pig has developed affectionate fanbase in Ireland and abroad. The years younger Arthur Guinness’ famous brewery. Inside,mixologist thelong wallslost creak with weight history ainternationally thousand forgotten conversations to Blindthe Pig is thethan brains ofand the award-winning Paul with the weight history a thousand conversations long lost tothe passage time. Butand aside fromcocktail that,forgotten itmenu, has a The reputation foristwo Lambert. Withof his expertly-crafted Blind Pig nowthings in perthe passage of time. But fromNo that, it has reputation for two things great Guinness andand great barmen. music, noatelevision, of yer fancymanent residence is aaside full underground cocktail bar andnone restaurant. great Guinness and is great barmen. No no television, of yer fancy stuff, only thewhich essentials are present in music, this landmark The location, less than a 5-minute walk fromestablishment. Trinitynone College, stuff, only the essentials is revealed upon booking.are present in this landmark establishment.
Generator ha lodging, food selection of backpacker’s stop over in rusty Spanish up and comi refreshingly
8 Poolbeg Street, Dublin 2 firstname.lastname@example.org Poolbeg Street, Dublin 2 01 6775582 0856775582 874 7901 01
Stephen Street Lower, Dublin 2 1 Chatham Street, Dublin 2 www.thehairylemon.ie 01-6778596
the twelfth lock
Mulligans The Blind Pig Mulligans
01 901 0222
TGI Friday’s European Bartender Championships On September 16th & 17th TGI Friday’s on St Stephen’s Green hosts the European Bartender Championships. We caught up with Becki Egan, the 2014 Irish champion to find out what it’s all about. When are the 2015 European Bartender Championships taking place and who will be taking part? The European championships are taking place on the 16th and 17th of September, the 16th being the compulsory rounds including pour tests and recipe tests. Thursday the 17th is the Freestyle round in which all competitors from the qualifying countries have their time to make drinks, show their talent and show the Friday’s way of serving cocktails with a bit of fancy stuff. There is one bartender representing qualifying countries from around Europe. You are the Irish champion, are you competing again this year? Are you in with a chance of winning? I sure am. I’ve already competed at restaurant level and came first which lead me into the regional competition, which I had to win to compete in the Europeans in September. There is no reason I shouldn’t be capable of winning, everybody stands a chance if they put in the work. And the winner of the Europeans heads to the World Final in Dallas, Texas!
BOOK YOUR TOUR AT What’s your signature cocktail?
JAMESONWHISKEY.COM I wouldn’t say I have a signature cocktail, but without being cocky I’ve been told I mix up a pretty good Purple Rain. Little bit of everything that everybody loves… until the following morning! Can the general public attend? The general public can indeed attend and I would appreciate the support from as many members of the public as possible - if you’re up for supporting Ireland of course. It will kick off from approximately 7pm on Thursday the 17th September in TGI Fridays St Stephens Green.
PROUDLY SPONSORED BY
BARFLY words words Danny Wilson Oisín Murphy-Hall photos photos Open Brewery Killian Gate Broderick
ABBEY HOUR OPEN SESAME! The Jolly Monk Open Gate Brewery
Open Gate Brewery St. James’s Gate, Dublin 8 opengatebrewery.com Open Gate Brewery is open Thursdays and Fridays at 5.30pm. Booking is required, and entry costs €6.
Strolling down Thomas Street towards The Open Gate Brewery, Guinness’ recently opened bar in the bowels of their landmark brewery, there was a degree of cynicism on the part of myself and my companions. Requiring a booking in advance and only open two days a week between the hours of half five and half ten, the whole endeavour had the feel of a semi-permanent PR event, complete with the self-conscious pre-occupation with perceived exclusivity associated with the Irish hobnobbing circuit. On arrival, some of the expected alarm bells chime as the venue is bathed in purple light, a shadow-drenched DJ sticks to strict playlist of unremarkable hairdresser house, a photographer corners us as soon as we take a seat for an extended flash bulb assault. We wince through it before heading towards the bar to cash in the chips we were granted on entry. For your €6 price of admission, every guest is furnished with one of these chips, entitling them to four tasters of the various exclusive beers on offer. As we start to make small talk with one of the many barmen, he speaks attentively, effusively and seemingly from a place of sincere enthusiasm for his work, giving us a full run down of tasting notes for our selected samples. We opted for their Nitro IPA (refreshing, floral and curiously creamy), Oatmeal and Vanilla Ale (a bit too sweet to drink a slew of pints of, but very tasty if you’re only having the one), Vienna Common Lager (a little wishy washy, as is often the way with lagers) and their Milk Stout (nice and robust at 6.8%, undoubtedly the star of
‘It’s weird how monks are allowed to drink, isn’t it?’ I ask Anton as we approach The Jolly Monk, the newly renovated bar of the Abbey Hotel. ‘I mean, as in you would think drinking would be prohibited or something.’ the‘What’s show). weird As weabout worked ourEverybody way through the ’ that? drinks, selection on offer, clocked that doesn’t. all pints’ Ifurhe says. ‘Name oneand profession ther at a fiver a pop, it begins to dawn thinkcome for ainmoment. on ‘Iussuppose that theIOpen Gate is the more thanwas merely thought that monk one.’ a Diageo-pushed bald commerce. ‘They named aexercise bar afterinthe monk’s drinking, The simply barstaff butsign!’ individuals you staff, idiot,’not he says. ‘Look at the A monk occupying sortMorrissey of experimental brewing who looks some like Neil is holding aloft a ambassadorial giveon offhis theface. impression of a beer stein withrole a smile Anton pauses group of long-time brewing nerds whose jobs, in thought: ‘I suppose childminders, maybe. ’ much to their delight,quite suddenly got about a whole There’s something alluring thelot more rewarding. idea of drinking in a hotel bar. The sense of The Open Gate forbriefly, all intents impermanence, ofBrewery mystery is and fleetingly and purposeslives, a reactionary move intersecting in a placemeasure, that is at aonce home by bighome. boys The to keep up withimagination the changing andthe not cinematic has tastes general public stillwith in the of a partof toaplay in this, surely, thethrall instituthe revolution. Having tioncraft in itsbeer various guises over thebeen yearsquietly housing tweaking brews murder in this very romantic unusual trysts, capers, plotsroom and the like. Suffice it to say, however, that The Jolly Monk is less Rita Hayworth wistfully fingering a martini glass at the corner of the bar and more English lads’ weekend holidayers eating from Papa John’s pizza boxes on their laps (the bar’s kitchen opens at the start of October, I’m told) and heckling nearby individuals for various infringements on their psychical comfort. This is the precarious emotional state of the tourist writ large. Susan Sontag notes how the travelling individual alleviates her anxiety at unfamiliar surroundings by recourse to photography, engaging with her environment from the safe distance of the quotidian form; so too the Englishman with ‘banter’, or the death-spasms of the once proud colonial mindset that served historically so well as a comfort blanket for the Queen’s subjects’ baser sensibilities at the cost of the subjugation of the other. This, I suppose, is the real pitfall of the hotel bar for the native population: here, everyone is an outsider. ‘Everyone’s a spicer,’ Anton suggests. An old man wearing a slightly-too-large crucifix necklace passes by us as we return to our
seats after smoking on the terrace. ‘You’re so happy,’ he stops to say to me. ‘I wish I was that happy!’ It’s one of those exchanges, rarely occurring in life, that make your laughter very quickly give way to an implacable sadness. The back since and, in fairness, having attempted of his1909 t-shirt reads ‘Those that shine from the toinside launch several them in the in days beforeunder don’t needofthe spotlight’ cursive, everyone became an return expert,momentarGuinness a picturesuddenly of a candle. He will have into the ring ily toopted recitetoa throw poem their of hishat own, printed outinin an aenormous understandably though unexpectedly folder showy (A2 size maybe?) about how meaningful wereuse assured that more irritating it fashion. is when We people their phones widely available oncompany, offer (your when they’re inbeers others’ as Smithwicks though actBlondes Pale Ales and Brechtian so on) are adaptation soon to be ing out and a sort of inverted, phased out in favour of brews concocted excluof the famous Dom Joly sketch. sively onthing site, with mostis, intriguing sounding The abouta pubs what makes them is white stout and and blood ale the people. Thata basil The Jolly Monk orange is a comfortslated to enter circulation in no theimmediate coming weeks. able, unassuming bar, with flaws Against Guinnessbeing have ahit on overlit), someto speakallofodds, (bar perhaps little thing exciting here, deftly balancing givesgenuinely Abbey Hotel the best possible chance at their enviable heritage theguests demands of the having a decent place and for its and whoever present marketplace. Opena Gate worthy else might wander inThe to have drinkisand relax. ofThey a visit fordo both locals and alike. even craft beer! It’stourists up to the patrons to do the rest. ‘Are you going to put the auld lad in your review?’ Anton asks me as we exit, waving to the barman. ‘Because the poem was shit, but it was pretty funny.’
The Jolly Monk 52 Middle Abbey Street, Dublin 1 01-8728188 www.thejollymonk.ie
BARFLY words words Ian lamont Danny Wilson photo photos Killian Killian Broderick Broderick
NO UGLY DUCKLING
Obviously the first thing that most people will do when they sit themselves down in Wigwam – and this is largely a sitting down kind of place – is try to work out what part of the Twisted Pepper they are now in. Bodytonic’s flagship Middle Abbey Street venue may have gone, transformed into another of the city’s already stuffed ranks of is bars-cum-restaurants, York Street’s The Swan a pub of note for but memories of sweaty nights will harder a few reasons; firstly, it is one of thebeoldest to erase. It is after all, onlycity in centre the lasthaving year or so licensed premises in the that people calling The Grand Social operated as stopped a bar since 1661, and the essen“that that used to be Pravda”. tially place untouched Victorian interior that you Wigwam’s currentF incarnaseeHowever, there waswhile installed by Thomas O’Reilly tion is not as strikingly as Bodytonic in 1897. Secondly, it hasoriginal in recent years been have always in theirasthinking, still bears afforded thebeen reputation a hub forit clandesall hallmarksinoftown. their The unique management tinethe operations mere mention style. themany spacea still hosts both of its Accordingly, name elicits in knowing smile Boxcutter hairdressers andone Tom Vice and an assurance that it’s ofStafford’s the preemiCoffee, one ofinthe city’s cafés, the nent venues town forbest dates thatduring you don’t daytime. particularly want anyone you know stumbling On our visit, we estimate we’re at the back across. leftThe corner venue room ofremains Twisted somerootofofthe this association Pepper, roughlyHow sitting where onepublic of Elastic thing ofor enigma. a traditional Witch’s record racks be. We both tuck house, associated byused manytowith its proximity into Portobello mushroom burgershas (€12) which to the Royal College of Surgeons mancome smothered in hilarious amounts of avoaged to acquire this noirish sense of the illicit cado butter and feelsPerhaps like a wholesomely vegremains a mystery. the association etarian substitute for a Bunsen. Brazilian chef Pablo Feraz has been praised by all and sundry
with covert action attached to the place stems from the pub’s reputation as a revolutionary hub during the Rising. Granted, you’re probably in here with a view towards the markedly less noble causes of shifting somebody that for his work in the dictates kitchen at Wigwam thus all common sense you shouldn’t or far, and with good reason. Theafter bar offers selecsneaking in a few swifties you’vea called tion from label there Brewtonic, in sick fortheir work,own butbrewing nonetheless is a and a hearty array ofinrums well of as the a dozen certain satisfaction beingaspart grand or so tradition beers on tap. We visit on ashit Friday evenlocal of doing shady tucked ing Wigwam just begunofitsThe transition awaywhen in the low-lit has hindquarters Swan. intoUp nighttime daytime front oakmode and from brass its abound. Faruse, from and you ducking, can imagine theofspace – nowexamone an ugly thisthat is one the finer large, narrow room – will be cacophonous in ples of the ‘heritage pubs’ that entice countaless fewvisitors hours time withshores folks using as a With base to these every ityear. for theties night, or a the springboard for a move elseclose to both aforementioned Rising where the city. and theinCivil War, the exterior façade remains Unlike the from most gunfire, recent Bodytonic pockmarked carrying opena simiings, the Back Page and the Ball (both lar old-world prestige to theSquare wood-panelled sports themed and MVP (a without minimalist/ watering holes bars) of Baggot Street, the dog-friendly bar), Wigwam feels like it hasn’t really found out what it is yet. Sure, it begins as
atmosphere-stifling shortcomings that are associated with being the haunt primarily of monied fifty-something gents. The Swan isn’t purely a tourist-trapping throwback though. One merely has to cast the you will of find openeye kind over of thebar/restaurant respectable selection craft ing frequently the the city,folks and in other beers on offer around to see that running hands youare might feel like thisdesires is a place that the show in-tune to the of the falls between twoFor stools, but under Bodytonic’s modern patron. the less adventurous pint command, Wigwam feels more like a blank drinker, your standard Guinness comes in at canvas than areasonable hodge-podge. have gener€4.70, pretty for They a town pint. Like ally followed their own the of its avian namesake, Theinterests Swan is–a and creature interests those that come to them with two sides:ofits sophisticated, historical baran area idea and needing a space to try something being the white, elegant, public portion of its out – rather than being by half-formed avian counterpart, whilesteered the concealed, darker marketing groupthink. Wigwam feels like and nigh lawless area down the back reprethe beginning another journey the below sents the little of webbed feet going for ninety Bodytonic gang, rather than a definitive statethe water. One might appear more impressive, ment. It’s hard to see it not become about ten but it’d be nothing without the other doing other things over the next five years, and it’s the dirty work. all the more exciting to have a space in the city like that.
The Swan 58 York Street, Wigwam Dublin 2 54 Middle Abbey Street 01-4752722 www.wigwamdublin.com theswanbar.com 086 325 2471
STEP INSIDE THE HOME OF
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The Meeting House
Meeting House Square, Temple Bar, D2 www.themeetinghousedublin.com 01-6703330 @meetinghousedub
Sweepstakes Centre, 22-30 Merrion Road, Dublin 4
236 Lower Rathmines Road, Dublin 6
13 Dame Street, Dublin 2
01 668 9422
01 670 68 66 // umifalafel.ie // @UmiFalafel
The Meeting House serves up superbly balanced, pretty-as-a-picture plates (all priced at €9.99 or €6.66 on Sunday and Monday) that burst with the flavours of South-East Asia. Favourites include a rare and delicate blackened cod, a seared sirloin steak that zings with Sichuan pepper and Asian Salsa Verde, and a signature tomato dish that takes notions of salad to a whole new level. The wine list is both thoughtful and exciting, though with award-winning mixologists behind the bar, cocktails here are a must. Enjoy all this and more in their cool, moody interiors or kick back on the terrace and watch the world go by in the summer sun.
Located in Dublin’s exclusive Ballsbridge area, Bellucci’s is situated close to many of Dublins top hotels, across from the famous RDS venue and a short walk from the Aviva Stadium. The restaurant is also close to both the American and British Embassies and is ideal for business lunches, pre and post-event suppers. The casual atmosphere coupled with great Italian food and service set the scene for a cosy romantic meal. The large outdoor area is ideal for al fresco dining or enjoying one of the something from the extensive cocktail menu.
Kafka offers affordable, wholesome, and well-made brasserie fare at a reassuringly reasonable cost. The sparse, minimal décor goes hand in hand with the delicious diner-style food; free of pretence and fuss. A varied but not overstretched menu touches enough bases to cover most tastes offering up anything from bangers and mash to porcini mushroom risotto. While their prices are easy on the pocket, Kafka cuts no corners with quality of their food.
Umi Falafel want to share with you their passion for the freshest and most authentic falafel in Dublin. Their falafel are prepared fresh daily at their location on Dame Street with an old family recipe – ‘Umi’ is the Arabic word for mother after all. Umi Falafel is a fantastic eatery for vegetarians and vegans, as they serve mouth-watering salads, delicious Lebanese favourites such as hummus and baba ghanoush, as well as their favourites, the Palestinian or Lebanese falafel sandwiches served with a choice of salad and dips for a wholesome meal. Open 12pm-10pm daily.
The 101 Talbot
St.Andrew’s Street,Dublin 2 // 01 6774799 // info@
100-102 Talbot St, Dublin 1 t: 01-8745011 www.talbot101.ie
salamanca.ie // www.Salamanca.ie // facebook.com/salamancatapas // @SalamancaTapas Salamanca brings the taste of Spain to downtown Dublin, providing a wide range of quality Spanish tapas and wines. Their aim is to whisk you from the mundane to the Mediterranean with every mouthful. Located on St Andrews Street, right beside the relocated Molly Malone, just off Grafton Street. Taste the sunshine and sea in the tapas on offer on the menu, such as Jamon Iberico, fried calamares and Prawns in Olive oil, also found in the signature dish, Paella de Pollo There are great lunch and early Bird offers, seven days a week. Also try their Cava & Tapas Platter nights which run from Sunday through to Wednesday. Check it out and transport yourself to Spain, without the check in!
The 101 Talbot is one of Dublin’s best-loved restaurants, thanks to excellent modern cooking and vivacious service. It boasts great food, friendly staff, buzzing atmosphere and a full bar licence. The 101 is highly acclaimed and recommended in many guides. Their food is creative and contemporary, with Mediterranean and Middle Eastern influences, while using fresh local ingredients. Popular with Dublin’s artistic and literary set, and conveniently close to the Abbey and Gate theatres, the restaurant is a very central venue to start or end an evening in the city centre.
Stanley’s Restaurant and Wine Bar
KC Peaches Wine Cave
7, St. Andrews Street , Dublin 2 // t: 01-4853273 //
FB: Stanley’s Restaurant & Wine // www.stanley-
28-29 Nassau St, Dublin 2
KC Peaches Wine Cave is a true hidden gem located under Dublin’s busiest café on Nassau St. Outstanding chef Ralph Utto continues the philosophy of KC Peaches by designing tasty sharing plates offering seasonal, all natural, additive free and locally sourced wholefood. The wine selection follows the ‘nourishment by nature’ message, allowing you to choose from only the best but affordable natural, biodynamic and organic wines. The Wine Cave is Dublin’s best kept secret on the verge of being discovered as the ‘place to be’ in the capital. TueSat 5.30pmlate with live music every Saturday.
Stanley’s Restaurant and Wine Bar is located in the heart of Dublin, a short walk from College Green on St Andrews Street. They pride themselves on pairing modern Irish cuisine with an inspiring and unconventional wine list. Chef/proprietor Stephen McArdle has created a unique space across three floors, a modern ground floor wine bar, an intimately classic dining room, and private dining room to cater for all occasions.
1 Victoria House, Haddington Road, Dublin 4 // t: 01 2545353 // www.asador.ie / fb.com/Asador
le bon crubeen
The Boxty House
2nd Floor (Bram Stoker Hotel), 225 Clontarf Road, Dublin 3 01 853 2000 email@example.com www.vikingssteakhouse.com www.facebook.com/vikingssteakhouseclontarf
26 Fitzwilliam Place, Dublin 2.
82 Talbot Street, Dublin 1 // www.leboncrubeen.ie //
20-21 Temple Bar Dublin 2
t: (01) 669 4600 | firstname.lastname@example.org
@LeBonCrubeen // 01 7040126
Vikings Steakhouse, on the seafront in Clontarf, offers a wide range of juicy steaks (côte de bœuf and steak on the stone are specialities) along with seafood, chicken and vegetarian options. Super starters, healthy salads and a wide range of expertly made cocktails available, along with craft beers and an excellent wine list. Great value, friendly and professional service awaits you. Vikings Steakhouse... because steak does matter!
email@example.com // @AsadorDublin Situated on the corner of Haddington Road and Percy Place, just a stone’s throw from Baggot Street Bridge in the heart of D4, Asador is known as a true barbecue restaurant where the best of Irish fish, shellfish, and of course steaks are cooked over fires of oak, apple woods and charcoal. It’s an authentic barbecue experience where the open kitchen allows guests to watch the chefs work the bespoke 7 foot ‘asado’. Go for the great flavours you get from cooking this way, stay for the craft beers and cocktails.
www.sueseystreet.ie @SueseyStreet The Suesey Street name harks back to Georgian times and was the original name for Leeson Street in the 1700s. The venue was formerly Brasserie Le Pont and now offers a more informal approach to drinking and dining. The large outdoor terrace is one of the best in the city, fully heated and topped with a retractable canopy making it the perfect space for al fresco dining year round. With the focus on quality food and great hospitality Suesey Street is the go-to place to socialise and enjoy the finer things in life.
e: firstname.lastname@example.org This award-winning brasserie in the north of Dublin city centre is well known for delivering some of the best value for money in the city. The menu delivers a grassroots experience, sourcing ingredients from the very finest Irish producers delivering consistent quality. The pre-theatre menu is hugely popular with diners visiting the nearby Abbey or Gate theatres while a diversity of offerings mean vegetarians, coeliacs and those looking for low calorie options are also catered for. Shortlisted as finalist in 2012 of the Irish Restaurant Awards’ Best Casual Dining Restaurant.
@theboxtyhouse The Boxty House in Temple Bar has been at the beating heart of a dynamic, contemporary community since 1988. Their guests experience a genuine taste of modern Ireland, with only the finest of Irish artisan produce used. They offer an extensive range of classic and contemporary dishes with a fixed price menu also available. You can also sit back, relax and enjoy their eclectic range of cocktails, selection of Irish craft beers and carefully chosen wine list. Open seven days from noon (Monday to Friday) and at 11am at the weekends for brunch, lunch and evening dinner. Last food orders taken around 10.30pm.
red luas line
green luas line
ely bar & brasserie
The Brasserie at The Marker
Chq, IFSC, Dublin 1
7 Crow Street - Bazzar Galley, Temple Bar, Dublin 2
Grand Canal Square, Dublin 2
2 Chatham Row, Dublin 2 t: 01-6704899 mymao.ie
@elywinebars 01 672 0010 ely bar & brasserie, awarded ‘Wine Bar of the Year’ 2014 & 2015 by The Sunday Business Post and ‘Best Wine Experience’ 2014 by Food & Wine magazine, is in a beautifully restored 200 year old tobacco and wine warehouse. Great wines, beers, cocktails and ‘food terroir’ all delivered with passion, make this one of the most unique and atmospheric dining experiences in the country. Check out their sun-trap water-side terrace this summer.
Right in the centre of Temple Bar you’ll find one of Dublin’s best kept secrets, the haven that is Caffe Italiano. The philosophy here is fresh food seven days a week using the best ingredients at affordable prices. All the food and wine comes directly from Italy, from cheese and cured meat boards to lamb cutlets with Black Forest sauce, they believe in doing things the traditional way to capture truly authentic flavours. There’s live music at weekends making this one of the capital’s hotspots, whether it’s for a coffee, a refreshing beer, a chilled glass of wine or a memorable dinner.
You can visit Mao in Chatham Row (or their locations in Dun Laoghaire, Dundrum, Balinteer or Stillorgan) to enjoy the extensive Asian menu full of tempting, traditionally prepared dishes. Savour the flavour with delicious curries or try a shared platter to get the full Thai experience, not forgetting their famous Mao Classic dishes. If you fancy making a night of it, why not sip up a low calorie, classic or dessert cocktail or two. Mao are an official Leinster Rugby food partner, so why not try one of their healthy dishes as chosen by Leinster Rugby’s nutritionist. #MadAboutMao. Prepare to tuk-in! Lunch menu: 12-4pm Mon to Fri; Early Bird menu: 4-7pm daily; à la carte menu: from 12pm daily
01-6875104 email@example.com @themarkerhotel A refreshing addition to the Grand Canal restaurant scene, The Brasserie starts with its stunning interior. Comfortable modern, minimal furniture, including the legendary Panton chair, the spectacular grey marble table, and private booths and banquette seating, creating the right amount of privacy for intimate dining. In Ireland, the traditional way of cooking is simple dishes, built around one great ingredient. The Brasserie is no different. From succulent rare breed pork or prime dry-aged beef, The Brasserie stays true to Irish roots. For a unique night out visit The Marker Brasserie for one of Dublin’s best dining experiences.
Fleet Street, 19/20 Fleet Street, D2, t: 01-6728975. Stephen’s Green, D2, t: 01-4781233. Blanchardstown S.C., D15, t: 01-8225990. Dundrum Shopping Centre, D14, t: 01-2987299. Airside Retail Park, Swords, Co. Dublin, t: 01-8408525 w: www.fridays.ie
South William St 01 6794020 firstname.lastname@example.org // @zaragozadublin fb.com/zaragozadublin
TGI Friday’s is your number one authentic American style restaurant that makes every day feel like Friday. It’s the home of the famous Jack Daniel’s sauce, grill and glaze making their burgers, chicken wings and steaks some of the best tasting dishes in Dublin. TGI have a fantastic selection of drinks to relax and enjoy with friends including an exciting new cocktail menu, great value lunch deals and a hard to beat two-course menu. #InHereItsAlwaysFriday
Zaragoza restaurant is slap bang on buzzy South William St, Dublin’s hotspot for nightlife. The restaurant takes its name and culinary inspiration from the Spanish City and is a true food lover’s paradise. Treat yourself to a unique dining experience, as local delicacies are married together with authentic Spanish flavours. There is an enticingly extensive menu with Tapas and larger dishes. Choose from tantalizing charcoal tuna, tempura cod and a myriad of other dishes. You can also go for a cold platter and pair it with one of the delicious wines available. Explore, eat and enjoy!
11 Chelmsford Lane, Ranelagh, D6 01-4976438 www.michiesushi.com
64 South Great George’s Street, Dublin 2 w: soderandko.ie t: 01 474 1590 e: info@soderandko
The word Michie in Japanese means ‘filled with smiles and laughter’ which is just how the folks at Michie Sushi want their customers to feel when they have eaten their sushi. Since expanding from a take away, catering and delivery service with a restaurant in 2011, they have been winners of McKenna’s Best Sushi in Ireland award each year. Though they specialise in hand-roll sushi, they also offer popular Japanese dishes such as ramen and okonomiyaki. With top quality sushi from chefs only trained by Michel, consistency is guaranteed. Visit them in Ranelagh, Dun Laoghaire, Sandyford, Avoca Rathcoole and Avoca Kilmacanogue or call for delivery.
CAFÉ EN SEINE 40 Dawson Street, Dublin 2 01 677 4567 email@example.com, www.cafeenseine.ie For lunch, dinner and Sunday brunch at Café En Seine you’re assured a treat. This is French bistro fare at it’s finest. For Hors D’Oeuvres try our Warm Crumbed Goats Cheese, Chicken Liver Parfait or Salade Niçoise with home smoked salmon. For Entrées their Steak Au Poivre is the star with hand cut chips and your favourite sauce. Or try a new twist on an old classic, Beef Cheek Bourguignon so tender it melts. Open 7 days a week.
Culinary Director Kwangi Chan and his team serve an Asian menu that’s made for sharing. Discover lots of small plates bursting with delicious punchy flavour. Pop in for an Express Lunch with a choice of tempting light bites, signature steamed buns and Chef Specials to savour. Come for dinner and mix it up with your favourites from their raw, dim sum and hot options, all designed to delight. Open for lunch, weekend brunch and dinner 7 days a week.
Hard Rock Café Dublin
ELY WINE BAR
10 Saint Stephen’s Green, Dublin 2
10 Terenure Road East, Rathgar, Dublin 6
22 Ely Place, Dublin 2 // 01 676 8986 // elyplace@
01 679 4769
01 492 6890
12 Fleet Street Temple Bar, Dublin 2 01-6717777
Situated on Dublin’s landmark St. Stephen’s Green, Il Posto has been cooking delicious contemporary and traditional Italian Mediterranean dishes using the best local and international produce since 2003. A firm favourite for business lunches, romantic dinners, pre-theatre meals and great nights out. Il Posto offers an intimate and elegant setting, an informal relaxed atmosphere and sumptuous food, all served with a generous helping of warm hospitality.
The Revolution specialises in artisan stone baked pizza and craft beers. Located just south of the city in Rathgar, they offer a California inspired menu, utilizing the freshest ingredients & flavours. Their amazing selection includes artisan pizzas, authentic tacos, and a vast selection of both local and international craft beers and quality wines to pair. There is a relaxed casual vibe and their friendly staff will go the extra mile to make your time at The Revolution unforgettable. They currently open Tuesday to Sunday evenings as well as a Revolutionary weekend Brunch from 11am. At The Revolution, it’s all about good food, good beer, and good people.
If you’re looking for fantastic food and live entertainment in a unique, laid back environment, Hard Rock Café Dublin is the place for you. Located just a few blocks from the Liffey in famous and vibrant Temple Bar, a pedestrian friendly area of Dublin featuring cobblestone streets, wide sidewalks, and plenty of attractions. Hard Rock is a great central stop off point which serves fantastic food with a smile. Try their legendary burgers with a delicious cocktail or beer to wash it down. Have a rocking day!
elywinebar.com // www.elywinebar.com // @elywinebars Since 1999 ely wine bar has been at the forefront, being the first to truly deliver great wines by the glass. Today ely continues to be the leader in sourcing great wines, 500 in total. Awarded Best Wine Experience 2014 by Food & Wine, Best Wine Bars 2014 & 2015 by Sunday Business Post and 100 Best Restaurants 2015 by the McKenna’s Guide this is a place were you can enjoy prime organic beef and pork from their own farm and match it to wines from all over the world. Brilliant for bar bites too!
The Port House Pintxo
Coppinger Row, South William Street, Dublin 2
17 Ranelagh Village, Dublin 6 // @kinarakitchen //
56/57 Lower Clanbrassil St, Dublin 8
12 Eustace Street, Temple Bar, Dublin 2
01 4060066 // kinarakitchen.ie
The first floor bar offers 2 / 3 course set menu options every Thursday, Friday Saturday from 6pm. The weekly specials from the kitchen reflect the seasonal produce available from their quality suppliers and the drinks menu covers 24 Craft beers on draught, Cocktails, Wine and premium whiskey. Upstairs@57 is ideal for larger groups looking for great food and drinks at great prices.
The Port House Pintxo in Temple Bar serves an array of authentic Spanish Tapas and Pintxos plus a wide and varied selection of wines from Spain, Portugal and the Basque Region. With an impressive garden terrace overlooking Meeting House Square the soft candle light creates a romantic and relaxed atmosphere. Does not take bookings
www.coppingerrow.com Coppinger Row, named for the lane off South William Street where the restaurant is located is in the heart of the city centre’s shopping district and is known for it’s Mediterranean cuisine, it’s relaxed, funky chic and also it’s cocktails. The menu relies on simple values of quality taste and seasonal change to keep the dishes fresh and appropriate. Between the food and ambience, Coppinger Row is an ideal spot in which to start a night out in the city centre.
Kinara Kitchen, featured in the Michelin Guide 2015, is the award winning Pakistani restaurant serving tantalising traditional food, paired with delicious cocktails and wines. Offering a great value lunch with ethnic naan wraps and thali style meals, Thursday, Friday and Sunday, and open 7-nights for dinner, with early bird available Monday - Thursday for €21.95 per person for 3 courses. Above Kinara Kitchen is Upstairs Bar & Roof Terrace. The award winning vintage-themed ‘secret’ cocktail bar is perfect for brunch or aperitifs in the sun. Call to find out about their cocktails classes and booking highly recommended.
Johnnie Fox’s Pub
Glencullen, Co Dublin 01 29555647 firstname.lastname@example.org www.jfp.ie
13 South Great George’s Street, Dublin
One of Ireland’s oldest traditional pubs is just half an hour’s drive outside of Dublin. Located astride a mountain in Glencullen, it’s also the highest pub in Ireland. A great destination for locals and tourists alike, transporting visitors to bygone times with trad music performed every night and during the daytime on weekends. All the produce this green isle is famous for features on the menu: oysters, mussels, crab claws, seafood platters, steak and lamb, as well as vegetarian dishes. The Hooley Show features live music, Irish dancers and a memorable four course meal. Johnnie Fox’s should be on everyone’s bucket list.
Yamamori Izakaya is located in what was originally Ireland’s very first café on South George’s Street. The mix of old Irish architecture, oriental decor and soulful tunes set the scene. Downstairs is the Japanesestyle drinking house, serving small Japanese tapas dishes (‘Japas’), the famous Izakaya cocktails, and plenty of Japanese whiskys, beers and sake. Walls adorned with 1940s beer ads, movie posters and black and white movies provide a visceral back drop to compliment the eclectic mix of tunes from Dublin’s favourite DJs.
mexico to rome 23, East Essex St, Temple Bar, Dublin 2.
The Iveagh Restaurant at Camden Court Hotel
Camden Street, Dublin 2
facebook.com/mexico2rome // @MexicotoRome Across from the Temple Bar Pub, is Mexico to Rome, the Bandito’s Grill House. They serve up wonderful mouth-watering Mexican dishes with a twist with tasty European and Italian dishes available. On the menu are sizzling fajitas, burritos, tacos, chilli con carne, steak, fish, pasta dishes and their famous Tex-Mex baby back ribs with Southern Comfort BBQ sauce. The extensive menu suits big and small groups. All cocktails are €5 and there is a great Early Bird (starter and main for €13.50) and a Lunch Special (starter, main and a glass of wine for €9.95). Well worth a visit!
27 South Richmond Street, Dublin 2
Twitter: @camdencourt Tucked away inside the Camden Court Hotel, The Iveagh Restaurant serves creative, modern and delicious Irish food in a relaxed ambience. All produce is locally sourced and it offers an extensive menu of Irish and European dishes served with a flair. Try the inventive take of the Classic Crab and Shrimp cocktail starter, served upside down. Pair it with a glass of wine from their extensive and carefully selected wine list. Open 7 days a week.
Kokoro Sushi Bento
The Gibson Hotel, Point Village, Dublin 1
46 Clanbrassil Street Upper, D8 / t: 01-4738252
19 Lower Liffey Street, D1, 01-8728787
Brown Thomas, Clarendon Street, Dublin 2 // 01
01 681 5000
1 Upper Kilmacud Road, Dundrum / t: 01 2988965
51 South William Street, D2, 01-5470658
konkan.ie // email@example.com
Unit N, Liffey Trust Centre, D1, 01-5474390
Level 1, Dundrum Town Centre, Dublin 16 // 01
FB: @Kokoro Sushi Bento
Kokoro Sushi Bento takes pride in preparing not only the freshest, but most affordable sushi Dublin has to offer, freshly-made every day. Home to Ireland’s only pick ‘n’ mix sushi bar, at Kokoro you can enjoy delicious Japanese hot food favourites such as Katsu Curry or Yaki Soba. In using premium ingredients, together with highly trained staff, Kokoro has forged a reputation as Dublin’s finest independent sushi restaurant.
YO! Sushi, the cool, iconic Japanese restaurant is based on the innovative concept of a Japanese ‘kaiten’ (conveyer belt) sushi bar. YO! Sushi’s food is fresh, seasonal and prepared daily by trained chefs. You can choose from a tasty variety of over 90 dishes, including sashimi, maki and hand rolls through to hot staples such as Chicken Katsu Curry and Salmon Harumaki.
It’s the final studio album by rock giants, Led Zeppelin and it serves pretty legendary food too! At Coda Eatery the ingredients speak for themselves. Their menu offers a wide range of meats for example; dry aged rump, sirloin, rib eye and flat iron which are cooked over burning lava rock at a high temperature to create a charred and smoked finish. They’ve kept things simple serving these prime cuts with well prepared sauces and seasonal sides.
t: 01 424 4043 vivaespanatapas.com Situated near the canal in Portobello, Viva brings a slice of Spain to Dublin. This Family run restaurant is filled with Latin colour and a vibrant bohemian atmosphere. Serving authentic Spanish tapas from our extensive menu and a delicious selection of Spanish wines, Cava and Cava cocktails, Spanish coffees, a good range of teas and real Spanish hot chocolate. Viva places an emphasis on flavour and wholesome homemade dishes, delicious seafood and paella made to order in a warm, relaxed casual dining space making it the perfect place to share a great meal for any occasion with friends.
Konkan Indian Restaurant is located on 1 Upper Kilmacud Road, Dundrum, just a two minute walk from the Dundrum Luas Station. They have another branch at 46 Clanbrassil Street Upper, near the Harold’s Cross Bridge. The food at Konkan is always fresh with complex authentic and regional flavours. Konkan has garnered rave reviews both for the food and the friendly service and is a firm favourite amongst the locals. Their Early Bird is great value and the Tasting Menu is definitely worth a try. They also offer restaurant quality food for delivery and take-outs at great prices (which can be ordered online at www.konkan.ie).
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GAZ SMYTH AT MICHAEL’S Michael’s, a neighbourhood style Italian restaurant in leafy Mount Merrion, is the latest addition to the Kinara Group, who themselves have three restaurants in Ranelagh, Clontarf and Malahide serving up delicious Pakistani and Eastern cuisine. We caught up with Head Chef at Michael’s, Gaz Smith, to find out more about the new member of the family. How did it all start? What inspired the creation of the restaurant? It’s been here in some form since 1999, when it started off as a small cheese and wine shop, and then it progressed. They started to slice up the Parma ham, and then started to sell soups and wines and salads. And then it just kind of progressed through the years to what it is now. The Kinara Group took over the restaurant eight or nine months ago, and we’ve done some upgrades to the kitchen and we’ve gone more down the restaurant route than the tea shop. We’re still doing about 100 wines in our wine shop. We’re staying true to the Italian feel that the place has had since the first day. It’s been a patient and thought-out process.
Your focus is mainly Italian food, do you find that there is a good demand for that in Ireland? It’s Italian with strong Mediterranean implementation. Everything we serve is made from scratch here. So for example, our ravioli today is lobster and crab, because that’s what we got from the Wicklow fishing boats – there’s no convenience food here. The locals are going crazy for it. I’ve been shocked by how much seafood we sell. We have a great relationship with the local boats, so we’ve been able to get the fish from the sea straight to the restaurant. The restaurant is located in a more suburban part of Dublin, do you still manage to get a good rush? Surprisingly, we’ve had people traveling out here in taxis, so word is definitely spreading! Of course we always have the local customers supporting us as well. Someone walks in to Michaels for the first time, and possibly their only time. What is the one dish they would have to try? It would be our ‘osso bucco’. We get John O’Reilly’s veal shank, he’s a butcher right next door, we slow cook that for six or seven hours, then we serve that with some homemade goat cheese ravioli and fried capers. It is just the type of food I would love to eat myself! The crab claws would be a huge hit in here as well. You yourself have received a lot of praise for your work in the kitchen, how much has your experience in Austria helped develop the menu?
It’s been fantastic. It made me realise how fantastic the produce is here in Ireland. We complain about all the rain, but the end product of that is that we have fantastic beef and fantastic lamb, great dairy products, and it’s all a by-product of the rain. But something that was drummed into me when I was in Austria is how seasonal you have to be. Even the housing estates in Austria would still talk about truffle season and such, the people on the street can tell you exactly which mushroom is in season. It is maybe something that will form a natural progression in Ireland in years to come, because it’s really only the last 15 or 20 years that the food in Ireland has been taken very seriously, but right now it’s better than it’s ever been, and I’m very proud of it. Also, travelling broadens your horizons full stop. It definitely brings a new dimension to and strengthens your cooking. It was fantastic, but after six years, it was time to come home. Any exciting plans for 2016? There will hopefully be a natural transition to Michael’s number two [this year]. The response we’ve had has shown that we have a huge demand for this type of food. As these things happen, we’ll be planning ten things, and nine will fall away. But ideally, we’ll be opening up another restaurant closer to the city centre!
Michael’s, 57 Deerpark Road, Mount Merrion, Co. Dublin
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GASTRO GASTRO words words Aoife McElwain Aoife McElwain photos photos Union 8Mark Duggan
DOWN ON THAT BEHIND THE CORNER CLOSED Union 8 DOOR Locks 1 Windsor Terrace
Though a popular place to live thanks to charming architecture and easy access to The Irish Museum of Modern Art and The Royal Oak pub, the I’m historic suburb hasfriend, who’s late for lunchofatKilmainham Locks with my been mightily the table. restaurant alreadyunderserved been seated by at our ‘Don’t worry,’ she businesstexts. until ‘It’s quite recently. nice to be here, looking out rather than Unionlooking 8, which in.’opened at the beginning of this year,For sitsthose on the between of crossroads you who spent your 20s hangKilmainham’s small in cluster of shopsof and ing around the flat-lands Rathmines and Kilmainham Gaol. surviving It sits on the corner, huge Portobello on chickpea stews and windows(very) wrapping around the entire cheapthemselves red wine, Locks might have a simirestaurant, the diner Edward lar like emotional pullinfor you as Hopper’s it does for me. It was Nighthawks. Instead of the handful sad looka place I longed to have the of money to go to; to sit ing patrons that Hopper painted, Union is in its beautiful front room and be8spoiled. bright and Ten buzzing, energy shining out onto years its later, I’ve gone through a number the streetoflike a beacon, drawing in. Back transformations, as hascustomers this restaurant. This self-titled neighbourhood a new were when I was outside lookingeatery in, itsisowners venture from Dooley Clairerestaurateurs and Richard Paul Douglas, andand had been Padraig McLoughlin, casual fish restaurant since the ’80s.of Sébastien Masi and his partner Catch 22Kirsten on South pastand incarnaBattAnne took Street. over inIn 2010 rebranded tions, theasspace housesIn Union has been Locksthat Brasserie. 2013,8Head ChefaRory social welfare office andsteer a supermarket. When receiving Carville helped the team towards Dooley and McLoughlin a Michelin Star. found it, it was a raw shell. “What really attracted us to it were thesummer of Carville left the restaurant in the windows,2013 but and alsothe theBrasserie fact that lost it’s got theplenty star in 2014. That of pavement space, for future outdoorclosed tables,its ” doors in incarnation of the restaurant explains July Dooley. tickedHiggs, all thewho boxes theat Locks 2015.“ItKeelan hasfor been New York neighbourhood feelasweLocks were1 Windsor since at least 2013, eatery reopened going for.Terrace ” in September 2015, alongside co-Head They worked withO’Dowd. interior designer Jean Chef Conor Feeney at Peacock Interiors get the balance The new Locks is to smart-casual; the charmbetweening adding a warm richness to the maître d’/waiter is decked outharsher, in jeans and a natural surfaces uncovered started work subtly crisp shirt. It’sasa they simple way to quickly set on the restaurant. They looked to Mac’s the tone; this is more oflocally a relaxed neighbourhood Salvage and Granite in Islandbridge bistro than aWarehouse Michelin-starred fine dining experifor key furnishings, wine cages ence. There’sgetting a lot ofbespoke dude bros in this restaurant; made byIBushy in Ballymount. spot atPark leastIronworks one man-bun in the kitchen. The end result is a beautiful, welcoming space that has a genuine sense of identity, one of those rare new restaurants that arrive fully formed and raring to go. The Modern Irish menu is gluten-free, almost by default. Head Chef Kieran Guilmartin isn’t a fan of flour in the kitchen, though he does use it in certain desserts. His menu is clearly designed to suit a range of palates without restricting the kitchen’s ability to show off a bit. It’s a perfect balance for a neighbourhood restaurant, where a kitchen can expect a steady mix of patrons with simple appetites alongside those with more adventurous palates. My main course of Wicklow venison (€21) is the star of the show on my visit, when I caught the tail end of the winter menu. It’s cooked pink, its natural juices packed away in thinly sliced slivers of this most precious meat. Roast potatoes on the side are crispy perfection, and a spiced wine sauce brings a welcome sweetness to the dish, which is balanced with simply dressed kale. The medium rare fillet of beef (€27.50) is on the bloody side of medium rare, so if you’re squeamish you might want to order up. The
The food is a beautiful mix of unfussy and intricate, delivered via a pleasingly precise menu. Three courses are €28, with substantial supplements for the specials. The starter special of plump mackerel (an additional €6) is grilled until blistered and blackened, with charred cucumber, crab meat and blobs of avocado sauce. It’s deliLocks 1 Windsor cate without being up its own arse. From the regTerrace launch ular menu, baby beetroots are served salt-baked their Christmas with their lovely long roots attached, sprinkled lunch menu on with matchsticks of apple and blobs of soft goat Wednesday 2nd cheese. There are micro-greens and circular discs of sauce prettying up the plate. It looks really Union 8December. 740 South Circular beautiful and, even though I’ve eaten a variation Road, Dublin Locks 8 1 Windsor of this dish a million times before, this one tastes 01-6778707 Terrace fresh and perfectly of the season. 1 Windsor Terrace, We can’t resist the chateaubriand sharing www.union8.ie Portobello, board special (€15 extra per person and it’s Dublin 8 worth it). We get plates of slowly braised short 01-4163655 rib and then a board of pink slices of the tenlocksrestaurant.ie derloin fillet (aka the chateaubriand), topped with onion rings and golden, fluffy chips on the
side. It’s truly divine. The meat is so exquisitely accompanying duck chips arethat a little pale all of my seasoned andfatdelicious, it demands and could have done longer in stresses melt attention and with focus.a touch All of the week’s the fryer,away, but they’re deliciously and fluffy. much like the shortfatrib. And isn’t the goal There’s aofpleasantly piquant pepper sauce onsothe all nurturing cooks to make food absorbside. Extra skinny chipsand (€3)comforting on the sidethat have ingly delicious the eater the golden sheen I was looking fortemporarily? in the duck forgets their worries, even fat chips, and perfectly An are apple tart on seasoned. a crispy circle of puff pastry A starter slow-cooked lamb breast is stays true withofsalt caramel and praline ice(€9) cream deeply delicious but itwhile feelsdelivering like an unfinished to its origins a flair of finesse. dish. It’s The simply a hunkinofthe gloriously elements chocolatetender tart with stout lamb onice thecream plate with cauliflower and asome condensed plum purée sauce (adding and a fermented carrot jusmenu) on theare side. another €4 to the tooPerhaps intense on their with theown addition of a few spuds but work really well and as a beautifully mouthful. Our bill, roasted vegetables, this two might makeofmore sense and two which includes bottles still water as a mainmacchiatos, course. Mycomes searedtoscallop starter tip. €104, excluding (€11.50) makes use of onemay of the bestgone black pud- a This restaurant have through dings in lot thebut country, Kanturk, it’s stillMcCarthy’s a beautiful of room over-looking and it’s athe really good version one food of myand service. canal, with really of lovely favouriteItdishes. doesn’t appear that this team is chasing a Desserts cause astar. complete halt toit’s conversaMichelin Nonetheless, certainly still a tion at our dinner treat to eattable, there.as we watch the melted chocolate centre ooze out from the light chocolate fondant (€7). A quince crumble tart (€6.50) is a welcome deviation from the regular apple and blackberry. It’s a great use of this seasonal fruit, and the crumble and its pastry casing are excellent. The staff ’s attitude is pitched perfectly; they’re really friendly but also knowledgeable about the menu. “Good service, good food, good place,” lists Dooley, when I speak to him after my visit. “These are the three legs of the stool of hospitality. That’s what we focus on whether it’s casual fish in town or a modern Irish offering.” Our bill, which included a large sparkling water (€3.50) and two glasses of Pinot Noir (€15.50) came to €85.50 It’s striking how much Union 8 has transformed the feel of this junction, which has long been busy with traffic passing through but has, to an outsider at least, lacked a sense of place. “People were saying we were brave to set up here but, to us, it feels like a calculated risk. We were confident there was a demand here for a restaurant like Union 8,” explains Dooley. “We’re hoping that the people of the neighbourhood will claim Union 8 as their own.”
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THAT A BEHIND NEW DAWN CLOSED Richmond DOOR Locks 1 Windsor Terrace
Do you remember the steak and eggs at The Gigs Place? You probably don’t because, even if you did eat at this legendary late night “restauformost lunch at Locks with my friend, rant”, I’m youlate were likely so uproariously soz- who’s already been seated at aour table.memory. ‘Don’t worry,’ she zled that being there is but wobbly texts.of‘It’s nice to be here, looking rather The draw The Gigs Place was not theout food or than looking in. the ambience; it’was its late-night/early-mornFor those of youonly whocatch spentwas your 20syou hanging booze licence. The that around the flat-lands of itRathmines had toing order foodin(and believe me, was ter- and chickpea and rible) Portobello to get yoursurviving drunken on mitts on thatstews sweet, sweet (very) dangercheap juice.red wine, Locks might have a similar emotional you as it does for me. It was Hopefully, ownerpull andfor manager Russell Wilde a place I longed have thedon’t money go to; to sit and Head Chef DavidtoO’Byrne get to frusits beautiful room and Gigs be spoiled. tratedin with the namefront checks to The Place years later, I’ve gone through a number because Ten Richmond couldn’t be more different, of transformations, as has this restaurant. Back with only the red banquettes nodding back to its when I was outside looking in, its owners were previous existence. Claire and Richard Douglas, andHerbstreet had been Wilde, who ran The Butcher Grill, since the ’80s. Sébastien Masi hisapartner and, before that, Café Bar Deli, has and made feaBatt took overwindow in 2010(which and rebranded ture ofKirsten the beautiful front was Locks Brasserie. In 2013, ChefGigs Rory alwaysassuspiciously covered up soHead that The helped steer the team Place Carville looked permanently shut) andtowards kept thereceiving Michelin décor asimple andStar. tasteful. It must have been a Carville thespace restaurant in the long road makingleft this suitable for asummer more of and the Brasserie the star in 2014. That sober 2013 clientele. “God, where lost to start?” exhales of thethan restaurant closed its doors in Wilde,incarnation “I’d need more a couple of sen2015.scratch Keelanthe Higgs, whoofhas at Locks tencesJuly to even surface thebeen story since atthe least 2013, reopened as Locks 1 Windsor of obtaining lease and the eventual transTerrace in September alongside co-Head formation. ” The end result, 2015, however, is quite Chef Conor O’Dowd. remarkable. Theformerly new Locks is smart-casual; O’Byrne, a chef at Mulberrythe charming and maître d’/waiter decked in brings jeans and a Gardens Head Chef atis Le Mèreout Zou, subtly shirt. It’s a simpletoway to quickly a delicate yetcrisp accessible approach dining, his set tone; collection this is more a relaxed neighbourhood menuthe a clever ofof classics elevated by bistro than a Michelin-starred fine dining contemporary influences. His croquettes are experience.shredded There’s aoxtail lot ofcoated dude bros this restaurant; delicious in ain crispy I spot atwith leasta one in the shell, served slawman-bun of kohlrabi andkitchen. a dip
The foodwith is a horseradish beautiful mixmayo of unfussy and of parsley sauce (€8.50). intricate, delivered via a pleasingly The presentation of the seared scallops isprecise entic-menu. Three courses areplate €28,ofwith supingly elegant, a pretty redsubstantial chicory and the specials. The special of plumpplements scallops for arranged around thestarter strip of plump mackerel (an additional €6) issteals grilled until maple-glazed belly of sucking pig, which blistered blackened, with its charred the show from and those scallops with juicy cucumber, tencrab meat and blobs of avocado sauce. It’s deli- Richmond derness. Locks 1 Windsor without 8oz being up its(€16) own arse. From the reg-43 Richmond Street Thecate Richmond Burger is a tribaby beetroots are served salt-baked South,Terrace Dublinlaunch 2 umph.ular Themenu, burger is cooked medium to order, their Christmas their lovely roots attached, sprinkled 01-4788783 meltedwith Monterey Jack long cheese bringing a wellunch menu on of apple and blobs of soft goat richmondrestaurant.ie come with layermatchsticks of extra naughtiness. A paprika Wednesday 2nd cheese. fries There areexcellent micro-greens and circular discs aioli, skinny and homemade December. of sauce prettying up side. the plate. It looks really ketchup are served on the beautiful and, of even though I’ve eaten a variation A roasted breast duck with parmesan Locks 1 Windsor of this dishbroccoli, a millionbaby times before, thisand one tastes polenta, purple beets, carrot Terrace and(€26) perfectly of the season. orangefresh puree not only looks exquisite, but 1 Windsor Terrace, Weon can’t sharing everything thisresist platethe of chateaubriand aesthetically pleasing Portobello, special (€15 extra per superb person and it’s pinks,board purples and oranges tastes as well. Dublin 8 worthare it). aWe get platessticky of slowly short Desserts dazzlingly datebraised pudding 01-4163655 ribwith andathen boardsauce of pink slices of the (€7.50) richatoffee that makes for tenlocksrestaurant.ie filletwith (aka chunks the chateaubriand), topped a greatderloin bedfellow of salted roasted withThe onion rings andice golden, chips peanuts. gingerbread creamfluffy could haveon the
side. aIt’sbittruly divine. The is so exquisitely done with more ginger butmeat its creamy texseasoned andadelicious, that it demands all of my ture makes up for lack of spice. attention focus. of thewonder. week’s stresses A lemon tartand (€7.50) is All a zingy The melt much like short rib. isn’t the goal pastryaway, is biscuit-y andthe crisp, and theAnd pistachio of allcomplements nurturing cooks make food so absorbice-cream theto tart brilliantly. and comforting that of thespareater Ouringly totaldelicious bill, including a large bottle forgetsand their worries, even temporarily? kling water glass of Tempranillo (€6), comes An apple a crispy circle of puff pastry to €71, great valuetart foron such graceful cooking. salt caramel ice cream There’swith a set price menuand of praline two courses for stays true its origins while finesse. €21.50toand three for €25,delivering with onlyaaflair few of dishes The elements chocolate stout missing from the Àin Lathe Carte menu,tart suchwith as the ice cream and a condensed plum sauce (adding duck and the scallops. another are €4 to the menu) Richmond doing brunchare as too wellintense as din-on their own but work really a mouthful. ner, and they’ve made use well of a as room upstairs Our bill, which includes two bottles of stillStreet. water and two that looks out onto South Richmond macchiatos, comes to rump €104, excluding tip. No doubt their chargrilled tail steak with restaurant maypricey have gone through béarnaiseThis (one of the more brunch dishesa lot but it’s rest still hover a beautiful room over-looking at €16.50 – the around €10) will oblitthe canal, with lovelyserved food and service. erate any memory ofreally the steaks in this It doesn’t that this team chasing building in the appear past. Some things areisbetter offa left inMichelin the past. star. Nonetheless, it’s certainly still a treat to eat there.
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1. To Dinner Read Wednesdays at The Fumbally Wholesome.ie The folksgood at theon Fumbally Making that NewrecentYear ly realised a long held ambition resolution to eat more healthily with launch of Wednesday whilethe nurturing your inner tightnight wad isdinners, always asomething challenge,they’ve parwanted since one first opening ticularly to in do January, of the their Dublin 8 eatery. mostpopular frugal times of the year. Guest-chef Colley of Fortunately,Harry Dubliner Catriona Dublin Pophas Uprummaged has pared the Redmond down mid-week righttoback, the back ofoffering the couch put serving delicious, togetherupa ablog packedsimple full meal where thefor only decision of great ideas eating well to be made whether to opt while savingismoney. There’s for meat ornewsletter vegetarianwith vari-a alsothe a regular ation. A decidedly relaxed affair, roundup of the best supermardinner is served from on ket deals on offer, just7pm the ticket Wednesday with last orders to help stretch those meagreat 9.30pm. shekels as far as pay day. For more Check outsee Catriona’s blog at thefumbally.ie/wednesdays www.wholesome.ie
2. To Grow Trend Airfield Garden Basics BrazilianBack Food Gardening Those who Course know about these The Grow Own movement things tell Your us that Brazil will has really come its own be very much ininto vogue this in theand pastit’s few years and this year, not all about the month Dundrum’s Airfield Estate Olympics either. From a food hosts new courseitaimed trend aperspective seemsat that those interested in makinga the the world has developed most of their back Week new found love of garden. home made by week under the expert tuteBrazilian stews and lip-smacking lage of foodtailor-made grower Kitty marinades forScully, sumornamental gardener mer barbeques. Here,Colm Dublin O’Driscoll and farmer Eamon trendsetters Bodytonic are Younge, participants will learn well ahead of the game, with how to grow flowers, the menus attheir MVPown Clanbrassil fruits, chickens. The ten Streetveg andand Wigwam, their newly week course begins on Street Monday opened Middle Abbey 7th March and costs €220 (or venture, already benefiting €200 for members). from the culinary influence of Further can be found at Braziliandetails chef Pedro Feraz. airfield.ie Try the steak with traditional farofa. www.wigwamdublin.com
3. To Imbibe Taste Irish Beer and Whiskey Temple Bar Taste Trail Festival Now in itsinfifth year the everRunning conjunction with popular IrishTrad BeerFest andatWhiskey Temple Bar the Festival returns to its end of the month theindoor Temple base at the RDS this month Bar Taste Trail shines a spotwith vast ofrich carefully light aon thearray area’s culinary selected beers,specialciders and diversity. craft Including whiskeys offer. In addition ity cuisineon from such far flung to sampling fantastic liquid places as some Kathmandu, India and refreshment, festival-goers can Indonesia, the Trail also features also partake hearty a wide rangeofofsuch Italian fare fare and as gourmet from Pieman, local brews.pies Tickets costing €22 spicy cuisine from the Kerala per book of ten are available Kitchen JaneBox Russell’s from theand Festival Officeartiand san sausages.restaurants. participating Running overBar four days from The Temple Taste Trail takes Wednesday 16th12pm to Saturday place daily from to 5pm, March 19th, for more see 31st Wednesday 27th to Sunday irishbeerandwhiskeyfestival.com January. For more keep an eye out for Taste Trail signs or visit www.templebartrad.ie
4. To Howth Diet-Bust Dublin Prawn Festival AungierBay Danger The fishing village of Howth For years the humble little donut links in with the St Patrick’s kiosk in O’Connell Street was Day’s Festival this yearfor to those play the go-to destination host to the Dublin Bay Prawn seeking a bit of stickiness north Festival. Highlights include a of the Liffey. It still plies a steady multicultural of music trade as The evening Rolling Donut, but and dance, cooking in recent months thedemonstrabuzz has tions streetthe entertainment, beenand all about arrival of a while festival menus stylishspecial new emporium on the have been devised atneon par- light Southside. The fancy ticipating gives it torestaurants us straight:including Aungier Aqua, O’Connell’s, King Sitric Danger. The reaction from the and Brass Monkey. Events city’sthe donut loving community get ‘Mystery has underway been bothwith swiftaand pithy. Dine Around’ on Friday 18th, ‘Amazing’. ‘Unreal’. ‘Ah Jaysus!’ followed by a salubrious post‘I ate everything’. Praise indeed. prandial the your Festival Club. The But will itatbust diet? festival runs from Fridaytil18th Open Mon-Fri 7.30am eve-to Sunday 20th March. rything’s sold out. 37 Aungier For more see 2 Street Dublin dublinbayprawnfestival.ie
5. To Amuse Learn Sanuki Dublin Wagyu Cookery School French Asian fusion is the order New Year, new career? Those of the day at Amuse on Dawson keen to earn a crust in the world Street Sanuki Wagyu, of foodwhere may be interested in achecking unique olive-fed beef month from out the three Japan, a recent to cookeryiscourse ataddition the Dublin the menu.School. We’re told that the Cookery The prouse of olives results in a opportusurprisgramme offers an ideal ingly meat a buttery nity tosweet re-train in awith short period texture delicacy of time and and this features suchiswell fast becoming a firmasfavourite known guest tutors Paul Flynn at Dempsey’s Dawson of Conor The Tannery Dungarvan, Street establishment. Available Ananda’s Sunil Ghai and Aoife at a supplement of €35 samples Noonan from Restaurant Patrick of the restaurant’s signature Guilbaud. Lynda Booth’s award lunch, dinner and Paris to Tokyo. winning school also offers a Tasting canand be one viewed range ofmenus evening dayat www.amuse.ie cookery classes throughout the year. Check out dublincookeryschool.ie
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No. 17 Ranelagh Village, Dublin 6 T: 01 406 0066 @upstairsKK Email: firstname.lastname@example.org www.kinarakitchen.ie
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Welcome to Zaragoza, where youâ€™ll find deliciously fresh Mediterranean tapas served with the warmest Irish welcome. A contemporary fusion of modern, authentic cuisine presented in a convivial atmosphere, Zaragoza is not just a place, itâ€™s a destination.
South William Street, Dublin 2 Ph: 01 6794020 Opening hours: Monday - Sunday - 12noon - Midnight (last orders 11pm)
SOUNDBITE words words Martina Murray Murray Martina photos image Ove Grunnér Love Supreme
In the midst of a revival of interest in Irish whiskey A Glass Apart celebrates the culinary nature of the pure drop. We talked ancient grains with author Fionnán O’Connor. How did you become interested in whiskey? The early history of Irish whiskey is in part the story of grain that was grown to be bread but mischievously turned into hooch on the side. I became immersed in the subject when I was studying in San Francisco. I got a job with Diageo as a brand ambassador for the Bushmills Single Malt line and started teaching whiskey classes at Bourbon and Branch, an old established cocktail bar in San Francisco. This gave me a wide exposure to a lot of whiskey I couldn’t afford on a student budget. I also persuaded the UC Berkeley Celtic Languages Department to allow me to teach a class on the history of whiskey. My background was in medieval literature and I was used to looking at historical sources so it was great to be able to pull that into a love of whiskey.
WHO MAKES ALL THE PIES?
What’s so special about Irish pot still whiskey? In the late 1800s Irish pot still whiskey was regarded as the premier whiskey on the planet, the favourite drink of London aristocrats and New York property tycoons alike. It’s the one style of whiskey that’s not made anywhere else in the world. The combination of raw barley and the pot still process produces a very rich, oily spirit and the alcohol comes overloaded with other flavour compounds such as fruity esters and spicy aldehydes. A mixtureaoflong maltstint andina Australia, small amount of young, Following Dublin man un-malted ‘green’ barley is thrown thehome malt Ken Flood returned to these shores in to with set up to create that’s denser, creamier and and build aa rich newtexture business centred around specialty more viscous than otherhomemade whiskeys. The coffee and flavoursome, piesraw andbarley saualso rolls giveswith it a kind bristly spiciness thatWe liestalked sage wife of Katie in Stoneybatter. somewhere the taste of ginger and fern to Ken aboutbetween the evolution of Love Supreme, the Christmas tree. flavours At its height were 25 mouthwatering they there use and theabout unique distilleries making it across Ireland, but due to a charm of doing business in Stoneybatter. number of historical factors the industry was decimated. that survived didtoso by Ken, tellThose us a distilleries little about your career making significantly lighter ‘blended’ whiskeys date and what prompted you to start Lovethat could be made at 20 times the speed, so a lot of the Supreme. old oily pot still disappeared. It came Well, myself and whiskeys my wife Katie have always beenvery close extinction as a style, but for long time its in the to hospitality industry in one wayaor another, big mouth texture and spiciness were conworking in filling bars and restaurants and in various sidered the calling cardsand of fine Irish distilling. areas within promotion in management. We had a cocktail bar/night-club in Sydney in Australia What ledyears youbefore to write A Glass Apart? for seven arriving home to Dublin, Now that picking again as which wasIrish a bit distilling wild. We is felt that weupwere getting business, wanted ensure that its aa bit long inIthe toothtofor the crazy lateunique nights, fun culinary heritage was similarly as they were, and thought that arevived. day job Whiskey would be essentially I was aisnice change.liquor We’vemade alwaysfrom hadgrain a big and interest in interested in the historyusoftothe liquid, aitscafé. flavours coffee and this brought opening Then andopportunity how they evolved depending on the different an arose for us to go and do our own ‘mashsobills’ or grain recipesupon that it were used. The thing we kind of leaped really. main Irish pot still mash bill was a mix of malt and raw More raw gives –more How didbarley. you decide onbarley the name are spice you a and fan texture, morechance? malt means more depth and jazz by any sweetness, and there were also other Irish mashes Yep, a Coltrane fan for sure! But we genuinely involving oats or for wheat orwe portions of rye that simhave a huge love what do everyday in here ply don’t exist any Ireland littered with the and it’s a great buzzmore. sharing that is with people. ruins of oldthe single potto still withthat their We wanted brand bedistilleries, a flexible one we abandoned and in few cases,tothe stills could take inchimneys any number of adirections keep just sittingentertained. there. So I was going out to these ourselves So far it includes Loveplaces going through excise Supreme Coffeethe which is records roasted trying for us to bypreserve Ferg
CLASS IN A GLASS Fionnán O’Connor
Ken Flood at Love Supreme
Brown of Roasted Brown Coffee, and some bakery the flavours all baked these dead products thatofare each whiskeys morning by in recording our little as muchinofthe theback mash as I coulda find. bakery of bill the history shop including collecA lotofofseven people in the Irish Whiskey came tion Love Supreme Sausage Society Rolls, four forward with old and now there are tasting Love Supreme Piessamples and a load of Love Supreme notes and for pretty cakes treats.much all the surviving examples and any of the dead ones that I could get my hands on. The book really a love lettervery to the style, Sausage rollsisand pies sound ‘oldshowing what the whole reservoir of forgotten flavours school’, makes the ones you’re doing that we can draw on in Irish distilling today. different? In Australia pies and sausage rolls work really What would tohere. somebody well, soadvice we thought we’dyou giveoffer it a go They’re coming to thison-site style and of whiskey the first all home-made we go tofor great lengths time? to make them really interesting and to source our Singlefrom pot happy still whiskey is absolutely meat animals. Katie is theloaded masterwith chef flavours and for it wants to physically remember and we cater both you vegetarians and meat-eaters. thatdo you have bacon something in yourpie mouth. does We a beef, and porter made Itwith demand a little fromand you, butmade a well-with great quality beefsomething from Kildare a pie made pot still will reward forand your timewhich and Blackstairs Mountain lamb,you wine mace The bigfor difference IrishWe potalso still isenergy. then braised seven orbetween eight hours. and other is with its thick, almost have a fourwhiskeys cheese pie plumoily andtexture, apple chutlike on a thick, winter soup, so whatofI’dchoice say is ney at thecreamy moment and there’s plenty take feel too. that texture, small bit lamb, more in ourenough sausagetorolls We haveaone with than a sip, lemon but don’t it. Give it time cranberry, andgulp sriracha which is a and kindlook of that feel chilli in thesauce, mouth, in the whisafor Malaysian as that well bigness as a more Irishkey. A neat little trickwith is topork, breathe while honey you’re sounding one, made cabbage, drinking it, keeping your mouth slightly open, and and a little bit of mustard. Our vegetarian versions that willone pump oxygen through to bring out more include made with spiced bean, coconut and of theand rawanother barley spice. chilli with spinach, ricotta, pomegranate molasses and walnuts. The pork with cabbage, Do you a personal favourite? honey andhave mustard is definitely the biggest seller, My we ‘go-to’ pub whiskey if I’m out isofPowers John’s but get through a huge amount the vegetarLane. a commemoration of delighted what usedtotosee be ian onesIt’stoo. I think people are considered thecan Dublin of Irish still, a very food that they enjoystyle in the shapepot of something earthy, tobaccoey, leathery style of heavy whiskey. they couldn’t previously.
A Glass Apart: Irish Single Pot Still Whiskey by Fionnán O’Connor, published by Images Publishing is available from all Agood Lovebookstores Supreme as Manor well as Street, from the 57 Celtic Whiskey Shop, Stoneybatter, Mitchell7 & Sons and Dublin behind the bar in 01 5496489 places such as the lovesupreme.ie Palace Bar, L Mulligan Grocer and the Dingle Whiskey Bar.
What have been the main challenges and successes for Love Supreme? How easy did you find it to get the business off the ground? We’ve been open for a year and a half now and while it’s been tough, it’s also been a lot of fun. We’ve met so many great people – one of the best parts of running a café – and learnt a hell of a lot. We wanted to remain very quality-focused and brand orientated throughout and this presented difficulties at times. “€2.90 for a latte? Ye should be wearing a balaclava to work!” or “Sausage rolls and pies? Do you not do sandwiches?” Sticking with it has given us a great regular crowd though, thankfully, and things are going well. From day one people were interested and keen, so we’re fairly busy It’s exactly what and old Irish whiskey ought to taste during the week massively so on the weekend. like,seem delicious and very If price isn’t an We to have a bit of affordable. a destination type vibe, issuepeople I’d saydriving Green Spot Old Caskthat Strength. with to us12 onYear the weekend Instead of playing into theoradvertising slogans either used to live around they’ve read about of us, Irish whiskey which is great. being soft and accessible, it focused on what made Irish pot still different. It’s very electric, and resinousthe andshout-out it’s becometoa cult You mustspicy have enjoyed item amongst lovers. Unfortunately there Love Supremewhiskey recently when local resident weren’t thatcited many itmade, it’s go-to something outrageous Rob Doyle as ‘the place for like €850 a bottlenouveau now, andcoffee every time someone in Stoneybatter’s aristocracy’ drinks a bottle there’s one less in the world. All we the Guardian? canYes, hope is, was withvery the emerging Ha! that flattering, renaissance, and a great whiskeys like that become theI expectation than article – fair play to him. feel it might rather be a littheearly exception once again.Stoneybatter alongside tle to be positioning Williamsburg and some of the places mentioned in the article, but for whatever reason it certainly seems to be moving in that direction. Bottom line, it’s a great place to live with a lovely mix of people, a massive park to walk my dogs and it’s only a stroll to the centre of town. What else do you have planned for the rest of the year? First thing in the pipeline is to move towards wholesaling our beloved sausage rolls, pies and cakes to some phenomenal and amazing cafés around town. We’ve had a good few enquiries about this which is exciting, so watch this space! Secondly we’re looking at opening another shop at some point. Lastly we want to get much more involved in the sourcing and the roasting of our coffee this year. We’re planning to learn as much as we possibly can with a view to wholesaling that at some point too.
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THE GRIND ROASTED BROWN
gourmet - coffee -
••••••• Basehas haswon wonover overthe thecoffee coffeelovers loversof ofBallsbridge. Ballsbridge. Base Withtheir theirHouse HouseBlend Blendand androtational rotationalSingle SingleOrigin, Origin, With there’salways alwayssomething somethingnew newto totry tryhere. here.They Theyuse usethe the there’s verybest bestcoffee coffeesourced sourcedinternationally internationallyfrom fromDublin Dublin very roasters3fe. 3fe. You Youcan canalso alsograb grabaaBase Basesignature signaturewood wood roasters firedsandwich sandwichor orsalad salador orcake cakefrom fromDublin Dublinmicro micro fired bakery, Wildflour Wildflourto tomake makeititthe theperfect perfectworking workinglunch lunch bakery, hour. hour.
ROASTED BROWN gourmet coffee
Headbarista barista--Kieran KieranO’Driscoll O’Driscoll Head 18Merrion MerrionRoad, Road,Ballsbridge Ballsbridge 18 01440 4405100 5100 t:t:01 logotypes @basewfp @basewfp
ROASTED BROWN Science Gallery Café
GourmetCoffee Coffee Gourmet
FilterCoffee Coffee Filter
• • • • Tea Tea
• • Dinner Dinner
OutdoorArea Area Outdoor
Wheelchairaccess access Wheelchair
Setin inthe thesuper-cool super-coolsurroundings surroundingsof ofScience ScienceGallery, Gallery, Set ScienceGallery GalleryCafé Caféisisone oneof ofthe thecity’s city’smost mostinterestinterestScience ingmeeting meetingplaces. places.This Thisbright, bright,contemporary contemporaryspace space ing hometo toan anenthusiastic enthusiasticteam teamserving servingup upfresh freshfood food isishome andgreat greatcoffee. coffee.In Infact, fact,café caféowner ownerPeter Peterisisso sopaspasand sionateabout aboutcoffee coffeethat thathe hedecided decidedto toroast roasthis hisown, own, sionate andScience ScienceGallery Gallerybecame becamethe thefirst firstplace placein inDublin Dublinto to and servethe theamazing amazingCloud CloudPicker PickerCoffee, Coffee,handroasted handroasted serve herein inDublin Dublin CityCentre. Centre.You Youcan canalso alsochoose choosefrom from here City gourmet coffee greatmenu menuthat thatincludes includeseverything everythingfrom fromPeter’s Peter’s aagreat Mum’sBeef BeefGoulash GoulashStew Stewto tothe thestudent studenttakeaway takeaway Mum’s soup-sambo-fruitcombo combodeals deals(for (foronly only€5!) €5!) soup-sambo-fruit
PearseStreet, Street,Trinity TrinityCollege, College,Dublin Dublin2. 2. Pearse 018964138 8964138 t:t:01 www.sciencegallery.com www.sciencegallery.com
Proper Order Coffee Co. 3FE
Tamp & Stitch
Newisto D7, OrderIrish is owned besties Niall 3FE run byProper three-time Baristaby Champion Colin Wynn, and Dave Regan, set-up tochanging showcase the best of Harmon. They have a constantly seasonal what coffee to offer by putting Irishfor coffee coffee menuhas as well as a Tasting Menu thoseroasters eager alongside some of the best. With the support to learn more about theworld’s offering. The flagship coffee of Laon Marzocco, Square MileStreet and family and friends shop Lower Grand Canal also houses theirthe two boys have and beenthey ablehave to deliver that top quality training centre recently branched outwith into a smile. Lunch and brunch the future, watch wholesale by supplying 3FEcoming beans toinmany fine cafés this space! across the city.
Afteran anera erawhere where“No “Nofood foodor orbeverages” beverages”was wasuniversally universally After displayedin instore storewindows, windows,Tamp Tamp& &Stitch Stitchare aremaking making displayed change.Now Nowyou youcan cansip sipaatasty tastycup cupof ofhand-roasted hand-roasted aachange. coffeebeans beansfrom fromaaselection selectionof ofindependent independentroasters roasters coffee includingHeart Heartfrom fromPortland, Portland,Oregon Oregonor ornibble nibbleon onsweet sweet including homemadetreats treatsall allwhile whilethumbing thumbingthrough throughan aneclectic eclectic homemade selectionof ofvintage vintageand anddesigner designerclothing clothingand andjewellery jewellery selection forboth bothmen menand andwomen. women.Keep Keepan aneye eyeon ontheir theirTwitter Twitter for andFacebook Facebookfor fornew newarrivals. arrivals. and
7 Haymarket, Smithfield, Dublin Proprietor: Colin Harmon & Steve7.Leighton Instagram: 32/34 Lower@proper_order_coffee_co Grand Canal Street, Dublin 2 Twitter: @properorder_ www.3fe.com twitter: @3FE
Unit3,3,Scarlet ScarletRow, Row,Essex EssexSt. St.West, West,Temple TempleBar, Bar,Dublin Dublin22 Unit fb.com/TampandStitch fb.com/TampandStitch firstname.lastname@example.org email@example.com 01-5154705 01-5154705
Sasha House Petite
Blas Cafe Dublin Barista School
Talkabout aboutnot noteven evenknowing knowingwhat whatyou youwere weremissing missinguntil untilitit Talk rightin infront frontof ofyou! you!The Thelatest latestaddition additionto tothe theDublin Dublincafe cafe isisright sceneisisthe thewonderful wonderfuland andquirky quirkySasha SashaHouse HousePetite Petite––aa scene micro-roastery,French/Slavic French/Slavicpastry pastrybar barthat thatwill willentice entice micro-roastery, eventhe themost mostdiligent diligentof ofdieters dieterswith withthe themouth-watering mouth-watering even “signaturedesserts” desserts”and andbreakfast breakfastmenus. menus.Sasha SashaHouse House “signature Petite’sspecialties specialties––from fromthe theSacher SacherTorte Torteto tothe thePork PorkBelly Belly Petite’s Bread––are aredelightfully delightfullyrefined refinedand andfresh; fresh;and andififyou’d you’drather rather Bread gofor forsome somespecialty specialtycoffee, coffee,you’ll you’llbe beable ableto tochoose choosefrom from go selectionof ofseveral severalaromas aromasand andtastes, tastes,carefully carefullypicked picked aaselection andmicro-roasted micro-roastedin inhouse. house. and DruryStreet StreetCar CarPark, Park,Drury DruryStreet, Street,Dublin Dublin22 Drury www.shpetite.ie www.shpetite.ie (01)672 6729570 9570 t:t:(01) @SashaHouseDub @SashaHouseDub
the Chocolate in theThe north inner Barista city, IfBased you’reinlooking for moreFactory from coffee, Dublin Blas Cafe is the work Hassan Lemtouni, Eoin offering Williams School is the place. Aof dedicated training centre, and Tuathal McLenaghan. Taking upormuch of the ground two-hour lessons in espresso basics an intensive threefloorcourse of theto creative hubQualified on Kings Barista Inns Street andDublin boasting day earn their Award. large windows, spacious room getsup bathed in sunlight Barista School isthe also the place to pick any coffee throughout the day making a good toit,stop in ita or do accoutrements, whether youitwant tospot weigh grind someit.work or unwind, while boastingand coffee pour As well as offering thealso knowledge the beans gear, fromserve Roasted Brown, teavalue leaves from Wall & Keogh they up incredible take-out coffee whichand they one of the most delicious lunch menus in the city with roast themselves (everything is €2), or even a filter coffee Hassan’s Moroccan influences shining which they source their beans from Thethrough. Barn, a Berlinbased roastery. Open Mon-Sun 9am-4pm 26 Kings Inns Street, Dublin 1 t: 01-8736022 19a South Anne Street, Dublin 2. t:www.blascafe.ie 01-6778756 @blascafe w: dublinbaristaschool.ie @dubbaristasch
Grove Road Café
It’s hard to believe that it’s nearly to two years now since Grove Road is the latest addition the flourishing Grove Road first café opened its doors the fine folk Dublin speciality scene and is to apparently the of new Dublin, there’s no doubt that this café is now firm place to but be seen in Dublin 6! It boasts a bright andainvitfixture in its D6a neighbourhood. It boasts ainterior, bright and ing space with rugged yet contemporary and inviting space with a rugged, interior and sweeping panoramic views ofcontemporary the canal. At Grove Road sweeping panoramic the canal. Grove Road they are very proud ofviews manyofthings: theirAt consistently they are verywhich proudisof many things: their consistently great coffee supplied by Roasted Brown in great coffee which is supplied by Roasted Brown andto Temple Bar and their fresh delicious food and treats delicious freshly made name butfood, a couple. It has alsojuices beenand saidhomemade that they have treats to namestaff but the a few. It has to also been said that they the friendliest city offer! have the7.30am-6pm. friendliest staff the city to offer! Make sure Mon-Fri Brunch Sathas 9am-4pm. to get in early for their super Brunch at the weekends. 7.30am-6pm; 1Mon-Fri Lower Rathmines Road,Brunch Dublin from 6 9am Sat & 10am Sun. www.groveroadcafe.ie t: (01) 5446639 1 Lower Rathmines Road, Dublin 6 @GroveRoadCafe t: 01-5446639 www.groveroadcafe.ie / @groveroadcafe.ie
RoastedBrown Brownhas haslong longestablished establisheditself itselfas asone oneof ofDublin’s Dublin’s Roasted topcoffee coffeespots spotsand andone oneof ofthe thecity’s city’snicest nicesthangouts. hangouts. top BaristasFerg FergBrown Brownand andRob RobLewis Lewisserve servebeautiful beautifulcoffee coffee Baristas usingaavariety varietyof ofbeans beansand andbrew brewmethods, methods,while whileRoasted Roasted using Brown’sown ownroastery roasterynow nowsupplies suppliesbeans beansto toaaselection selection Brown’s ofthe thecity’s city’smost mostdiscerning discerningcafés. cafés.But Butititdoesn’t doesn’tstop stopat at of coffee:all allof ofRoasted RoastedBrown’s Brown’sfood foodisisprepared preparedon onsite, site,with with coffee: gourmetsandwiches, sandwiches,organic organicsoups soupsand anddelicious delicioussweet sweet gourmet treats,and andbrunch brunchat atthe theweekends. weekends.Roasted RoastedBrown Brownhave have treats, nowset setup upshop shopupstairs upstairsin inthe theProject ProjectArts ArtsCentre. Centre.Drop Dropin in now andcheck checkout outtheir theirnew newspace. space. and
Proprietor/HeadBarista: Barista:Ferg FergBrown Brown Proprietor/Head 39Essex EssexStreet StreetEast, East,Temple TempleBar, Bar,D2 D2 39 @RoastedBrown @RoastedBrown
DIALLED IN GER O’DONAGHUE DIALLED IN AT FIRST DRAFT PAUL STACK COFFEE OF S.C.A.E. With an event called World of Coffee landing June, With the WorldinofDublin Coffeeinevent just over Totally Dublin decided was time we the horizon, and all theitchatter about brushed up its on coffee our coffee knowledge. Dublin and scene, TD caught First stop: First Drafta Coffee. Comup with Paul Stack, man who is widely pany founder Ger the O’Donoghue tells respected among coffee fraternity, us a bitand about the project, COO supplier of waterwhere boilerDubtechlin’s at in of coffee,Marco, and about nology viaterms the company and the the row over a ropey espresso which current president of Speciality Coffee inspired him to start the business. Association of Europe (SCAE). In the build-up to World of Coffee Dublin, did First, tell us briefly First Draft and what the SCAE feel like itabout had to bring in initiatives you are trying to up achieve there. to bring the city to speed in terms of its Icoffee? set up First Coffee to help baristas Is it Draft like the football World Cup,first say,of all, and the restaurant baristashas in particular. Across to where host country to invest largely the board, in restaurants is shameful! bring it upcoffee to a world standard? After so long behind the counter [at 3fe, I certainly want the local coffee scene toThe be well Fumbally, etc],and I realised was done with represented to be aIpositive face of the the bar, city, but wanted to any learn andto teach. became but still we didn’t feel need bringI standards an AST (Authorised Trainer) for the Speciality forward. Rather, we felt an opportunity to Coffee Association, so I could deliver upon the Coffee celebrate what we have and improve what Diploma System. Then the idea ‘thing’ for FirsttoDraft we do. We wanted one as significant hang Coffee larger, I hadThe thatWorld desireoftoCoffee have our hatbecame on, which became somewhere where we could learn and grow as a Ambassador’s Club. community, and luckily the partnership with The Stables at the Fumbally came along enabling us Tell us about that. to doWorld that. That gave us the opportunity The of Coffee Ambassador’s Clubtois put a on our tasting events,over screenings andwith debates. programme initiated a year ago one
clear goal: visitors would recognise Dublin as You offercoffee a Coffee Diploma, howthe does thatof a quality destination once World work and who take the course? Coffee rolls outcan of Dublin in June 2016 and onto The Coffee2017. Diploma System is the only stanBudapest dardised coffee qualification available, andappliI truly Ambassador Club members submitted believe the standardisation of education in this cationsin online and, once approved, members had field. There’s an awful lot of poor information and to attend compulsory off-site training days and unqualified outtothere, basically spreading subject theirtrainers premises third-party independent myths truth, and this diploma a way to get audits,as whereby Speciality CoffeeisStandards everyone on theselection same playing field. The Coffee of both coffee and preparation are Diploma a module and points system. checked.works Failureinto either attend training days or The six modules are: Intro to Coffee, Barista to pass the final audit will result in disqualification Skills, Brewing, Roasting, Sensory Green from the Club. Those who pass alland hurdles will be Coffee. Each at foundation, intermetrumpeted onofathese SCAErun World of Coffee App and diate andPR professional in other rollouts. levels with five, ten and 25 points attached We want visitorsrespectively. to World of Once Coffeeyou’ve Dublin acquired 100 points awarded chosen, your dito know where to goyou’ll to getbe a properly ploma. The idea is professionally that you’re supported on your well prepared and served coffee road to a professional coffee career while gaining and with that embed the Dublin-as-coffee-desat least atheme. foundation level of understanding. tination The Ambassador’s Club started with over 60 premises and is currently down to 35 There’s such magnifying glass onin Dublin members. Thea final audits conclude mid-April. this year onerous with theifWorld of Coffee event and It’s quite you don’t know what you’re within that the Barista Championships. doing. While we World audit over 50 items, a core of 22 have to be 100% correct or you’re disqualified from the club.
The event itself, can you tell us a little about So what value be put training what that willshould look like? Andon is both it generally and having good coffee in youror restaurant or considered an industry event is there an bar or whatever? Should everyone be striving opening for non-professionals to attend? for the beststarts coffee available, or Coffee is it still a The event with a two-day Leaders’ pretty niche thing? Symposium, called Re:co, to be held in the RDS Well, it’s Re:co definitely speed. I think the Library. is forpicking seriousupcoffee professionals knowledge that bettercurrent coffee with makes everyone who want to remain global coffee happy atand this22nd. point! With trends.isItfairly runswidespread on June 21st World of Coffee Dubliniswe really want Then the SCAE coming World oftoCoffee a three-day to show-off by coffee around the runs celebration of improving the very best in coffee. That city with the23rd to Ambassadors Program [a Speciality from June June 25th inclusive. We welCoffee initiativeand for Dublin in the come Association both professionals non-professionals. build-up World of and I at think it’s World oftoCoffee is aCoffee trade2016] exhibition its core been a huge so success far. than In terms training, but houses muchso more that.ofThere are I world alwaysfinals makeofthe comparison of kitchens coffee competitions. Thereand are free coffee stations - you’re probably not going toyou hire information workshops and seminars where acan cheflearn because can make potcoffee noodleextraction, and use a abouthecoffee origins, microwave! It’s coffee the lasttastings thing we tasteonasthroughwe leave etc. There are going your restaurant, anddifferent in most cases it’saround undrinkout the event from origins the able. Also, find it really disrespectful world. Andpersonally, the SCAEIVillage showcases the latest to charge someone for something is essenfrom European startups covering which green coffee tially approached as an afterthought. Once, years distributors to speciality coffee roasters to coffee ago, something just snapped inbrew me after machine initiatives. There are barsbeing where charged for an undrinkable espresso, and Europe’s€4 finest roasters showcase their coffee after I asked the barista to remake it three in both espresso and filter brews. We alsotimes host with no improvement, I went behind the on barthe and the Sustainability Forum, with key talks got into a bigenvironmental argument withand thesocial manager. Ridicueconomic, challenges lous. I started First Draft Coffee the next day! All we face with regard to sustainability in coffee. details can be found on worldofcoffee-dublin. How com.do people find out the details regarding the course if they’re keen on it? How much it costs, when it’s on,all etc. And finally, when is said and done, from a All details about our courses are on this our website, legacy perspective, what should city hope www.firstdraftcoffee.com. The prices, dates and to hold on to? times vary,foremost, so check Iithope out up First and thethere. city holds onto World of Coffee 2016 as a great event and a Finally. Any time tricksinof the which trade for the memorable a city loves allnovice things home baristas food and drink!amongst I believe us? World of Coffee Dublin Attention to detail. Find a recipe, buythe a weighing can be a watershed event in raising bar for scales, taste, taste, taste. coffeeand culture citywide. From a legacy perspec-
tive, Dublin should look to be remembered by its visitors as not only a great destination but a great coffee destination.
TOTALLYCAFÉ The Bretzel Bakery
A Dublin institution according to some, The Bretzel Bakery first began baking in Lennox Street in Portobello in 1870. It has recently expanded to include a café, offering not only freshly baked, hand-made bread, buns, cakes and confectionary, but a range of freshly made sandwiches and bagels on its signature loaves, not to mention they’ve a good strong cup of coffee or freshly brewed tea. With warm and inviting decor and friendly staff, the café is well worth a visit to beautiful Portobello – even if it has been a long time coming! Mon-Fri 8am6pm, Sat/Sun 9am-4pm
Located at the back of the Powerscourt Town House, Berlin D2 is a new cafe that is saying a big “Hallo” to Dublin’s city centre since it opened earlier this year. Serving Ariosa coffee, Berlin D2 has a relaxed vibe in the style of the city from which it takes its name. Also on the menu are a selection of sweet treats, and a some accoutrements straight out of the German capital: a DJ booth playing crisp electronica, Sunday markets, morning yoga classes, ping-pong competitions and an fledgling bookshop with art and photography books and magazines. Recently they’ve added a beer license (serving predominantly German beers) with Fischers Helles and Guinness on draft as well as an evening menu with schnitzel, bratwurst and marinated chicken.
1A Lennox Street, Portobello, D8 t: 01-4759445 w: fb.com/the-bretzel-bakery
SPILL THE BEANS DONA WATCHORNE AT GROVE ROAD CAFÉ Dona Watchorne, a pro in the world of culinary management, is the proprietor of Grove Road Café on the Rathmines side of the Portobello canal bridge, known for both its excellent Roasted Brown coffee, its delicious home-cooked nosh and as being one of the best people watching spots in the city due to its fabulous location. So how did Grove Road come about? I was working in the bar business for years. I really enjoyed it but as I got older I realised that I preferred the daytime aspect more and more which involved food and coffee. When I was in my 20s I was obsessed with bars and their environment but in my 30s that changed to cafés. So it was a natural progression, I guess. I started looking around for a suitable location and then I spotted this place – I had a good feeling about it as soon as I saw it! The café itself is a pretty small place, do you ever find it cramped or do you think it creates a cosier atmosphere? Well both actually! It actually gets absolutely packed for our brunch during weekends and also at lunchtimes during the week now. On the cosy front thought I’d have to say that it is quite cosy in here most of the time regardless of whether it’s empty or full - I think this may have something to do with the panoramic windows. Mostly we get a nice turnover of people throughout the week. But we’re always prepared for any eventuality on this random little corner of ours. Have you been looking around to perhaps open a second Grove Road Café to cope with your popularity? Even though we’re here nearly two years this April, I still feel like we’ve lots more we’d like to do with Grove Road. Despite that, the place does feel quite established at this stage. We really feel part of the community here and have gotten to know and become very fond of all of our customers. So it’s very much a pleasure to work here and I want make the best of that for now, but opening a second place is definitely a possibility.
If someone walked into Grove Road for the first time, what would be a dish you could recommend for them? Right now I would probably recommend the avocado and feta smash on sourdough... however we have a new Australian chef working with us and we’re planning a lot of changes to our menus. We’re going to be doing more seasonal and local dishes, alongside more vegan and vegetarian options, as there is a big movement in that area right now. We’re also going to start baking more of our own treats and providing more healthy options than we do right now. So ask me that question again in a month or so and I’m sure it will be a more difficult question to answer as there will be lots more dishes that I would recommend. Your kitchen closes at 4pm during the week have you considered keeping it open later to compete with other evening cafés? Well, I have entertained the idea of maybe opening a few nights of the weekend. You would really have to do something quite special because there are so many great options around for evening food. Plus, we open early, at 7.30am, so already the day here is long enough. At the moment we have plenty to be working on. It is something we might consider down the line, though. Any big plans for 2016? We do office deliveries Monday to Friday around the area – it would be great to develop this aspect of the café more. We also want to introduce lots more tasty great food to our menus, to keep getting better at what we do, keep keeping our customers happy and coming back for more. Maybe to open a new place later on in the year. Oh yes, and to take a little more time off – that’s probably the one that’s least likely to happen! Grove Road Café, 1 Lower Rathmines Road, Dublin 6
Coppinger Row, Dublin 2 fb.com/homeofthebear t: 01 6779352
The Punnet Food Emporium
A New York-style loft newly established on Dame Street, KC Peaches is the ultimate hangout for tourists, students and working professionals. Serving natural, wholesomely enhanced all-day dining options, you leave the cafe feeling truly nourished by nature. Unlike anywhere else in Dublin, their hot and cold buffet options are delicious, convenient and affordable. With everything priced per plate size you can pile high on that wholesome goodness but make sure to leave room for their famous cheesecake brownie. The philosophy is simple: ‘Eat well, live well.’ Mon 8am-8pm, Tue-Fri 8am-10pm, Sat 9am-10pm, Sun 11am-6pm
The Punnet is a health food shop that offers customers a comprehensive range of healthy lunches, snacks and products difficult to find anywhere else nationwide – and if they don't have what you’re looking for, simply ask and they will find it for you! The Punnet's range of detox programs are also second to none, with 3/5 day fruit and veg or veg only juice cleanses and 5 day salad plans that take care of your food concerns for the week while all the nutrients and goodness take care of you. The Punnet is the only place in Ireland to offer such a service dedicating itself to fresh, quality food and juices and rich flavourful coffee including the 'Bulletproof'.
54 Dame St., D2 t: 01-6455307 @kcpeaches
94/95 Lower Mount Street firstname.lastname@example.org www.thepunnet.ie @punnethealth
Dublin Barista School
If you’re looking for more from coffee, The Dublin Barista School is the place. A dedicated training centre, offering two-hour lessons in espresso basics or an intensive threeday course to earn their Qualified Barista Award. Dublin Barista School is also the place to pick up any coffee accoutrements, whether you want to weigh it, grind it or pour it. As well as offering the knowledge and the gear, they serve up incredible value take-out coffee which they roast themselves (everything is €2), or even a filter coffee which they source their beans from The Barn, a Berlinbased roastery. Open Mon-Sun 9am-4pm 19a South Anne Street, Dublin 2. t: 01-6778756 w: dublinbaristaschool.ie @dubbaristasch
A well-made sandwich is a wonderful thing and not easy to find, unless you’re talking about Doughboys. This bustling counter-service sandwich and coffee shop serves up delicious breakfast, lunch and coffee. All sandwiches are made fresh in-house with popular favourites such as meatball marinara and porchetta on the menu. There's Cloud Picker Coffee to fill your cup in the morning and freshly made lemonades at lunchtime. And not to forget their brekkie sandwiches – with smoked streaky bacon or breakfast sausage, poached egg and American cheese on a Arun brioche bun – a fine way to start the day! Charlotte Way, Dublin 2 t: 01-4022000 w: fb.com/DoughboysDublin Twitter: @DoughboysDublin
Wall & Keogh Tea Lounge
Wall and Keogh is the original. It’s the tea company that made loose leaf tea important again, with a location to enjoy your cuppa in that compares to no other. They have a full café attached and all the baked goods are homemade. Just go see for yourself, it’s wholesale & retail tea of the highest grade.
The newly opened Cafe is a collaboration with our good friends Clement & Pekoe. It sits on our ground floor and has seating for 6 to 8 people. You can grab a perch in the window or at the larger community table, enjoy the surrounds or grab something to read. Serving Climpson & Sons beans as our House Blend, choose from an ever changing filter menu, loose tea and some delicious cakes too. We hope you like it as much as we do. Open Mon–Sat 10am–6pm & Sun 12 – 5pm
45 Richmond Street South, Portobello, Dublin 6 t: 01-4759052 @wallandkeoghtea
9 Essex St East, Dublin 2 www.indigoandcloth.com/cafe www.clementandpekoe.com @indigoandcloth t: 01 670 6403
• • Tea
• • Treats
CAFÉ OF THE MONTH 147 DELI
The Bird Cage Bakery
This is no ordinary deli. Despite it’s size, it serves up the best handmade Italian style pizza, pressed sourdough sandwiches, wholefood salads, take home meals and deli pots for miles. The two Hughes sisters make everything in-house daily, with a few well-considered exceptions from suppliers such as Tartine organic bakery, Nick’s locally roasted sweet espresso and Sprout cold-pressed juices. Their signature ‘pressed sandwich’ is Devilled Crab with Gruyere - it must be sampled to be believed! They’ve started opening 3 nights for BYOB and 7 days to satiate the growing numbers of Minetta junkies out there.
Eathos was born out of a love of food and healthy eating. Provenance and quality are really important to them, hence they have a long list of great Irish producers who supply them. Everything they serve is made in-house and is available to dine-in or take-away – which includes all of their salads, protein and patisserie as well as great coffee from 3fe. Plus, their menus cater for people with special dietary requirements. Open Mon-Fri 7am-5.30pm, Sat 8.30-4pm with our full menu available for take-away with Deliveroo.
Warm, cosy and friendly, The Birdcage Bakery stands out at its Harcourt location as one of the area’s finest cafes. With inviting, comfortable décor, the friendly staff offer a selection of homemade pastries, desserts, cakes and bite-sized treats all made from scratch daily. The savoury lunch menu is enjoyed all week long and offers an original take on classics such as meatballs and smokey bacon & cabbage among others. With top quality coffee, freshly roasted from the kiosk, enjoy one house blend and one single origin on offer daily, alongside a selection of teas from Clement & Pekoe. Open Mon-Fri 7.30am-3.30pm
1 Sutton Cross, Sutton, D13 t: 01-8396344 w: www.minetta.ie Twitter: @minettadeli
Clement & Pekoe
13A Upper Baggot Street eathosdublin.com @eathosdublin
Hansel & Gretel Bakery &
Clement & Pekoe is your local coffee house in the heart of the city. Pop by for a morning fix or an evening winddown and watch the world go by on South William St. Choose from an array of loose leaf teas and seasonal coffee from select roasters. The owners, Simon and Dairine, are on hand to advise on how to enjoy tea or coffee at home too. Clement & Pekoe are now also open in Temple Bar, housed in the contemporary surroundings of Indigo & Cloth on East Essex St.
From Trinity College to Baggot Street you’ll notice breadcrumb trails leading to Hansel and Gretel Bakery on Clare Street. Located just beside the National Gallery, this little bakery is the perfect spot to grab something to enjoy in Merrion Square. The freshly baked pastries (especially the almond croissants) and coffee from Ariosa make a great combo to start the morning, especially with the local office crowd. Everything is handmade from scratch with the ingredients sourced from small local producers, from their breads to their pastries to their delicious cakes.
50 South William St, D2 and Indigo & Cloth, 9 Essex St East, D2 www.clementandpekoe.com @ClementandPekoe
20 Clare Street, Dublin 2 w: facebook.com/HanselandGretelBakeryPatisserie t: 01-5547292
147 Deli is a small independent delicatessen that is passionate about local, seasonal ingredients and great coffee, located in the heart of Chinatown on Parnell Streett beside North Great Georges Street. Everything is cooked and prepared on-site which includes smoking their own meats and fish for their mouthwatering sandwiches and salads. The menu includes sandwiches, soups, salads and freshly made juices with weekly specials. Great decor, friendly staff, good music and big in the game when it comes to sandwiches. 147 Parnell Street, Dublin 1 t: 01 872 8481 w: facebook.com/147deliparnell @147cafe
21 Harcourt Rd, Dublin 2 t: 01 405 4890 w: facebook.com/BirdcageBakery
An arty Bohemian café long established on George’s St, Simon’s place attracts an eclectic mix of students, musicians and working stiffs. Heart-warming lunches of old-school doorstep sandwiches and home-made soups will always keep winter at bay. Try the cinnamon buns !
Nearly one year ago this cosy café opened in College Green to offer Dubliners an authentic Italian experience of really good artisan coffee and Italian premium quality food and products. The cakes and biscotti display in the window captures the eyes of every gourmet passing by, and the scent of panini and pizza (freshly baked everyday) invite you for a tasty lunch. The perfect place to buy the finest cured and cooked meats and cheese. Open Mon-Fri 7.30am-7pm. Sat: 10am-7pm. Sun 11am-7pm.
22 S Great George’s St, Dublin 2 Tel ; 016797821 www.facebook.com/simonsplacecafe
15 College Green, Dublin 2 t: (01) 6718960 facebook.com/ilfornaiocaffe
GAMES words Leo Devlin Aidan Wall
LIKE A The Cookie
Cookie Clicker – Browser
Games can be very exacting in what they ask of you. A tricky puzzle might need some careful lateral thinking; some bosses require precisely timed attacks. But nothing compares to Cookie Clicker’s outrageous demands on your most precious resource: your time. Sitting at the centre of a black hole of self-justification, The Cookie begs to be clicked. The more you click, the more cookies you get; the more cookies you get, the faster you can acquire cookies. Join the fun at orteil.dashnet. org/cookieclicker – at the low, low cost of your entire waking life! LD
The Witness Thekla Inc. – PC/ PS4
In his book Gaming: Essays on Algorithmic Culture, Alexander R. Galloway says of 1993’s classic adventure puzzle game Myst: “One doesn’t play Myst so much as one submits to it.” It comes as no surprise that Thekla Inc.’s lead designer Jonathan Blow took massive inspiration from Myst while developing the gorgeous puzzle opus The Witness, a game which is similarly consuming. The Witness takes place on a beautifully rendered and intriguing island which is scattered with panels depicting two dimensional puzzles that the player must complete. The language of the puzzles is taught diegetically: you begin solving easy maze-like puzzles, but new mechanics and rules are slowly introduced which requires the player to always rethink their approach. The player must learn through trial and error which, while making the game somewhat inaccessible, ultimately leads to frequent joyous moments of revelation for those that persevere. Usually while reviewing a game I make an effort to take note of different aspects of the design that interest me or cause me disappointment. It’s really unfortunate that the pages upon pages of arrows, hexagons, and squares I drew while attempting to solve The Witness’s various intricate puzzles can’t be easily translated into a cohesive review. The Witness is the sort game that requires serious concentration while you’re in it, and once you do find the power to put it down, its implied secrets and enticingly difficult puzzles begin to infiltrate your every thought: I spent a day away from the game thinking about a tough puzzle’s potential solution, only to solve it on the first try when returned to it. It is the addictive sense of discovery, found in the giddy exploration of the lush mysterious island and the satisfaction of deciphering a new mechanic of the increasingly complex puzzles which drives the game. The interplay between the traversable world and the puzzle panels is wonderfully realised. Although the player is likely to run into parts where they do not understand a puzzle mechanic, they are always able to move elsewhere on the island and learn something new to bring back to each previous area. The game is challenging, difficult, and at times frustrating, but its consistent allure is something I can barely describe. It’s really special. AW
Firewatch Campo Santo – Playstation 4, Windows, Mac, Linux
Under perpetually drab Dublin skies, Firewatch appears to be the apotheosis of video game escapism: taking place across a long, hot summer in a picturesque Wyoming national park, only a VR headset and a blow heater would be needed to complete the illusion. But Firewatch doesn’t aspire to be a virtual vacation. Indeed, Henry, the game’s protagonist, has escapist notions of his own that are thwarted too. Tasked with monitoring for outbreaks of forest fires, he gears up to spend the summer of 1989 alone, but along with his rucksack, Henry brings a trolley of emotional baggage. In an affecting text-based opening sequence reminiscent of Pixar’s Up, Henry’s adult life flashes in bullet points, with the player butting in on certain life choices. In a fatalistic twist, though, some of the most major (and tragic) events are
totally out of his, and your, control. Henry’s main point of human contact is with his supervisor, Delilah, with whom he communicates exclusively by walkie-talkie. Through dialogue choices, you can subtly influence the direction of their relationship, but the two ultimately get embroiled in a sinister conspiracy beyond their control. At times, the plot feels as though it may even just be a construct of Henry’s addled emotional state. Rather than keep players constantly on edge, however, Firewatch offers some respite through exploration. A disposable camera Henry finds reminds you to occasionally observe the calming indifference of nature, even as the stresses of life creep in. Whatever our individual problems, remember that the clouds glower upon all of us alike. LD
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ARTSDESK words Eimear Walshe photos Kate Bowe
RUFF AROUND THE EDGES Hannah Fitzâ€™s exhibition Doggie Eyed Stare, which featured at Temple Bar Gallery and Studios last month, ambitiously captured transient, wavering forms through a series of chalky plaster-coated sculptures. The exhibition came at the end of her year-long graduate residency in Temple Bar Gallery and Studios. The work comprises a collection of objects that bear the marks of their making; the surfaces are scratched, crumpled, bulging, uneven, and covered with a thick skin of pastel paint. Though entirely figurative, the sculptures contort around and infringe upon each other, their perimeters flickering with uncertainty.
Clockwise from main: Light; Beam; Chair; Fruit Bowl; Record Player Stool; Flower Arrangement; Pillows Clay; Apple;Table; Clay all Hannah Fitz
shapes. At a certain point I’m hoping the sculpture will start repeating back that intention like: “I’m a chair, I’m a chair, I’m a chair”. So I’m hoping the chair shape is performed in a way that seems selfconscious of the fact that it will be met with this long chunk of yellow light. When any of these different objects touch, their surfaces become merged, and the boundaries between those objects are painted in such a way that they leak into each other. I don’t think there’s any rule that’s applied to the group without at least one exception. But yeah, this is something I like in cheaper moulding techniques, a lip or undercut is flattened and relies on a line of paint on the surface to make out the boundary. Boundaries and edges are the reason I like calling things sculptures. I think sculpture is quite basically about boundaries and edges; no frame is supplied so the lines drawn to mark the edges of what you are doing are important.
A stone-grey figure of a dog greets you at the entrance. The animal is frozen halfway through an attempt to step over a sculpted patchy rug, which folds up to fill the negative space in-between its legs. The motion of its wagging tail is described through five separate parallel renderings. Nearby, an oversized stool hosts a cornflowerblue pot overflowing with a thick mass of bulbous yellow and pink peonies. The plant’s heavy leaves spread and fold into themselves ominously. A patterned blanket reclines upon a long, boxy bench painted in warm sandy shades, a corner of tasseled edging drapes thickly over the brim. It holds itself just above the surface that it appears to rest on, a nod to the rigidity of its form. We caught up with Hannah to discuss the nature of her medium and the importance of boundaries. When moving through this assembly of sculptures, you get a sense of being in a sort of congregation. Can you talk about how the sculptures have their own internal dynamic? I build them in series so that I can set up the condi-
tions for viewing them, the individual sculptures work by falling in and out of relations with the rest of the group. Actually, the closer I get to finishing work the more I think of them as a gang, they get more and more exclusive, and some sculptures don’t fit anymore. I also think individually the sculptures don’t assert obvious value, they are clumsily made but heavily worked on, and easily appear out of place. So gang also implies an assertion of purpose, an alternative and small network that works in spite of the conventional system. Each object seems to have an effect on another, repelling or attracting, or subtly moulding each other, for example: in Light, Beam, Chair, the legs of the chair appear to buckle under the weight of this huge light beam emitting from the lamp. The chair bends into – or buckles under – the light because the chair is made with the light ‘on its mind’. Each form is shaped by my telling it to be a certain thing. I’m starting from scratch and pushing quite basic materials into recognisable
In the sculpture of the fruit bowl for example, all the apples and bananas and pears are conjoined. Then across the room, this lonely apple sits half-peeled on the table, with its white flesh inside exposed, it’s as though some intervention has happened into its ‘wholeness’? I expand and leak all of the sculptures, this is apparent in the fruit bowl and the apple, but all the others are expanded as well. I build them up layering composite materials starting with a jaunty wooden armature, until the outer layer seems at full stretch over the bulk of the shape. I used to think of this as a sort of image shell or painted sarcophagus. In this series I think the sculptures are more alive, they are holding on to the negative space around them, fingerprints extrude from the clay rather than imprint it, as though the shapes are expanding to claim that territory. Even the floral ‘carving’ detail on the legs of the table is drawn in a lumpy expansion. The apple sitting alone on the table is merged into the table’s surface, with a painted-on boundary line between the green and brown. I cut into this apple skin to mess with the other stuff. So I carved into it, which of course mirrors a totally mundane gesture, and then painted over this new surface. Can you tell us about the exhibition title, Doggie Eyed Stare? Doggie Eyed Stare is derived from the sentence ‘Look at the dog with one eye’ which contains two possible directives: does the dog have one eye or do you? I want to be able to make work that contains that sort of duality. These sculptures fidget between soft and welcoming, or aggressively exclusive. I wanted to double up the gaze this time, and undermine the gaze of a viewer. I wanted to see if I could make sculptures shaped by a sort of self-conscious gaze, and a group of sculptures that seem to look mainly at each other. Hannah Fitz is currently developing a new video installation for Gallery 3 at the Douglas Hyde Gallery, which will be exhibited Monday 11th to Friday 15th April. Doggie Eyed Stare will tour to The Dock, Carrick on Shannon in July.
PRINT words Ruairí Casey Anna-Grace Scullion Cristina Tomàs
Under the Udala Trees Chinelo Okparanta [Granta]
Beginning against the backdrop of the Biafran War, Chinelo Okparanta’s Under the Udala Trees tells the story of young gay woman Ijeoma dealing with her sexuality in a society that is highly condemning of it. As the novel evolves, readers become engrossed in Ijeoma’s plight – how she still yearns for her lover long after being punished for being discovered with her; how she must hide her true self from her mother, who exhorts a strict interpretation of the Bible in which homosexuality is vilified, as well as from the townsfolk, who have been known to kill homosexuals with impunity; how she marries a man despite loving a woman. And yet Ijeoma’s acceptance of herself in defiance of negative external pressure is remarkable: even as a Christian in a morally conservative country, she understands religion in a more open and forgiving manner than those around her. Okparanta’s narrative style is gripping, despite the few short sections that somewhat betray this being her first novel. Ultimately, she tells a story that needs to be heard for the sake of social justice. While Under the Udala Trees’s closing words are full of hope, the author’s note at the end of the book reminds readers of the current state of affairs in Nigeria, where homosexuality is still criminalised and, in certain states, punishable by death. CT
On Love Charles Bukowski [Canongate]
This posthumous collection of love poems showcases Charles Bukowski’s prolificacy. Featuring 85 poems written between 1957 and 1993, the book charts the highs and lows of tumultuous relationships, and the effects of poverty and alcoholism on lovers. Bukowski’s writing is often heavily autobiographical, and the partners he had (including the less significant) are traceable across the chronological collection. As one might expect when presented with Charles Bukowski’s personal romances, the poems career between messy sexual encounters, flings with prostitutes, reflections on longer relationships, difficult break-ups, Bukowski’s own weaknesses and the comfort he finds in women. Much of Bukowski’s work focuses on the prosaic and visceral, and many of the poems here feature graphic sex. Often Bukowski presents women almost as another species; failing to understand or communicate meaningfully with women, he dwells instead on their sexuality. However, the pleasure of Bukowski’s writing is in the revelation of beauty and emotion amid vulgarity and falseness, and pieces like ‘the first love’ and the ‘for Jane’ poems shine a light on his capacity to write moving poetry. Bukowski’s daughter is another key figure here, and his take on paternal love is surprising and touching. The poem ‘an acceptance slip’ delicately recounts Bukowski’s temperamental father enjoying one of his short stories, and ‘the first love’ is an unusual and fascinating glimpse into Bukowski’s fervent love of reading as a teenager. Despite these exceptional pieces, the bulk of this substantial book represents Bukowski’s habitual mode of writing about love. As a result the collection borders on repetitive, and buries the more interesting, unexpected moments. Bukowski’s famous quip, “I don’t try. I just type,” has an unfortunate resonance here. A more selective approach to this collection could have produced an engaging volume of poems and an exciting new take on a popular but pigeon-holed writer. Unfortunately, Bukowski’s editors appear keen for him to remain as prolific in death as he was in life. AGS
The High Mountains of Portugal Yann Martel [Canongate]
Yann Martel’s The High Mountains of Portugal offers a triptych of stories on themes familiar to the Canadian novelist – loss, spirituality and the search for belonging. The first, ‘Homeless’, concerns Tomas, who walks backwards through the streets of Lisbon in 1904 following the death of his wife and child. After discovering a diary telling of a mysterious crucifix in some upcountry church, he sets off in his uncle’s 14-horsepower Renault – one of the first cars in the country – to find it. The second, ‘Homeward’, features an Agatha Christie-loving pathologist and his wife, who receive a late night visit from a woman looking for an autopsy on her late husband. Soon after, it veers into a tedious surrealism that feels ill at ease in the novel. The book’s closing story ‘Home’ enters more familiar Martel territory, with widowed Canadian senator Peter Tovy developing a close bond with Obo, a monkey he bought while visiting a research facility. He then moves to Portugal, to his ancestral home, bringing us back to the high mountains of the book’s title. Though Martel weaves all strands together neatly, the first two stories are uneven. The slapstick adventure of the first piece and the bizarre surgery plot of the second detract the underlying parables Martel tries to convey. Yet Martel remains an impressive force when pondering the relation between man and animal. The final work ‘Home’ is, appropriately, where his style and metaphysical curiosity feel most comfortable. RC
PRINT words Gill Moore Peter Morgan Mònica Tomàs White
Good on Paper Rachel Cantor [Melville House]
Rachel Cantor’s second novel tells the story of middle-aged Shira, an ex-PhD, ex-translator and ex-writer, who has exiled herself from all of these pursuits to work a series of bizarrely banal temp jobs. Sitcom-style, Shira’s life is populated not only by her precocious daughter Andi and gay friend and co-parent Ahmad, but by a cast of wacky store-owners and coffee shop friends who inhabit her neighbourhood, her “Comfort Zone”. The book centres on a metatextual literary project: Shira is suddenly and cryptically asked to translate from Italian to English a reworking of Dante’s La Vita Nuova, by invented Romanian Nobel prize-winning poet Romei. Romei becomes an invasive absence in Shira’s life, badgering her with phonecalls delivered in “pizza-man English” and pushing the limits of the translator’s potential for textual fidelity. Cantor does a decent job of making language live. Written with curiosity and a generous spirit, the novel intersperses engaging reflections on linguistics, Dante, the Old Testament Song of Songs, and postmodern poetry with narratives of family, love, loss and exile. There is a lot to like, but the book’s flaws do grate. The reader may succeed in suspending disbelief around plot credibility, but it is difficult to warm to the self-conscious bohemian quirk, pretentiousness and hyper-sentimentality that mark the weakest moments. Still, the novel’s point is that authors are needy creatures, who tell messy, imperfect stories to seek connection, kinship and absolution from their readers. Met with a forgiving spirit, this book has much to offer. GM
This is the Ritual Rob Doyle [Bloomsbury]
This collection of stories has been hotly anticipated following Rob Doyle’s 2014 debut novel Here are the Young Men, which was praised by Colm Tóibín among others for its “uncompromising tone”. In This is the Ritual, that tone is ceaseless, with Doyle’s relentless approach intensified and imagined anew through these torturous tales. Frequently the protagonists – often writers – have literary dreams (and nightmares), with some even forming their own filthy genres like “paltry realism” and “Paddy-slasher”. It is often difficult to discern whether Doyle’s characters’ are crippled by their relationship to writing or if this is, in fact, the only thing that prolongs their slipping sanities. Indeed, in ‘Paris Story’, jealousy of writerly success fuels and infinitely haunts the mental life of the central character. The feeling that these narratives echo and ricochet off of each other, coupled with their autobiographical resonance, heightens their ferocity and lasting power. While the physical geography of the book oscillates between various cities and isolated landscapes of Western Europe, it feels like these stories all exist in the same underworld, one that readers are rarely forced to acknowledge in any sustained sense. The narrator of ‘The Turk Inside’ provides a model for how to approach this book as a whole: “I said I had to be somewhere (it makes you feel important, it’s never true, even when you think it is)”. This brief trio of rationales references the psychoanalytic ego, superego and id – yet these are presented in a throwaway social remark, and thus refuse the lifelessness of theoretical simplifications. That this comment is made by arguably the most despicable of individuals in the collection shows a core tenet of these fictions: painful experiences evoke painful insights. The lengthy ‘Outposts’ and ‘Final Email from P. Cranley’ conjure an unwelcome queasiness. The formal experimentations of these stories make the despairing content almost unbearable. This is the Ritual is shocking, but considering the common societal issues like drugs, mental health problems and harrowing sexual encounters omnipresent, we must ask ourselves: why are we so shocked? PM
Spindles: Stories from the Science of Sleep Penelope A. Lewis & Ra Page, ed. [Comma Press]
What is sleep? As Spindles’ editors remind us, although we spend a third of our lives asleep, we know little to nothing about it – however, recent scientific breakthroughs promise to wake us from our slumber. Bringing these developments to the public, short story publishing house Comma Press has partnered 28 authors with scientists to explore the recondite corners of this universal yet largely uncharted human practice. The results are wildly imaginative, giving us aliens and hominids, space-travelling simians, sleepwalkers, and even a religious megalomaniac who, from his armoured fortress in the Argentine pampas, plots to “cure” the world of sleep. However, the fiction is far from uniform. While several of the stories are intriguing – notably Adam Roberts’ Dickian prose – some read as mere case studies for the sleep pathologies presented. In fact, the scientific afterwords that purport to “respond” to the stories sometimes seem to be the source material for a story, rather than a response to it. In others, ideas seem rushed, underdeveloped, or they lack editing. Sara Maitland’s ‘The Rip Van Winkle Project’, for example, begins with a forcefully comic description of the sleeping habits of assorted adolescent and celestial characters, only to then omit the actual plot. Such issues notwithstanding, the collection is captivating – so much so, in fact, that it may very well put you to sleep. MTW
FILM words Oisín Murphy-Hall That’s the strange thing about it, that it’s full of these signifiers that seem to point towards a conventional, say, class reading, but in actuality it’s not that coherent… There are a lot of rug-pulls, narrative rug-pulls. When I read it, I fell for each one. He sets up all these stories that suddenly don’t pay off. The book itself has got lots of almost ghost narratives, like the women’s stories and other sets of characters moving around the building who may not even have names, and you’re only getting the edge of the story, just a bit of it. And that’s how Amy approached it, as more fractal, like the book is written. But then she pushed forward more to give a voice to the women and children more, because they seemed to get given sort of short shrift in the book.
Ben Wheatley’s career to date has contained multitudes. From the low-key black social realist comedy of 2009’s Down Terrace to the genre-bending horror of Kill List that made his name both critically and as a cult figure of sorts, all the way through the outrageous tourist-murder comedy of Sightseers and the pastoral, black-and-white psychedelia of A Field In England – all made in the space of six years – he is certainly a difficult man to pin down. His latest film is an adaptation of JG Ballard’s High-Rise, a novel in which the inhabitants of a modernist high-rise apartment block descend into a violent chaos, chock-full of class signifiers, ’70s sexual politics and a unique dystopian fever all its own. We meet in the altogether less brutalist but no less dystopian surrounds of the Residence Lounge, in which huge, quasi-psychedelic, bloated portraits of notable Irish authors overhang rococo furnishings in a manner that sets one on edge. I remark that the Samuel Beckett resembles less its intended subject and more one Vince McMahon. “It looks like he’s been run over and they’re trying to identify the body.” says Wheatley. I guess we’ll try just jump into it, and talk about your own adaptation in High-Rise. What was it like not just adapting something, but adapting something so beloved by many people? Is it something you would do again? I think Amy [Jump, screenwriter] and I are a bit gun-shy of doing another, I think. It was interesting doing it, cos it gives and it takes away. What it gives you is a built-in audience and a story to start with, and what it takes away is that every time you change it, everyone gets cross. You feel that other voice in the room, which is the prospect of pissing off all the fans, which you don’t want to do. But having said that, when we actually made it, we tried to put all that out of our heads, so it didn’t feel like this big weight. Most of that came afterwards, once it was too late, hoping that we’d done it justice and caught the tone of it. A lot of people just pretend to have read books nowadays anyway… Well this is it. The thing about Ballard is — and I was equally guilty of this when I re-read it — I was going alright, class war, it’s the working class at the bottom and the upper class on top, but it’s not that at all, it’s completely different. But then you see the reviews and you go, oh alright, well they haven’t read the fucking book either [laughs].
Was it difficult to get that fevered sort of ’70s, dystopian look to the film shooting on digital? We considered shooting it on film early on but decided against it. I’ve never shot on film. I’ve shot some adverts on film, and some student stuff, but everything myself and Laurie Rose [Director of Photography] have done has been digital, and we are now in this moment, so why fight it? This is the language of now. So even though the film’s set in the past, let’s not pretend we’re ’70s filmmakers. We wanted to shoot on location ‘in the past’, is basically the way we looked at it. So all the sets had ceilings on them, and they were shot with available light, as we’d shot all the other movies, but this time the available light had to be piped in from outside the sets, you know, because we’d no windows. So there weren’t lights on set, or flag-stands, all that kind of stuff, it was just how we found it. Or rather it was engineered to feel real. And the ’70s-ness of the design, then, which really gives it that feeling, was trying to find a ’70s that was more a memory of my childhood and Amy’s childhood, working closely with Mark Tildesley [production designer], to make sure that it wasn’t just a pose. It wasn’t just art directors looking in magazines and going “Ooh, I like them round tellies!” and stuff like that. But also, we were thinking that it’s an alternate reality: it’s not the ’70s, the book isn’t set in any time, it’s a projection forwards from the point of its publication, and it never happened, so some of the stuff isn’t ’70s stuff, it’s made from scratch. Like all the stuff in the supermarket aren’t real products, they were designed particularly to work in that building. And the kaleidoscope shots are real too, in that it’s not effects… Yeah! It’s basically like a Toblerone of mirrors, in a tube with a little handle that makes it go around. The grip department built it as we went along and we tested it a few times. Laurie and I had been messing around with different mirror set-ups and reflections and stuff, and it just worked. The only thing it did do was it caught some of the crew in it, but I think that was the only bit of digital editing done, to remove some people from the shot. Your films often have narratives or genre conventions or, in this case, architecture, impinge upon ordinary people, with sometimes horrible consequences. Are you concerned with reclaiming human subjectivity from environments or philosophies that work against it, or are perhaps more machine-like in focus? I don’t know, I felt the building was more just a metaphor, for the body and for the characters. So it was a wrapper that could be a building or a
C O N C R E T E
country or a person, and it worked on those different levels. You get into particularly difficult architectural territory if you start thinking, “Oh, it’s a comment on post-war building,” because it just isn’t in the book either particularly. You can see the jumping-off point that Ballard has from news reports of the period, but I’m not sure how absolutely [the book] was about that. But also, I tend to shy away from being too literal in explaining what the stuff is, so not to get (a) pinned down, and (b), make a pointless exercise of making a film for two years if you can just dash it off in a one sentence explanation! [laughs] I believe your next film is about the IRA, is that correct? Yeah! Well it’s not about the IRA so much, but it’s called Free Fire and it’s about buying guns in
America and bringing them over in the ’70s. That sort of suggests it’s an over-arching thriller, which it’s not. What actually happens is a set of characters go to Boston to buy weapons to take back to Belfast and they buy them off these two gun dealers, but the two gun dealers bring these two local guys from Boston to load them off the boxes, and the two IRA guys bring their two Boston guys, but the two sets of Boston guys have had a bar fight the night before, and they really don’t like each other, and then it just kicks off. So they’re basically going, “This really needs to calm down,” because it’s a very dangerous situation, got a lot of machine guns and guns and shit, but it doesn’t, and this massive shootout takes place. And it’s a look at... I read an FBI document that was about a shootout, a ballistics report, and it was really interesting: it had this thing with these two cars, they’d pulled in in front of this car that had bank robbers in it before they’d gone to do the robbery, and they all had body armour and machine guns, and they went [handbrake noise] and then a shootout took place with all these cars really close to each other, and it went on for like 20 minutes, and they were all shooting each other and no-one died. And then, some people did die. But it was really interesting, I was like, “Wow, that’s really strange, because that’s not what happens in Hollywood movies”. There was something in this about the reality, some kind of a reality of these things. What happens when you boil a gunfight, a battle down into one thing, into one space. So they all get injured, everyone gets injured, and the rest of the film, the next hour of the film is “How do they survive in this space?”. They can’t escape and they’ve got to make their allegiances and get their shit together to get out. And, for the fans: is Michael Smiley gonna be in it? [laughs] He is indeed! Him and Cillian Murphy and Jack Reynor as well.
High-Rise, directed by Ben Wheatley, is on general release from Friday 18th March.
J U N G L E
FILM REVIEWS words Eva Short Oisín Murphy-Hall Bernard O’Rourke
Director: Ben Wheatley Talent: Tom Hiddleston, Jeremy Irons, Elisabeth Moss, Luke Evans Released: 18th March Ben Wheatley’s High-Rise, like the JG Ballard novel it adapts, has all the superficial qualities of a political allegory, centred around a single, high-rise apartment building – a utopian architectural project, class stratifications from lower to higher floors, men’s violence towards women (and children), interpersonal disputes over order, cleanliness, etc. – except that none of it really makes any sense. It feels like a satire, but of what is not particularly clear. Is it the neoliberal capitalism of the late 1970s? Is it the socialist naïveté of architectural modernism? All remains perhaps deliberately unclear, like Le Corbusier himself, friend and foe to fascist and radical alike. Observe the symbolic register at which this film operates: Robert Laing (Hiddlestone) is a neurosurgeon seeking total anonymity in a high-rise apartment building whose upper floors jut ominously outwards in a stepped shape. Other notable occupants include Wilder (Evans), a drunken cameraman obsessed with injustice, his wife (Moss), pregnant with a child that seemingly refuses to be born, the building’s increasingly misanthropic architect (Irons), a seductive, sexually-charged female neighbour who knows everything in the building, and her shy, scopophilic son Toby, who has no father (or does he?). And what happens to these loaded signifiers? Well, they all just kill one another, basically. Ballard’s book, and this film, are what you get when you talk about class without talking about its fundamental structuring component: exploitation. It’s a fun, weird mess, but it has the niggling feeling of someone bluffing their way through something they don’t (or don’t want to) understand. It doesn’t work as allegory, and barely works as a narrative, but at least entertains while doing so. OMH
Director: Peter Landesman Talent: Will Smith, Alec Baldwin, Albert Brooks, David Morse Released: 12th February The NFL’s denial and covering up of the long-term effects of repeated head injuries sustained while playing American football is a sporting scandal almost beyond compare. Of course, it is at the same time a denial of a broader, cultural sort, and one which continues to this day. Concussion is a dramatisation of the eruption of controversy caused by Pittsburgh pathologist Dr. Bennet Omalu (Smith) who, beginning in 2002, tied the damaged brains of several deceased ex-pros to the injuries they sustained on the field as part of normal play. As real-life intrigue goes, this is an extremely juicy and disturbing story. As drama however, it’s tepid, kid gloves stuff, and not aided by an uncomfortable performance from Smith in the lead role. If remembered at all, like 2001’s Ali, it will go down as another failed prestige picture of his, but unlike Ali, this one is distinguished by the punches it pulls rather than those it throws. OMH
The Finest Hours
One of screenwriting’s more well-worn adages is that you should never use voice-over, that it is indicative of laziness, or an artistic cop out. For whatever reason, this stupid sentiment has passed uncritically into the popular imagination, so it’s good to see Rachael Moriarty and Peter Murphy’s Traders lead with a snappy and confident voice-over in their blackly comic story of desperate individuals meeting up to fight to the death for one another’s life savings, converted to cash and held in a sports bag, a practice called ‘trading’. Fired stock-trader Harry (Scott) begins reluctantly, but soon finds himself intoxicated by the hugely profitable but brutal and morally dubious practice. This is post-Ritchie, post-Fight Club ersatz hardboiled, white-collar, tough guy fantasy fluff, yes, but it’s also a lot of fun. And to its credit, unlike a lot of recent Irish cinematic output, it doesn’t take itself too seriously. A smart, violent film of real quality. OMH
At first glance, this maritime rescue action flick looks like pure guff, all CGI and no substance, but The Finest Hours makes a dedicated attempt to do far more than prove an empty IMAX spectacle. Rather, the film dedicates itself to actually telling a story (ostensibly a true one), rather than acting as a set up for fancy big-screen visuals. The action itself is gorgeous, stirring stuff (delivered through some seriously stylish camera movement), but remains driven by high stakes that are established through character, rather than the scale or circumstances of the disaster. Perhaps the most endearing aspect is Chris Pine’s charmingly meek and square lifeguard, a world away from the typical though and cynical action lead of recent years. In a way it’s a throwback to Hollywood of times past, when action movies could be about a simple honest rescue mission, with no grittiness in sight, and spectacle could co-exist with honest charm. BOR
Directors: Rachael Moriarty, Peter Murphy Talent: Killian Scott, John Bradley, Peter O’Meara, Nika McGuigan Released: 11th March
Director: Craig Gillespie Talent: Chris Pine, Casey Affleck, Ben Foster, Eric Bana Released: 19th February
How To Be Single
Director: S. Craig Zahler Talent: Kurt Russell, Patrick Wilson, Matthew Fox, Lili Simmons Released: 19th February They’re not Native Americans, they’re (Native American) Troglodytes! That’s the somewhat cursory explanation and, after a bit of abstraction, justification, racially-speaking, for the basic narrative premise of Western-cum-horror Bone Tomahawk. That narrative being: the troubled progress of a rescue operation headed up by Sheriff Hunt (Russell) and the injured Arthur (Wilson) for the latter’s wife Samantha (Simmons) and two other white folks, kidnapped from a peaceful frontier town by a mysterious, cave-dwelling tribe of mythical strength and ferocity. An unsettling opening sequence, featuring a disemboweling in surprisingly affecting longshot, gives way to an unsteadily scripted Eli Roth by way of Quentin Tarantino ‘journey into hell’ that disturbs more for its uncritical reprisal of the racial politics of classic Westerns than its visceral and occasionally ultra gory visual content. This is a Fisher-Price Blood Meridian for an America that increasingly treats its black citizens as a surplus population; competent horror aside, the metaphorical lines are hard to ignore. OMH
Director: Tim Miller Talent: Ryan Reynolds, Morena Baccarin, T.J. Miller, Michael Benyaer Released: 10th February Deadpool is a film that unashamedly and unapologetically dedicates itself to being ‘one for the fans.’ The result is a manic mess of a film that blunders its way through a fanpleasing checklist with scant regard for consistent tone or competent filmmaking. Reynolds is clearly having fun playing the ‘merc with a mouth’ (he’s a fan of the comics too, after all), but very little of that fun carries over to the film as whole. A few flashes of genuinely inventive visual humour are quickly drowned out by an avalanche of unimaginative pop-culture references and puerile use of swearing and nudity (that wouldn’t be out of place in an episode of The Big Bang Theory or Family Guy) to court offence. Deadpool may have a distinct voice that sets it apart from its superhero blockbuster contemporaries, but it’s a voice that yammers over-loudly and incessantly, and isn’t a pleasant thing to be trapped in a cinema with for two hours. BOR
‘My God... my God!’ – Will Smith delivers the mandatory recoiling-from-microscopein-disbelief line with gusto in Concussion.
Director: John Hillcoat Talent: Woody Harrelson, Kate Winslet, Chiwetel Ejiofor, Casey Affleck Released: 19th February When a crew of corrupt cops are forced by a Russian-Israeli mob boss (Winslet) to commit an seemingly impossible heist, the group plan to engineer the death of one of their fellow officers (Affleck) in order to distract the city’s police force with the resulting 999 radio call (a ‘triple nine’). The plot is difficult to explain succinctly, which in itself speaks volumes about the film’s main flaw: Triple Nine fails massively as a feature because its writers operate under the greedy and erroneous assumption that more equals better. Tired tropes are sloppily piled on top of one another, picked up and then dropped with the attentiveness of a hyperactive toddler unable to decide which toy to play with. An A-list cast and interesting cinematography may create surface appeal, but this film is ultimately a superficial trifle, leaving the viewer dissatisfied and underwhelmed despite gratuitous action, gore and heavy-handed attempts to create tension. ES
Director: Christian Ditter Talent: Dakota Johnson, Rebel Wilson, Leslie Mann, Damon Wayans Jr. Released: 19th February In this film, four characters’ occasionally intersecting single lives are dealt with in a sort of parabolic form, with Alice (Johnson) taking centre stage as the newly-single, newly-New York-living twentysomething who’s learning to let her hair down for the first time, under the guidance of the brash bonne vivante Robin (Wilson). Romantic comedies, perhaps more than any other genre, aim nakedly for the ‘relatable’ as well as the instructive, and this is no different. It is let down drastically by the comedic and dramatic ineffectiveness of its cast, however, with only Wilson possessing the requisite chops to consistently make the frankly erratic material land. As such, more successful examples of the genre are referenced in reverential (Bridget Jones’ Diary) and critical (Sex and the City) terms by characters, a choice that has the net effect of making this film feel decidedly small-time, in exchange for a few cheap laughs. A lonely experience. OMH
Director: Jason Zada Talent: Natalie Dormer, Eoin Macken, Stephanie Vogt, Taylor Kinney Released: 26th February The latest in a long and burgeoning line of horror films that confuse horror with things jumping up on screen accompanied by a loud noise, The Forest sees Sara Price (Dormer) travel from America to Japan’s spooky Aokigahara forest to look for her twin sister Jess (also Dormer), reported to have gone missing there only days previous. The forest, it is said, causes sad individuals to decide to kill themselves when they walk inside. Sara and Jess’ mystical twin connection, however, tells our heroine that her estranged sister is still alive. The film never makes much use of its dark and evocative forest setting, instead relying on cheap shock tactics to make the audience jump. Even these, however, fail to register more often than not. It’s simply not scary, nor even interesting. Jason Zada, whose first time this is directing a feature film, would be best advised to go back to operating jack-in-the-boxes, on the strength of this effort. OMH
AUDIO REVIEWS words Tom Cahill Leo Devlin Ian Lamont Danny Wilson
The Life Of Pablo [Def Jam/G.O.O.D. Music]
New View [Frenchkiss]
Joy Void EP [Happy Valley Records]
All noise aside, and there’s an absolute shit-ton of it surrounding the release of this album, The Life Of Pablo is a magnetic, flawed, overlong album that is stuffed to the gills with ideas, most of which play through very quickly, which may or may not be its strength. One of the few tracks that does stick around and develop beyond the three minute mark is the opener, and absolute highlight of this record, Ultralight Beam. Over a spare, back-masked organ sample, Kanye, Kirk Franklin and Chance the Rapper interchange with a gospel choir to spellbinding effect. It makes you wonder what might happen if each of his ideas was as developed as this. Conversely, 30 Hours confirms that some of these ideas are best left as the sketches. Sampling Arthur Russell’s Answers Me from World of Echo to create a sweet groove and hook, 30 Hours then overstays its welcome by about three minutes with Kanye fumbling verses he hasn’t written yet, explaining that he loves bonus tracks, and that this will be a bonus track, and then his phone goes off and it’s not meta, it’s just dull. Nonetheless, while it’s short on attention-span and great verses, TLOP manages to hang together on the strength of West’s productions and speed at which it moves between them, making an album that visibly bears the same flaws as its creator. IL
As an artist known for her lyrical ingenuity and knotty instrumentation, Eleanor Friedberger’s new release is audaciously straightforward. Her previous albums have been exemplary of her considerable skill in layering complexity over a simple structural base, but New View offers a notably less ornamented take on her songwriting. What’s lost in playful excitability, though, is made up for with considered nuance. Floating through the air can offer a novel view, but sometimes groundedness offers a new perspective all of its own. LD
Joy Void is an extremely brief introduction to Hazing, the project of Dutch/Irish Ciarán Hoogendoorn formerly of Soil Creep, which is presented, suitably for its dedication to lo-fi electronica, on cassette. Chiming guitars and Hoogendoorn’s vaguely Barney Sumner-ish vocals haunt over minimal boom-boom-chk drum machines, but rather than the clarity and precision of New Order, Nervous Signals and What Youth – the keepers here – are filtered through the distortions of John Maus and Grouper. IL
Like this? Try these: J Dilla – Donuts Sly and the Family Stone – There’s A Riot Goin’ On Chance the Rapper – Acid Rap
We are KING [KING Creative] The capitalisation alone might carry the threat of pomposity, but KING’s long-in-the-works debut album conjures up only the most artful braggadocio. On songs like The Greatest, the trio always manages to exude laid-back optimism rather than boastfulness. Not that they couldn’t brag about what is a beautifully layered and well-constructed record: chiptunes, horn sections and three-part harmonies all manage to find their place, without the sound ever feeling overstuffed. And I, for one, welcome our new musical overlords. LD
Advancement [Sunday Best] Advancement moves away from a vague modern trend towards analogue synths and the intangible warmth of wires and knobs, for something more glitchy and computer-bound, something that feels pored over rather than jammed out. Not surprisingly the record’s backstory backs this up, as the duo focused on sampling and manipulation and degradation of sounds to create this dense digiscape. Conversely, despite perceived futurist intentions, these soundtracks can’t help but recall the ’90s electronica like Boards of Canada – no bad thing at all, it should be said. IL
NOW BRUNCH AT WEEKENDS! 10 Terenure Road East • Rathgar • Dublin 6 • T: 01-406 4104
Heaven Adores You OST [Universal]
Thought Rock Fish Scale [Paradise of Bachelors]
Is The Is Are [Captured Tracks]
A songwriter without compare, Smith’s messy demise, prolificacy and habit for refining his songs repeatedly meant that he left behind a trove of high quality work to fill the void created by his death. This collection, plucked from Nickolas Rossi’s optimistic and devoted documentary on his life and music, charts his development from the geeky teen progfest I Love My Room (unutterably charming) to the narcotic depths of lost Basement-era gem True Love (grim), adding humanising detail to the cartoon of depression he is sometimes depicted as. IL
This Canadian indie troupe have delivered something special and seemingly timeless on their second full length, Thought Rock Fish Scale, a record rich in tone, timbre and hidden depths. Reminiscent of the quasi-mystical folk’n’roll alchemy of the third Velvet Underground record, these songs are of the rare breed that turn more technicolor the quieter they get, the more inward-looking they are, the more lackadaisical in delivery they become. Forlorn ennui-pop at its absolute finest, highly recommend. DW
Charles Lloyd & the Marvells
Is The Is Are, the latest release from Brooklyn shoegazers DIIV, has been the subject of hushed, hype-stirring mutterings for a stretch approaching the interminable. Since the 2013 arrest for heroin possession of Zachary Cole Smith, a frontman whose Cobain-aping persona is as transparent as it is trite, there’s been an assumption that the work that followed the incident would reach some sort of heretofore unseen plane of excellence. Amongst all the giddy reporting that the record was finally nearing completion it became abundantly clear the old cliché that shooting gear somehow makes middle-class white dudes with guitars into geniuses remains, inexplicably, intact. Listening to Is The Is Are brings with it a certain incredulity: how can anyone possibly consider this blank, seemingly endless exercise in re-treading long-established indie tropes to be anything worth getting excited about? Even in the moments where the band delivers reverbladen guitar runs, any potency is drained through sheer exhaustion at the sameness of every moment on this monument to characterlessness. DIIV have essentially taken a latterday Real Estate album and replaced their warm, worn-sounding, breezy quality with a calculated, distancing aloofness. They’ve stripped a Deerhunter album of the effects of any of their more outré musical touchstones in favour of sounding more like early U2. Take the hype with a chipper-grade portion of salt, the emperor has no clothes. DW
Ultimate Care II [Thrill Jockey] “Wasn’t this already the premise of one of their albums?” was my initial thought upon reading that Ultimate Care II was composed entirely from edited and mutated samples of sounds originating from a Whirlpool Ultimate Care II. The question that lingers after listening is whether or not knowing this matters at all. My hunch is that it doesn’t require any such apologia, such is Schmidt and Daniels’ remarkable dexterity in this field of composition with concrete sounds. That said, around the 27 to 30 minute mark, you will probably ask yourself if you’re listening to a washing machine. IL
I Long to See You [Blue Note] New jazz releases have left me spoiled for choice. Like a kid in a candy store, I don’t know which way to turn. But, after only one listen to I Long to See You, I knew I had found the perfect choice. This is the debut album of a band founded by esteemed saxophonist and composer Charles Lloyd, featuring Bill Frisell, Greg Leisz, Reuben Rogers and Eric Harland and there’s a vocal by Norah Jones that will leave you checking for your pulse. An album of pristine beauty, refined elegance and passionate emotion. TC
Like this? Try these: Real Estate – Days Deerhunter – Halcyon Digest Girls Names – Arms Around a Vision
Dublin’s Biggest Little Venue For event listings & venue rental visit www.bellobardublin.com
Live Music at Portobello Harbour
After a lengthy break between releases, Jack Colleran, aka MMOTHS, rturns with a new LP, Luneworks, released the week prior to this gig. It’s a collection of haunting, emotional electronica that marks him out as one of the city’s most exciting producers. There will also be some special guest appearances on the night.
photo: Jonas Lindstroem
MMOTHS Luneworks Album Launch Saturday 19 March | District 8 | 9pm, €16.63 – €19.94
LIVE GIGS 3Arena Green Floyd Thursday 3 March 5.30pm, €60.50/€76.05 Button Factory Joanna Newsom Saturday 12 March 8:00pm, €20 Olympia Theatre OKO + Tim Berne The Vincent(s) 7:00pm, €40.05 - €45.05 Sugar Club The Workman’s Club Lee “Scratch” Perry 7.30pm, €16 8:00pm, €10 Academy Country to Country ft. Miranda Ray Okpara 7:00pm, €26.50 Lambert Pygmalion The Gloaming 3Arena Tickets and Times TBA National Concert Hall 5.30pm, €60.50/€76.05 Tiz Mcnamara 8:00pm, Sold Out! Nathaniel Rateliff & The Night Whelan’s w/ Martin Hayes & Dennis Cahill, Iarla Sweats 7:45pm, €10 Ó Lionáird, Caoimhín Ó Raghallaigh Olympia Theatre Sunday 6 March Choice Music Prize 7pm, €23 Machine Head Vicar Street Quireboys Olympia Theatre 7:30pm, €25.50 Voodoo Lounge 7:00pm, €31 Friday 4 March 7pm, €20 Sabaton Adele Bob Moses Vicar Street 3Arena Button Factory 6:30pm, €30 6:30pm, €54-121 Sold Out! 7pm, €TBC With Special Guests Alestorm and Petite Noir Lady Leshurr Bloodbound Academy Academy Taylor Davis 7:00pm, €14.50 6.30pm, €15 The Sugar Club C Duncan Stewart Francis 8:00pm, €22 Whelan’s Vicar Street Hamell on Trial 8pm, €13 8pm, €25 The Workman’s Club With Special Guest Tom Low Bleeding Heart Pigeons 8:00pm, €15 Patrick Topping Whelan’s Tuesday 8 March 2016 Button Factory 8pm, €10 Ruby Sessions 11:00pm, €15.50-18.50 Bill Ryder Jones Doyles Alan Fitzpatrick The Workman’s Club 7.30pm, €5 District 8 8pm, €14 Olivia Trummer 11:00pm, €15-18 Ménage à Trois St Ann’s Church C Duncan Annesley House 7.30pm, €18 Whelan’s 8.30pm, €10 Thursday 10 March 8:00pm, €13 Freedom The Wonder Stuff Aoife Scott St. Finian’s Lutheran Church 7pm, €25 The Workman’s Club 7.30pm, €12-15 The Manfreds 8:00pm, €12 Sunday 13 March Vicar Street Mirrors Country to Country ft. Carrie 8pm, €35.50 Dlr Lexicon Underwood Friday 11 March 8:00pm, €12-15 3Arena Boyce Avenue Saturday 5 March 5.30pm, €60.50/€76.05 Olympia Theatre Adele Oh Wonder 7pm, €28.50-31 3Arena Whelan’s w/ Calum Scott 6:30pm, €54-121 Sold Out! 7pm, €14.90 Lucy Spraggan The Cult Cradle of Filth Academy 2 Vicar Street Academy 6pm, €15 7:00pm, €45 7pm, €25 The Academic With Special Guests Broken Hands Nathaniel Rateliff & The Night Vicar Street Wolf Alice Sweats 8pm, €17-19 Olympia Theatre Olympia Theatre Bill Laurence Project Doors TBA, €23 7pm, €23 The Sugar Club Xerosun Empire Circus 8pm, €20:40 Fibber Magee’s Unitarian Church Country to Country ft. Eric Church Time and Tickets TBA 9458_BOXTY_TOTALLY_DUBLIN_AD_ART.pdf 1 24/09/2015 14:35
8pm, €12.50 Tuesday 15 March Grimes Olympia Theatre 7pm, €30.90 w/ HANA Wednesday 16 March DJ Krush The Sugar Club 8pm, €20.90 Aslan Olympia Theatre 7pm, €32.50-34.50 Ejeca District 8 11pm, €15-20 Dynamo 3Arena 6pm, €45 Thursday 17 March Half Moon Run Academy 7:30pm, €21.50 w/ Aidan Knight Traumer Button Factory 7:30pm, €12 Friday 18 March The Marianne’s The Workman’s Club 8:00pm, €10 Saturday 19 March MMOTHS - Album Launch District 8 9pm, €16 Shane Filan Olympia Theatre 7:00pm, €33.50-160.95 Sunday 20 March 2016 Amorphis Button Factory 6:00pm, €25 Heather Small Vicar Street 8:00pm, 54.65 Tuesday 22 March 2016 Battles Button Factory 7:30pm, €25 Rupaul’s Drag Race Olympia Theatre 7:00pm, €41-50 Thursday 24 March The 1975 3Arena
Time TBA, €34 Natalie Merchant Olympia Theatre 7:00pm, €34.50-40.05 Skinny Living Whelan’s 8:00pm, €13 Straight No Chaser Vicar Street 8:30pm, €28 Saturday 26 March 2016 At the Drive-In Vicar Street 7:00pm, €31-46 Special Guests Le Butcherettes Skream District 8 11:00pm, €15-20 Maribou State Button Factory 11:00pm, €15 Rise Voodoo Lounge 9:30pm, €10 With Special Guest Liam Wilson Sunday 27 March Damien Dempsey Vicar Street 8:00pm, €32 Monday 28 March The Vamps 3Arena 7.30pm, €14.85-€106 Tuesday 29 March Moonspell Button Factory 7pm, €25 Sunset Sons Academy 7.30pm, €17.50 Wednesday 30 March Little Mix, Nathan Sykes, and MiC LOWRY 3Arena 6.30pm, €36-147 Jack Garratt Academy 7pm, €22.50-23.50 Thursday 31 March Jess Glynne Olympia Theatre 7pm, €26.80-28.90 Friday 1 April Gregory Porter Olympia Theater
7pm, €36.50-44.50 Girl Band Vicar Street 7pm, €19 Marcel Dettmann District 8 11pm, €15-20 Wyvern Lingo Button Factory 7.30pm, €16 Saturday 2 April Matt and Kim Button Factory 7.30pm, €16 Janet Jackson 3Arena 6.30pm, €41.55-51.65 Gregory Porter Olympia Theater 7pm, €36.50-44.50 Peter Hook and the Light Academy 7pm, €23.50 Danny Daze Button Factory 11pm, €13 The Meatbodies The Workman’s Club 8.00pm, €12 Duke Special The Stables – Tara Na Ri 9.30pm, €17.35 Sunday 3 April Matt Corby Academy 7.30pm, €20-23 Danny Driver Freemason’s Hall 8pm, €15-20 Tuesday 5 April Muse 3Arena 6.30pm, €63.50-195 Lucius Academy 7.30pm, €18 Wednesday 6 April Moderat Vicar Street 7pm, €28
CLASSICAL Wednesday 2 March Kaleidoscope Night Bello Bar 8pm, €8–€14 Featuring music by Jean Frainçaix, GP Telemann, Ian Wilson and Kate Bush Friday 4 March Abdullah Ibrahim: Solo Piano NCH, Main Auditorium 8pm, €29.50–€39.50 Monday 7 March Festival of Music NCH, Main Auditorium 7.30pm, €10 Tuesday 8 March Artane School of Music – Annual Showcase NCH, Main Auditorium 8pm, €15/10 Wednesday 9 March That’s Entertainment! – A Celebration of MGM Film Musicals NCH, Main Auditorium 8pm, €15–€40 Drums and Guns - Commemorat-
ing WWI & The Rising Lia Academy 7.30pm €12/8 Thursday 10 March Drums and Guns - Commemorating WWI & The Rising Lia Academy 7.30pm €12/8 Friday 11 March We’re Old Fashioned NCH, John Field Room 1.05pm, €18/16 RTÉ NSO – Ó Riada, Prokofiev, Sibelius NCH, Main Auditorium 8pm, €15-€35 Saturday 12 March CAOS Ensemble Performance NCH, Engineering Library 5pm, €5 Angela Gheorghiu, soprano NCH, Main Auditorium 8pm €95, 79.50, 62.50/€50 choir balcony Sunday 13 March
Anton & Erin: Just Gotta Dance NCH, Main Auditorium 4:15 pm & 8pm, €34.50–€56.50 Tuesday 15 March The Kilfenora Céilí Band NCH, Main Auditorium 8pm, €20–€35 Thursday 17 March St. Patrick’s Day Celebration NCH, Main Auditorium 8pm, €20–€45 Friday 18 March RTÉ NSO Rachmaninov, Shostakovich NCH, Main Auditorium 8pm, €15–€35 Saturday 19 March Donavan’s 50 Years of Music Tour NCH, Main Auditorium 8pm €20–€35 Monday 21 March Easter Musical Picnic with the ECO Band NCH, John Field Room 1pm, €12/10
Nadene Fiorentini, Piano NCH, John Field Room 8pm, €15/12.50 Tuesday 22 March Free State 9 NCH, The Studio 6pm, €10/8 Essential Classics with conductor John Wilson NCH, Main Auditorium 8pm, €11-€38 Wednesday 23 March Sounds of Spring NCH, Kevin Barry Room 11am & 12.30pm, €12 Friday 25 March RTÉ Contempo Quartet: The Seven Last Words of Christ NCH, Main Auditorium 1.30pm, €12 (Free if attending the 3.30pm performance) RTÉ NSO Bach St John Passion NCH, Main Auditorium 3.30pm €18–€40
Monday 28 March Imagining Home: America NCH, Main Auditorium 8pm, €22.50–€39.50 Tuesday 29 March Imagining Home: England NCH, Main Auditorium 8pm €22.50–€39.50 Wednesday 30 March Imagining Home: Into Europe NCH, Main Auditorium 8pm, €22.50–€39.50 Thursday 31 March Imagining Home: On Revolution NCH, Main Auditorium 8pm, €22.50–€39.50 Friday 1 April Imagining Home: The Literary Imagination NCH, Main Auditorium 8pm, €22.50–€39.50 Saturday 2 April Imagining Home: This Is Ireland NCH, Main Auditorium 8pm
€39.50, €29.50, €22.50 Sunday 3 April Imagining Home: Out Of The Tradition NCH, Main Auditorium 8pm, €22.50–€39.50 Tuesday 5 April UCD Symphony Orchestra: War and Peace NCH, Main Auditorium 8pm, €10–€18 Wednesday 6 April Kaleidoscope Night Bello Bar 8pm €8–€14 Classical and contemporary composition, first Wednesday of each month ESB Feis Ceoil Gala NCH, Main Auditorium 7.30pm, €15
King Friday 1 April | The Sugar Club | 10pm, €12.50 Twins Paris and Amber Strother and musical sister Anita Bias are King, who visit Ireland for the first time hot off the release of their debut record, We Are King. The three-piece channel soul, pop and funk and have been garnering a huge reputation across the Atlantic with a sound that calls to mind SWV, En Vogue and Tom Tom Club draped in contemporary production. Definitely one to get in on the act early for. You’d be a fool to miss it.
SUNDAY Jazz Brunch Gibson Hotel, Point Village, D1 Midday, Free Stella Bass Cafe en Seine, Dawson St. D2 2.00pm, Free Jazz Session JJ Smyths, Aungier St. D2 4.30pm, €10 Stella Bass Quintet Searsons, Upper Baggot St. D4 6.00pm, Free MONDAY Hot House Big Band Mercantile, Dame St. D2 8.45pm, €5 Essential Big Band Grainger’s, Malahide Rd. D3 9.30pm, €5 TUESDAY Phoenix Big Band Tara Towers Hotel, Merrion Rd, D4 9.00pm, Free Tom Harte Quintet Leeson Lounge, Upr Leeson St. D2 9.00pm, Free Jazz Session International Bar, Wicklow St. D2 9.30pm, €5 WEDNESDAY Jazz Session (1st Weds of the Month) The House, 4 Main St. Howth, Co.Dublin 7.30pm, Free THURSDAY Jazz Session JJ Smyths, Aungier St. D2 8.30pm, €10 Jazz Session International Bar, Wicklow St. D2 9.30pm, €5
FRIDAY Jazz Session Mint Bar, Westin Hotel, D2 10.30pm, Free SATURDAY Jazz Session Barkers, Blackrock, Co. Dublin 8.00pm, Free Jazz Session Marcel’s, 13 Merrion Row, D2 8.00pm, Free ONE OFF Friday 4 March Abdullah Ibrahim Main Auditorium, NCH, D2 8.00pm, €29.50/€39.50 Sunday 6 March John Moriarty/Myles Drennan Qrt. JJ Smyths, Aungier St. D2 4.30pm, €10 Thursday 10 March Graham J JJ Smyths, Aungier St. D2 8.30pm, €15 Friday 11 March Bill Laurance Qrt. Sugar Club, Leeson St. D2 8.00pm, €17.50 Saturday 12 March OKO & Tim Berne Sugar Club, Leeson St. D2 8.00pm, €16 Thursday 24 March Speakeasy, D2 Area 7.30pm, Invite only Details (087) 2878755 Saturday 26 March Cormac O’Brien & Kit Downes (UK) JJ Smyths, Aungier St. D2 9.00pm, €12
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COMEDY Wicked Wolf Comedy Night Wicked Wolf, Blackrock 8pm, €5 Every second Tuesday The Comedy Improv The International 9pm, €5 Every Monday Talk Talk Panel Show The International 9pm, €5 Every Tuesday The Comedy Cellar The International 9pm, €8 Every Wednesday International Comedy Club The International 8.30pm, €10 Thursdays, Fridays & Sundays 7.30pm & 10.15pm, €10 each Each Saturday Battle of the Axe The Ha’penny Bridge Inn 8pm, €5 with flyer Capital Comedy Club Chaplins Tuesdays, Thursdays, Fridays & Saturdays Doors 8.15pm €10 (students €5 Thursdays), €3 Tuesdays The Comedy Crunch The Stag’s Head 7pm, free event Each Sunday & Monday Alan Carr Anseo Comedy Club Anseo 9pm, Pay what you want Every Wednesday Wicked Wolf Comedy Night Wicked Wolf, Blackrock 8pm, €5 Every second Tuesday The Comedy Improv The International 9pm, €5 Every Monday Talk Talk Panel Show The International 9pm, €5 Every Wednesday The Comedy Cellar The International 9pm, €8 Every Wednesday International Comedy Club The International 8.30pm, €10 Tuesdays, Fridays & Sundays 7.30pm & 10.15pm, €10 each Each Saturday Battle of the Axe The Ha’penny Bridge 8pm, €5 with flyer Tuesdays or Thursdays Capital Comedy Club Chaplins Tuesdays, Thursdays, Fridays & Saturdays Doors 8.15 pm
€10 (students €5 Thursdays), €3 Tuesdays The Comedy Crunch The Stag’s Head 7pm, free event Each Sunday & Monday ONE OFFS Thursday 3 March Neil Delamere Pavilion Theatre, Dún Laoghaire 7.30pm, €20/22 Friday 4 March David O’Doherty - ‘We Are All in the Gutter, But Some of Us Are Looking at David O’Doherty’ Vicar Street 7.30pm, €25 Friday 4 & Saturday 5 March Brendan Grace Pavilion Theatre, Dún Laoghaire 7.30pm, €31 Friday 4 & Saturday 5 March Joe Rooney, Andrew Stanley & James Goldsbury Chaplin’s Comedy Club 9pm, €10 Sunday 6 March Gar Murran & Paul Crowley The Stag’s Head 8.15pm Thursday 9 March Des Bishop - Grey Matter Civic Theatre, Tallaght 7.30pm, €20/22 Thursday 10 March Foil, Arms & Hog - Skiddlywup Draíocht 7.30pm, €12/14 Friday 11 & Saturday 12 March Paul Tylak, Patrick Murray & Allyson June Smith Chaplin’s Comedy Club 9pm, €10 Saturday 12 March Stewart Francis: Pun Gent Tour Vicar Street 7.30pm, €25 Wednesday 16 March St. Patrick’s Day Special, Line-up TBA Chaplin’s Comedy Club 9pm, €10 Friday 18 & Saturday 19 March John Colliery, Kieran Lawless & Eoin Kavanagh Chaplin’s Comedy Club 9pm, €10 Friday 18 & Saturday 19 March Jason Byrne – 20 Years A Clown Vicar Street 7.30pm, €28 Tuesday 22 March Mark Thomas – Trespass The Sugar Club 7.30pm, €23 Rupaul’s Drag Race - Battle of the Seasons Olympia Theatre, 7.30pm, €41 Thursday 24 March 10 Acts for €3 Chaplin’s Comedy Club 9pm, €3
Foil, Arms & Hog - Skiddlywup Civic Theatre, Tallaght 7.30pm, €18/20 Des Bishop - Grey Matters Pavilion Theatre, Dún Laoghaire 7.30pm, €20/22 Friday 25, Saturday 26 & Sunday 27 March Frankie Boyle - Hurt Like You’ve Never Been Loved Olympia Theatre 7.30pm, €33.50/35.50 Saturday 26 March Gearóid Farrelly, Eric Lalor & Peter Flanagan Chaplin’s Comedy Club 9pm, €10 Deirdre O’Kane - A Line O’Kane Draíocht 7.30pm, €16/18 Saturday 2 April Foil, Arms & Hog – The Big One Vicar Street 7.30pm, €23
FESTIVALS Mountains to Sea DLR Book Festival 2016 The eagerly anticipated Mountains to Sea Book Festival takes over the Dún Laoghaire area for five whole days. Headlining the festival is Michael Parkinson in conversation with his son, while Donal Ryan, Pauline Bewick and Nuala O’Connor also appear. For more, see www.mountainstosea.ie Wednesday 9 - Sunday 13 March St. Patrick’s Festival The annual burst of state-sponsored Paddywhackery this year features a boatload of green-tinted festivities. Amongst the highlights are the Irish Craft Beer and Whiskey Village which takes over the Main Hall of the RDS from the Wednesday night through to the Saturday, while there is also street theatre events, walking tours, live music, the Dublin Bay Prawn Festival rolled into events and the highlight, the Parade. For everything, see www. stpatricksfestival.ie Thursday 17 - Sunday 20 March Easter Rising Centenary The Easter Rising centenary is being celebrated over Easter which may seem logical, but it’s actually just shy of the actual centenary of the events, given that they occurred in April of 1916. Events have been taking place across the country from the early part of the year in fact, but the main remembrances around the city will take place over the 25th to 27th March. The huge program, which aims to acknowledge the complexity of the events and their legacy in the formation of the Irish state, is detailed at www.ireland.ie One City One Book 2016 This year, the book chosen for the campaign is Lia Mills’ Fallen, which is set amongst the ruins of WWI and
the Easter Rising, so it’s cunningly tuning into the centenary bonanza with its tale of love, war, strife and the general awfulness of trying get along with being Irish. For more see www. onecityonebook.ie Friday 1 - Saturday 30 April
POKER Fitzwilliam Casino & Card Club Monday 8:30pm: €75 + €5 No Limit Freezeout. Tuesday 8:30pm: €50 + €5 No Limit Double Chance Freezeout. Wednesday 8:30pm: €20 + €5 Hold’em Multirebuy. 7:30pm: Satellite Tournament. Thursday 8pm: €45 + €5 + €10 Scalp No Limit Freezeout. 9:30pm: €30 + €5 Pot Limit Omaha Triple Chance. Thursday End of Month €250 + €20 Freezeout. Friday 8:30pm: €70 + €5 No Limit, Double Chance. Saturday 8pm: €100 + €10 Deepstack No Limit Freezeout. 9pm: €20 + €5 No Limit Freezeout. Sunday 8:30pm: €50 + €5 No Limit Freezeout. www.fitzwilliamcardclub.com
KIDS Beatrice the Busy Bee The Ark, Temple Bar Saturday 12 March, 10.15am & 11.30am, €11/€8 BEES! A Musical The Ark, Temple Bar Until Sunday 13 March Every Sat & Sun at 2pm & 4pm, €12/€9 School performances Wed to Fri at 10.15am & 12.15pm, €5 per student Put Yourself in the Picture The Ark, Temple Bar Saturday 19 March - Sunday 3 April Every day (except Good Friday and Easter Sunday) at 11am, 2.15pm & 3.30pm (Free) Sit for a Portrait The Ark, Temple Bar Saturday 19 March - Sunday 3 April Faces in The Window 2016 The Ark, Temple Bar Sunday 20 - Wednesday 30 March Each session will be 10-20 minutes, free Early Years Workshop: Look at Me! The Ark, Temple Bar 22, 26, 29 March, 2 & 5 April 10am & 11.30am, Free
Imagining Home Monday 28 March – Sunday 3 April | National Concert Hall | 8pm each night, €22.50€39.50 each concert Inspired by the 1916 Proclamation, Imagining Home speaks of Ireland’s cultural journey over the last 100 years, its place in the world today and its shared future. Bringing together an array of talented writers, artists and musicians including Paul Brady and Kevin Rowland and featuring the première of Casement/Conrad by Colm Tóibín and Donnacha Dennehy, Imagining Home will stretch out over the course of a full week, with each day providing subtle time to tell a different chapter, some based on our relationships with America, England and ourselves, and others themed on Revolution and The Literary Imagination.
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CLUBBING Monday Soul, Funk and Disco with Upbeat Generation Industry Nightclub, 11.30pm Sound Mondays Turk’s Head, Parliament St Indie rock, garage and post-punk 11pm, free Dice Sessions Dice Bar, Smithfield The Industry Night Break For The Border DJ Ken Halford Buskers, Temple Bar Chart pop, indie rock, rock, 10pm Thank God It’s Monday Ri Ra, Georges St Electro, indie and big beat 11pm, free Simon S Fitzsimons, Temple Bar 11pm, €5 Language Exchange Ireland DTwo, 6.30pm Like speed-dating, but for learning languages Tuesday We Love Tuesday Ri Ra, Georges St Martin McCann’s eclecticism 11pm, free Ronan M Fitzsimons, Temple Bar 11pm, €5 Wednesday FUSED! Ri Ra, Georges St 80s and electro, 11pm, free Fubar! The Globe, Georges St 11pm, free Dirty Disco Dtwo, Harcourt St Chart pop Wednesdays at Dandelion Dandelion, Stephen’s Green Student night Moonstompin’ Grand Social, Liffey St Ska and reggae 8pm, free Somewhere? Workman’s, Wellington Quay Free before 11 Indie and dance Simon S Fitzsimons, 11pm, €5 Kling Klang Wiley Fox Every second Wednesday, 8pm Krautrock, shoegaze, industrial, cosmic disco... Thursday Decades Club M, Bloom’s Hotel, Temple Bar FM 104’s Adrian Kennedy plays classics Free before midnight Boo! Wiley Fox Every third Thursday, 8pm Cold Wave, post punk, synth pop, deathrock LITTLE big Party Ri Ra, Georges St
Soul, indie and rock ‘n’ roll 11pm, free Mischief Break For The Border, Stephen St 11pm, €8 Take Back Thursdays Industry Bar and Venue, Temple Bar 10pm Mercantile, Dame St Indie, Britpop and alternative 10.30pm Push Workman’s, Wellington Quay Soul, funk, disco and house Weed and Seven Deadly Skins Turks Head, Parliament St 11pm, free, Live reggae Loaded Grand Social, Liffey St 8pm, free Indie and alternative Zebra Whelan’s, 11pm, Free Bands and DJs show their stripes Poison: Rock, Metal, Mosh & Beer Pong The Hub, €4/7, 10.30pm Flashed Techno / House / Hiphop / Reggae / RnB €5, 10pm Friday My House Buck’s Townhouse, Leeson St With special guests Club M Friday Club M, Bloom’s Hotel, Temple Bar DJ Dexy on the decks We Love Fridays Dandelion, Stephen’s Green DJ Robbie Dunbar Friday Night At Vanilla Vanilla Nightclub, D4 Chart-topping hits, 11pm Car Wash Sin, Temple Bar Retro disco 9pm, free before 11 Friday @ Alchemy Alchemy Nightclub, Temple Bar Chart floor-fillers, 11pm WV Fridays Wright Venue, Swords €10, 11pm Irish DJs Resident DJ Café en Seine, Dawson St, 11pm, free Darren C Fitzsimons, 11pm, €10 Chart hits Saturday Simple Sublime Saturdays Club M, Bloom’s Hotel, Temple Bar Chart pop, dance and r’n’b Free before 11.30 Saturday @ Alchemy Alchemy Nightclub, Temple Bar Chart floor-fillers 11pm Dandelion Saturdays Dandelion, Stephen’s Green Two floors of summer sound Space: The Vinyl Frontier Ri Ra, George’s St Intergalactic funk, electro and indie
11pm, free Saturday Night SKKY Buck’s Townhouse, Leeson St Signature night Indietronic Grand Social, Liffey St Electro and indie, 8pm, free Propaganda The Academy, 11pm, €10 New and classic indie Saturday Night at Vanilla Vanilla Nightclub, D4, 11pm Andy Preston’s latest pop and rock Sugar Club Saturdays Sugar Club, Leeson St, 11pm Hidden Agenda Button Factory, Temple Bar, 11pm International techno and house Djs The Best Suite 4 Dame Lane High Voltage Foggy Dew, Temple Bar, 10pm Bounce Sin, Temple Bar R’n’b and chart, 9pm, €10 Workman’s Indie Residents Workman’s, Wellington Quay New and classic indie, 11pm, free BW Rocks Wright Venue Over 21s, neat dress, €10, 11pm A Jam Named Saturday Anseo, Camden St Lex Woo and friends, 7pm, free The 33 Club Thomas House Last Saturday of each month, authentic ‘Harlem’ funk and soul night 9pm, free Sunday The Burning Effigies Turks Head, Parliament St Real funk and soul Sundays at Sin Sin, Temple Bar Tribal and electro house 9pm, €10 Well Enough Alone Dice Bar, Smithfield Bluegrass The Beat Suite 4 Dame Lane Indie, electro and pop 10pm, free Mass with Sister Lisa Marie Workman’s, Wellington Quay 80s classics and hip hop, 10pm, free Saucy Sundays Grand Social, Liffey St Live music, 4.30pm, free Reggae, Ska, Rocksteady Foggy Dew, Temple Bar, 7.30pm, free Darren C Fitzsimons, 11pm, €5 Saturday @ Alchemy Alchemy Nightclub, Temple Bar Chart floor-fillers, 11pm ONE-OFFS Thursday 3 March R19 present &ME Hangar 10.30pm, €10/12 Paradox & Pumpers presents
Jacob B The Wiley Fox 11pm, €7/10 Friday 4 March Sense with Patrick Topping Button Factory 11pm, €20 Pyg & Culture Shock present Tini [Desoat] Pygmalion 10pm, €10 Alan Fitzpatrick & Rebekah District 8 10pm, €15/18/20 AnD & Sunil Sharpe – Techno & Cans Hangar 10.30pm, €10/12/15 Saturday 5 March Ame [DJ Set] District 8 11pm, €15/18/20 Ghostly International Showcase with Shigeto, Lord Raja & Heathered Pearls Opium Rooms 11pm, €10-€18 Pygmalion presents Ray Okpara Pygmalion 10pm, €10 Thursday 10 March The Family Tree // Endlec The Wiley Fox 10.30pm, €8/10 Friday 11 March Kerri Chandler & Voyeur District 8 11pm, €15-€20 Saturday 12 March Hidden Agenda & Sense: Bob Moses [Live] The Button Factory 11pm, €12/15 Wednesday 16 March Pygmalion’s 7th Birthday with Sven Väth, Matthias Tanzmann, Hybrasil (Live) Pygmalion 8pm, €25-€40 Network #7: Todd Terry, Bas Mooy, Ansome + Guests The Grand Social 9pm, €15-€20 Sense & Curve - Green Velvet Button Factory 11pm, €20-€25 Ejeca District 8 11pm, €15-€20 Out To Lunch with Young Marco & Intergalactic Gary Bar Tengu 10pm, €12.50 ChoiceCuts Presents DJ Krush The Sugar Club 8pm, €17.50 Thursday 17 March DJ EZ District 8 11pm, €18/20 Together & Room 19 - Traumer Button Factory 11pm, €9-€13 Saturday 19 March Sense with Secondcity
Button Factory 11pm €10/15 Mmoths - ‘Luneworks’ Album Launch Party District 8 11pm, €10/15 Leon Somov Passion Club 10pm, €15 Saturday 26 March Roni Size and Krust present Full Cycle Opium Rooms 11pm, €12/15 Sense with Maribou State & Pedestrian Button Factory 11pm, €10-€15 Skream District 8 11pm, €15-€20 Sunday 27 March Axel Boman, Kornél Kovács & Pedrodollar District 8 11pm, €15-€20 Sasha Button Factory 11pm, €15 Pyg Sundays presents Nightmares On Wax Pygmalion 9pm, €5/10
Friday 1 April Marcel Dettmann District 8 11pm, €15/20 Dip at Tengu Bar Tengu 10pm, €10 Saturday 2 April Gui Boratto Opium Rooms 11pm, €18-€25 Sense with Danny Daze Button Factory 11pm, €10/12.50 Boddika District 8 11pm, €15/20 Wednesday 6 April Moderat Vicar Street 7pm, Sold out! Friday 8 April Steffi Opium Rooms 11pm, €10/15 Format: B District 8 11pm €15/18/20 Saturday 9 April Sense with Artwork Button Factory 11pm, €8
Out To Lunch goes Dutch Wednesday 16 March | Bar Tengu | 10pm, €14.05 Celebrate our nation’s favourite day off with a night of Dutch club music at Tengu in Yamamori on the quays, featuring Young Marco doing a five (count ’em) hour set, while upstairs in Ping Pong, Intergalactic Gary does a three hour set, with your hosts Intercontinental Conway and Interdimensional Donovan going back to back too.
JANUARY - MAY 2016
Ar twork / B:Traits / Bob Moses [Live] / Breac h / Damian Lazarus / Danny Daze Denis Sulta / Dekmantel Soundsystem / East India Youth / Few Nolder [Live] Foals [DJ Set] / Friend Within / Gardens Of God / John Digweed / Low Steppa Maribou State [DJ Set] / Mr Scruf f / Patric k Topping / Pedestrian / Pleasurekraf t Sam Paganini / Sasha / Secondcity / Tom Trago / Traumer / William Kouam Djoko & many more still to be announced ma
Advance tic kets available via Tic ketmaster & Resident Advisor
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THEATRE characters in 100 minutes. Tuesday 29 March – Sunday 2 April 7.30pm, Matinee Sat 2.30pm, €28.50 The Bord Gáis Energy Theatre Let It Be Let It Be showcases the music of the world’s most successful rock‘n’roll band, in a spectacular concert charting the band’s meteoric rise from their humble beginnings in Liverpool’s Cavern Club, through the height of Beatlemania, to their later studio masterpieces. Monday 14 – Saturday 19 March Mon - Fri 7.30pm, Sat 4pm & 8pm, €25-€50 Brendan Cole: A Night to Remember Brendan, one of Strictly Come Dancing’s most charismatic choreographers and performers, will host throughout as he leads his cast on a journey of music and dance in a spectacular night of theatrical entertainment. Loaded with ballroom magic and Latin excitement, Brendan’s newest live music and dance extravaganza will be 2016’s must see show! 3 April 2016 8:00 pm Tickets €35, €37 & €42.50 Project Arts Centre After Miss Julie Miss Julie descends into the servants’ kitchen of her father’s country mansion in search of the chauffeur John. Over one long, balmy night, Miss Julie’s world is turned head over heels in this passionate tragedy. Friday 4 - Sunday 19 March 8pm, €15-€20 Opera Briefs The Royal Irish Academy of Music, in collaboration with The Lir National Academy of Dramatic Art present Opera Briefs which affords Irish audiences the opportunity to experience first-hand the next generation of Irish opera singers and stage technicians. The Monteverdi/Handel double bill centres around love triangles, proving that love hasn’t changed in 400 years: it’s still just as complicated! Tuesday 29 March – Sunday 2 April 2016 8.15pm, €12 - €20 The Pavilion Theatre, Dún Laoghaire The Dead School Two teachers, one from the old school and one from the new come into conflict. When these two come together, chaos is only round the corner. Tuesday 15 - Thursday 17 March 8pm, €20/18 The Magic Bookshop Peter and John work at the new arrivals desk. Great heaps of books have to be sorted and categorized and sometimes sent to the dreaded shredder. The two friends do their very best to make sure every book gets a new life and that none of the magic is lost. Step inside this unusual shop, swap a book and and maybe even take a little of the magic
home with you. Please bring a gently used book to swap! Sunday 20 March 12pm, 1.15pm, 2.45pm & 4.15pm, €6.50/€8.50 Swing A show about dancing and music and love and not settling and feeling like an eejit and being brave and having doubts and trying your best and trying new things and thinking outside the box and seeing things clearly and living as well as you can and giving it a lash. It’ll make you want to dance. Wednesday 23 March 2016, 8pm, €18/16 Gay Byrne Live on Stage The grandfather of Irish TV returns to the stage. Friday 25 March 8pm, €22.50/€20 Madame de Markievicz on Trial Set in a courtroom and a prison cell during the autumn of 1917 the drama is centred around Constance Markievicz and her depiction of an event in Dublin during Easter 1916 when a policeman was fatally shot. The dialogue is largely based on the extensive speeches made by Markievicz during this time and the audience is left to decide to the verdict. Thursday 31 March & Friday 1 April 8pm, €18/€16 The Mill Theatre, Dundrum The Crystal Cage Disaster strikes the Kingdom of Enchantasia when all the rainbows disappear!!! The Leprechauns, bankers to the magical world, are deeply troubled as without rainbows they cannot locate their gold. Can The Great Wizard Strogroth and the Fairies of the Kingdom save the day and restore the rainbows to the skies of Enchantasia? Thursday 24 – Tuesday 29th March 2.30pm, €12.50/€10 The King As part of the 1916 Anniversary celebrations, Balally Players Theatre Company present a vibrant, immediate and insightful reimagining of the rarely performed The King by Patrick Pearse. Fusing choral movement and voice, specially commissioned live music and a large ensemble cast, this will be a celebration of the artistic, political and cultural importance of Pearse’s work for the theatre. Wednesday 30 March - Friday 1 April 8pm, €14/€12 Mermaid Arts Centre, Bray Charolais Perfectly marbled and bashed about till tender: a surreal, black comedy of love, longing and one woman’s intense rivalry with a Charolais Heifer. This is a muddy place of simmering desire minced with a loneliness that cuts to the bone. Rarely in Irish theatre are the challenges of farming life and the joy of sex expressed so frankly or with such charm. If you are fond of cows and dark humour this is the show for you. Developed as part of SHOW IN A
OS O R
BAG initiative of Fishamble: The New Play Company, Irish Theatre Institute and Dublin Fringe. Friday 18 March 8pm, €16/€14 Draíocht, Blanchardstown Rebel Rebel Dublin, 24 April 1916. Dropping their costumes in the dressing room, two of lreland’s leading actors abandon their matinee of Yeats’ Cathleen Ni Houlihan, the play which more than any other in the Abbey’s repertoire symbolised the link between the cultural revival and the Irish revolution. Instead, they take their revolvers and march to Dublin Castle. Inciting each other all the way, they fire the first shots of the rebellion changing the course of Irish history. Thursday 24 March 8.15pm, €16/12 Swing It’ll make you want to dance. Thursday 31 March 8pm, €18/€14/€12 Civic Theatre, Tallaght They Called Her Vivaldi Edward M. Haberdasher has crafted very peculiar earmuffs for his very particular daughter Cecilia Maria. Don’t shout about it but Cecilia Maria thinks they make her look fascinating and has whispered her thanks. This is an upbeat comedy-adventure about a sensitive musical-prodigy making a quiet name for herself in a cacophonous world.
Tuesday 8 March 9.45am & 11.30am, €6.50 (Teachers free) The Way of the World A classic restoration comedy with the memorably characters Lord Foppington and Lady Wishfort. Tuesday 8 – Saturday 12 March 7.30pm, €10 The Kings of the Kilburn High Road In the mid- 1970’s a group of young men left their homes in the West of Ireland, took the boat out of Dublin Bay and sailed across the sea to England in the hope of making their fortunes and returning home. Twenty-five years later only one, Jackie Flavin, makes it home, but does so in a coffin. The Kings of the Kilburn High Road takes place on the day the winners and losers of the group meet up to drink to Jackie Flavin’s memory and look at their lives, lost dreams and their place in the new Ireland. A wonderful play full of humour and human sadness. One not to be missed! Friday 10 – Sunday 12 March 8pm, €20/€16 The Picture of Dorian Gray Influenced significantly by Lord Henry Wotton, Dorian Gray is drawn into a debauched double life. Beguiled by the beauty of his own impeccable portrait, Gray exchanges his soul for everlasting beauty and timeless youth. Wednesday 23 – Saturday 26 March
8:15pm, €12/€8 The Cripple of Inishmaan The Cripple of Inishmaan is set on the remote island of Inishmaan off the west coast of Ireland. Word arrives that a Hollywood film is being made on the neighboring island of Inishmore. The one person who wants to be in the film more than anybody is young Cripple Billy, if only to break away from the bitter tedium of his daily life. The Cripple of Inishmaan examines an ordinary coming of age in extraordinary circumstances and shows once more that playwright Martin McDonagh is master of the deepest, darkest and most powerful humour Friday 25 & Saturday 26 March 8pm, €18/16 Axis: Ballymun Granuaile: Pirate Queen Axis’ new show is a brilliant piece of interactive storytelling for all the family about Ireland’s Pirate Queen ‘Granuaile’, aka Grace O’Malley. Set sail from the wilds of Ireland’s West on a wonderful journey with Gabrielle and her annoying brother Karl as axis theatre transforms into an exciting world of pirates, high seas, courage and adventure. Saturday 5 – Wednesday 16 March 8pm, Tickets €7/5 Swing It’ll make you want to dance. Tuesday 29 March 8pm, €15/€12
Caoimhe O’Malley in Juno and the Paycock at the Gate Theatre. Photo Pat Redmond
Juno and the Paycock Throughout March | The Gate Theatre | 7.30pm, €27–€37.50 The Gate are bringing back to the stage the second of Sean O’Casey’s ‘Dublin trilogy’, Juno and the Paycock. A rollercoaster of comedy and tragedy, O’Casey takes you through the highs and lows of Juno and her husband, Jack Boyle, alongside their opinionated children in the Dublin tenements. The struggle between hardworking Juno and work shirking Jack is one many a couple can easily relate to, and promises to leave the audience hanging on every word. Performances nightly except Sundays, with matinees at 2.30pm each Saturday.
TER BAR BE R OP SH
Abbey Theatre Cyprus Avenue Eric Miller is a Belfast Loyalist. He believes his five-week old granddaughter is Gerry Adams. His family keep telling him to stop living in the past and fighting old battles that nobody cares about anymore, but his cultural heritage is under siege. He must act. (Peacock Stage) Until Saturday 19 March Monday – Saturday 8pm, Matinees Sat 2.30pm Tickets €25/€18 The Plough and the Stars Set amid the tumult of the Easter Rising, The Plough and the Stars is the story of ordinary lives ripped apart by the idealism of the time. The residents of a Dublin tenement shelter from the violence that sweeps through the city’s streets. A revolution that will shape the country’s future rages around them. What kind of Ireland awaits them? Wednesday 9 March – Saturday 23 April 2016 Mon – Sat 7.30pm, Matinees Wed & Sat 2pm Tickets €13 – €45 / €13 – €23 The Gate Theatre Juno and the Paycock The Gate Theatre is delighted to present Juno and the Paycock by Sean O’Casey. The play is set in Dublin in the early 1920s during the Irish Civil War period. Jack Boyle and his old friend Joxer Daly are two Dublin tenement dwellers who put more effort into avoiding work than most do in securing it! Jack’s wife Juno is the breadwinner and moral powerhouse, but she can’t stop her life unravelling. Until Saturday 16 April Mondays & Matinees: €27 Tuesdays – Thursdays: €34 Fridays & Saturdays: €37.50 The Gaiety Theatre Breaking Dad Ross O’Carroll-Kelly is entering his middle years in the year 2022. Ireland is in the midst of an unexpected economic boom with debts repaid in full, the people are once again selling houses to each other for five times what they’re worth and Bertie Ahern is set to become Taoiseach again at the age of 71. Ross hasn’t a care in the world until his teenage daughter arrives home from Wesley one night with the captain of the Blackrock College rugby team – and Ross is forced to face up to the lesson that you must reap what you have sown. Monday 14th – Saturday 26th March Mon - Sat 8pm, Matinees Sat 3pm, €28.50 The 39 Steps The 39 Steps follows dashing hero Richard Hannay – complete with stiff upper lip, British gung-ho and pencil moustache – in a dangerous tale of cat-and-mouse from London to the Scottish Highlands. In this hilarious production four actors play over 130
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Image: Richard T. Walker, let this be us, 2012. Single channel HD installation Courtesy of the artist and Carroll/Fletcher.
Neil Carroll, Amanda Coogan, Martin Healy, Juntae T.J Hwang, Nevan Lahart, Amanda Rice, Sonia Shiel, Marcel Vidal and Richard T. Walker. Curated by Paul McAree.
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ART Artbox James Joyce Street, D1 artboxprojects.wordpress.com Barbara Knezevic & Tadhg McSweeney, Object Wars Object Wars explores the rich history of object making, collecting and the place of the object in fine art today. Museum collections and the objects therein, are often seen as the vehicle of historic human narrative. Until Saturday 5 March Axis: Ballymena Main Street, Ballymena axis-ballymun.ie Seamus Kelly, Concrete People Exhibition of photography that originally featured in Ballymena Concrete News between 1998 and 2006. Until Thursday 31 March Chester Beatty Library Francis Street, D8 cbl.ie Arts of the Book Permanent exhibition of books from the ancient world. Sacred Traditions Permanent exhibition of books and texts from various religious traditions of the world. Cross Gallery 59 Francis Street, D8 crossgallery.ie Anna Rackard, Under into Somewhere Inspired by Francisco De Goya’s painting titled El Sueño, Under into Somewhere takes the form of a series of large format photographic portraits of sleeping figures, accompanied by a sound piece; inspired by the sleepers’ dreams. Until Saturday 26 March Draíocht Gallery The Blanchardstown Centre, Blanchardstown, D15 draiocht.ie
Ruth McDonnell, Glimpse These drawings and paintings capture glimpses of cinema interiors and fleeting images of the facades of Irish picture houses. Glimpse is infused by Ruth McDonnell’s own passion for cinema and by the years she has spent working in film and television. (Ground Floor Gallery) Until Saturday 7 May Douglas Hyde Gallery Nassau Street, D2 douglashydegallery.com Bill Lynch In Gallery 1. Opening Thursday 3 March 6pm-7.30pm Friday 4 March - Thursday 5 May Verne Dawson In Gallery 2. Opening Thursday 3 March 6pm-7.30pm Friday 4 March - Thursday 5 May Dublin City Gallery, The Hugh Lane Parnell Square, D1 hughlane.ie Julie Merriman, Revisions Revisions is part of Interaction with the City, the second strand of the Dublin City Public Art Programme, and is funded from the Per Cent for Art Scheme through the Department of the Environment, Community and Local Government. Until Sunday 10 April Gallery of Photography Meeting House Square, Temple Bar, D2 galleryofphotography.ie Framing Perceptions Until Sunday 3 March Irish Museum of Modern Art Military Road, D8 imma.ie Grace Weir, 3 Different Nights, recurring 3 Different Nights, recurring is the largest exhibition of Grace Weir’s work
to date, comprising some 30 works including three major new film commissions, A Reflection on Light, Black Square and Dark Room, and two new series of paper works, The history of light (Betelgeuse) and Future Perfect. These new pieces are presented with complementary works that together span over 20 years of Weir’s creative output. Until Sunday 6 March Nick Miller and the studio of Edward McGuire In 2009 Sally McGuire, wife of the late Edward McGuire formally donated the contents of the artist’s Dublin studio to the National Collection at IMMA. The artist Nick Miller was invited to respond to the contents of the studio and this exhibition is the culmination of this process. Until Sunday 3 April Approaches to paper This exhibition explores the many facets of artists studio practice and includes work by artists such as Eward Allington, Antony Gormley, Mainie Jellett, Alice Maher, Hermione Wiltshire and Bill Woodrow. Until Sunday 3 April Les Levine, Using the Camera as a Club IMMA presents, for the first time, a group of unique cibachrome photographs by internationally renowned artist Les Levine. The photographs are of key media billboard campaigns, which the artist staged during the 1980s and ‘90s. Until Sunday 3 April Kerlin Gallery Anne’s Lane, South Anne Street, D2 kerlingallery.com Jan Pleitner, Water for the Tribe A first solo exhibition of the German abstract painter who’s work channels science fiction and is often and
features paintings which are often completed in single marathon sittings. Until Thursday 10 March Richard Gorman, Iwano An exhibition of new work on Echizen kobo wash paper, titled in recognition of master paper producer Iwano Heizoburo, featuring a series of colourful paper diptychs on an un precedentedly large scale. Wednesday 16 March – Sunday 17 April Kevin Kavanagh Gallery Chancery Lane, D8 kevinkavanaghgallery.ie Robert Ballagh, Who Fears to Speak of the Republic Legendary Irish artist, who is a founder of Reclaim 1916, presents work inspired by the centenary celebrations and their legacy. Thursday 10 March - Thursday 7 April The Lab Foley Street, D1 dccartsoffice.ie/the-lab Bridget O’Gorman, In The Flesh Until Saturday 12 March Mother’s Tankstation Watling Street, D8 motherstankstation.com Matt Sheridan Smith, Pilot Fig. 3 Ep. 1 Until April NCAD Gallery Thomas Street, D8 ncad.ie/about/gallery Aurélien Froment, Shadows of Ideas His work may be seen as scientific studies, since his approach resembles that of a historian or researcher working in fields as diverse as architecture, design or mnemonics. Each of Froment’s propositions evolves from a pre-existing fact – an object, a situation or the work of an actual person – which he studies in a precise and
rigorous manner before he brings it to our attention and by doing so ensures it is preserved as a form of memory. Thursday 3 – Wednesday 30 March 30 The National Gallery of Ireland Clare Street, D2 nationalgallery.ie James Stephens, the National Gallery and the 1916 Rising Curated by Dr. Brendan Rooney, this exhibition explores Stephens’ witness accounts of the Rising. Until Sunday 24 April Oliver Sears Gallery Molesworth Street, D2 oliversearsgallery.com Ed Miliano, Woods Until Thursday 10 March Project Arts Centre 39 East Essex Street, Temple Bar, D2 projectartscentre.ie Nuria Guell, Troika Fiscal Disobedience Consultancy Catalan artist Núria Güell is an international agent provocateur, testing the limits of nations’ legal systems, interrogating how government institutions control citizens, and investigating possible abuses of power. For this exhibition, Güell has set her sights on the erosion of sovereignty, and the citizen’s right to dissent over debt repayment to the Troika. Until Saturday 12 March Royal Hibernian Academy Ely Place, D2 rhagallery.ie 27th of April Last On Thursday the 27th of April 1916, Academy House, most of its contents and the entire Annual Exhibition of that year were destroyed by fire during the Easter Rising. This presentation will observe the events that took place at Academy House in 1916 and the subsequent history of the Annual Exhibition and RHA premises using
items from the RHA Archives and Permanent Collection. It features historical records, publications, photographs, correspondence and architectural plans that are an integral part of the history of the Academy. Tuesday 22 March – Saturday 11 June RUA RED Blessington Road, Tallaght, Co. Dublin ruared.ie Carnage Visors A group show exploring the idea of making work today and the autonomy of an artwork being socially or politically aware, featuring Neil Carroll, Amanda Coogan, Martina Healy, Juntae T.J. Hwang, Nevan LaHart, Amanda Rice, Sonia Shiel, Marcel Vidal and Richard T. Walker. Monday 7 March - Saturday 9 April Solomon Fine Art Gallery Bale Street, D2 solomonfineart.ie Helen O’Sullivan-Tyrell, Tribe Until Saturday 5 March Easter Group Show Friday 11 March - Friday 2 April Temple Bar Gallery and Studios Temple Bar, D2 templebargallery.com Amie Siegel Guest curated by Megs Morley, this exhibition will present the work of film artist Amie Siegel at Temple Bar Gallery + Studios. Siegel’s installation work has been featured in high-profile exhibitions across Europe and the United States, while her videos and feature films have been show at Cannes, Berlin International Film Festival, MoMA and BFI Southbank, and she is a fellow of the Guggenheim Foundation also. Until Saturday 2 April
Richard T Walker, let this be us, 2012, 8 keys Dome Valley
Carnage Visors Monday 7 March - Saturday 9 April | Rua Red, Tallaght Carnage Visors, a collective exhibition showcasing some of the country’s pre-eminent artistic minds, aims to engage with one of thornier questions faced by modern artists and makers: is it possible to create work of genuine gravity within the global climate as it stands? Through a diverse, multi-disciplinary collection ranging from Richard T. Walker’s reflections within the landscape, to Juntae T.J. Hwang’s webcam experiments, Carnage Visors makes an optimistic, compelling argument for the significance and, crucially, permanence of art within a world of fleeting social media celebrity and round-the-clock news coverage.
Easter Term 4 April - 28 May 2016 French Courses for Adults, Teenagers, Children & Toddlers The French Language & Cultural Centre in Dublin 1 Kildare Street, Dublin 2 / www.alliance-francaise.ie
BEST OF… DECEMBER MARCH PART OF THE
1916 - 2016
Prior to the National and Parisian tour The New Theatre presents
MADAME DE MARKIEVICZ ON TRIAL
by Ann Matthews directed by Anthony Fox
The New Theatre, Dublin 2 1st-12th March 2016, 7.30pm
‘...an imaginative cracker of a play’ - Mail on Sunday
More info at thenewtheatre.com
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Choice… here, you’ve had Madame Markievicz On Trial a much. drama centred around Choice… here, you’ve never had as much. Signature Choice…de here, you’ve never never hadisas as much.Signature Signature cocktails with French fused Constance Markievicz depicting an Champagne event in Dublin at to Eascocktails served with style. French Champagne fused to cocktails served served with style. style. French Champagne fused to create sparkling surprises. Gin bursting with ter in 1916 when a policeman was fatally shot. It is set in create sparkling surprises. Gin concoctions bursting with create sparkling surprises. Gin concoctions concoctions bursting with botanicals. The purest of vodkas served just as they should abotanicals. courtroom a prison cell during thejust autumn ofshould 1917 The purest of served as botanicals. Theand purest of vodkas vodkas served just as they they should be. Irish, and Japanese… and the whiskeys… dialogue is largely based American on the actual be. And whiskeys… Irish, Scotch, American and Japanese… be.And And whiskeys… Irish,Scotch, Scotch, American andextensive Japanese… young, and old. for palette speeches by Markievicz during this time. young, old and very old. A wine for every palette and young,old oldmade and very very old. A A wine wine for every every palette and and bubbles for occasion, served Cast: Barbara Dempsey, Neillall Amy O’Dwyer, bubbles for every occasion, all served with effortless charm bubbles for every every occasion, allFleming, served with with effortless effortless charm charm in a lavish interior that is unmatched. With the largest Andrea Kelly, Siofrathat O’Meara and Ian With Meehan. in interior isis unmatched. the in aa lavish lavish interior that unmatched. With the largest largest drinks in whatever your just Written by Ann Matthews and directed by Anthony drinks menu in Dublin, whatever your taste, just ask. drinks menu menu in Dublin, Dublin, whatever your taste, taste, just ask. ask. Fox.
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BEST WHISKEY TOUR
The Old Jameson Distillery is the fount of the real ‘water of life’ in Dublin. A fascinating landmark in the history of the city, the Old Jameson Distillery also gives you a chance to put your taste buds to the test and prove you know your whiskey from your scotch. Any visits’ highlight is a trip to JJ’s Bar to sample the goods – from Jameson cocktails , to homemade infusions or a four part whiskey tasting - is quite the draw. Book online to get your admissions discount, open 7 days.
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BEST OF… MARCH
BEST DRINKS QUALITYMENU FOODS
BEST BARBER FOOD DELIVERY
BEST ONLINE BYOB STORE
CAFE EATHOSEN SEINE
The Butcher Barber DELIVEROO
KIOZQ THE HIDEOUT
Choice… as much. eathos washere, bornyou’ve out ofnever a lovehad of food and Signature healthy eating cocktails served withthan style.a year French Champagne and has been more in the making. fused to create sparkling surprises. Gin concoctions bursting with Their menu was devised after a year of testing hundreds botanicals. The purest of vodkas served just as they should of recipes and finding the best Irish produce, all of which be. Irish,what Scotch, American and and Japanese… goesAnd intowhiskeys… making eathos it is. Provenance quality young, oldimportant and very old. A wine for they everyhave palette andlist of are really to them, hence a long bubbles for every occasion, all served with effortless charm great Irish producers who supply them. Open Mondayin a lavish interior that is unmatched. With the largest Friday 7am-5.30pm and Saturday 8.30am-4.30 with full drinks menu in Dublin, whatever your taste,alljust breakfast, lunch and patisserie with brunch dayask. Saturday,
Whether a classic Collegefood Contour or service a Beckham-esque Deliverooit’s is an end-to-end delivery that brings Fauxhawk, Butcher Barber onto Johnson – the lane high-qualitythe local restaurant food homesCourt and offices just between Grafton Street and the Centre – is through a proprietary technology andPowerscourt logistics platform. the manenter for the job. Emmett and his staff ofitskilled Simply your address onByrne the homepage, and will show scissormen have restaurants accumulatedthat over 75 years of experience as you all the great deliver to you. Choose your barbers hairdressers and are known for turning out finest preferredand restaurant, put together your order, enter your adgroomed in the city after everyorder cut. Practically every dress and gents payment details, and your is complete - your time past Jamie having his ’do perfected, food we will walk be delivered to Heaslip’s you within 30 minutes. Deliverooand is such its popularity thatGalway. you’ll need to book ahead – but you live inisDublin, Cork and can guarantee it’ll be worth it when you check yourself out in the mirror. firstname.lastname@example.org www.deliveroo.ie 12 Johnson’s Court, Dublin 2 fb.com/TheButcherBarber 083 3551780
Launched early July, already stocks 50 out Dublin cityincentre has KIOZQ long been yearning for over a chilled periodicals design, food, art, beers culture,without travel and spot wherefocusing you canon enjoy some casual breakcrafts the world. They carefully select coling thefrom bank.around Fortunately, The Hideout pool hall hasand stepped laborate a great of creative indie magazines up to theon plate. But range don’t expect death metal, crookedavailable cues to online. KIOZQ driven provide the community or buy dodgy geezers tryingisto hustletoyou. The Hideout may something worthy of buying, something of decor the highest quality, be a pool hall by name, but with its bright and deep and above great topool read.hall ButbyKIOZQ not only house vibe,all, it issomething not a traditional nature.isAlongside about magazines, it’s tables a colourful world full BYOB of ideasfrom and€2.50 stories. experiencing quality you can enjoy Browsing is mandatory. pp. Cues and cans it is then!
all also available for take out and through Deliveroo. 40 Dawson Street, Dublin 2 01 4567 13a677 upper Baggot Street email@example.com eathosdublin.com www.cafeenseine.ie eathosdublin on Facebook and Twitter
BEST BEST CINEMA MEAL DELIVERY INCLUB TOWN BEST FOOD
CineCafé Club –Row Gabor Mao, Chatham DELIVEROO
Gabor is a documentary about what seems impossible: Treat your taste buds to delicious Asian food and sip aDeliveroo blind cinematographer who joins a filmservice crew as is an end-to-end delivery thatthe brings up Low Calorie, Classic andfood Dessert Cocktails shaken to director of photography. Gabor to illustrates howoffices the love for high-quality local restaurant homespumping and perfection while listening tofood funky tunes by firstthe medium and a deep knowledge of the language makes through a proprietary technology and logistics platform. class DJ’s from Musicmaker Dublin. This is the scene you’ll itSimply possible toyour participate of a new enter addressin onthe themaking and itmotion will show find Friday and Saturday nights athomepage, Mao Chatham Row. picture. Gabor isrestaurants an insightful documentary filmed in the you all the that deliver to curries, you. Choose your Savour thegreat flavour with mouth-watering a shared Bolivian high plateauput which won’tyour leave you enter indifferent. preferred together your adplatter, or restaurant, a Mao classic for the full Thaiorder, experience. Then Winner Best Director Award at order the 2014 Malaga -Interdress andofpayment details, and your complete your sip a CosMAOpolitan, Ginger Dragon orisToblerone national Festival and Best Documentary atDeliveroo the Canal+ food willFilm be delivered toan you within 30 minutes. is to tame the flames! As official Leinster Rugby food partAwards. Screening is December 17th, 6pm at Instituto live Dublin, and Galway.as chosen ner in check outCork healthy dishes by Leinster Rugby’s Cervantes - Café Literario nutritionist, just look for the little blue rugby balls on the firstname.lastname@example.org menu. Call your besties, pick the perfect outfit, pack Lincoln House, Lincoln Place, Dublin 2 www.deliveroo.ie your selfie stick then drop in for a night you won’t forget. email@example.com/ 01 631 15 33 Mao, 2 Chatham Row, Dublin 2 dublin.cervantes.es 01 670 4899
BEST YOGA BREAKFAST BEST
Bobo’s Yogaloft Bobo’s are a neighbourhood diner. Who aim to provide an Introducing a shared spacemouth-watering in the heart of Irish take onYogaloft.ie, high-end fast food,yoga delivering Temple Thefrom space a variety stylesheifer and teachers burgers Bar. made topoffers quality prime of young meat.Their in warm space with laid backbeen atmosphere. Each teacher all aday breakfasts havearecently getting rave reviews, offers their own unique interpretation of how to embrace from Full Irish, to the French Toast, Bobo’s is definitely wortha a sustainable mat.isThis offers an visit to startpractice the day.on Thethe food fresh,modest locally space sourced, served oasis of calmportions, in the heart Dublin city centre. in generous and of freshly cooked to order - all in a fun
friendly atmosphere, with a large dollop of nostalgia thrown in. Yoga Loft Temple Bar 8 Cecilia Street, Temple2Bar, 50-51 Dame St, Dublin | ph:Dublin 01 67222025 firstname.lastname@example.org 22 Wexford St, Dublin 2 | ph: 01 400 5750 087 9534043 email@example.com Breakfast, 10am - 5pm
Visit www.kiozq.com or send an email to 49 South William Street firstname.lastname@example.org with any additional inquiries. (01) 537 5767 thehideout.ie email@example.com
BEST RAINY DAY VISIT BEST RAINY DAY VISIT
The National Print Museum The National Print Museum
Buried away at the back of the old Beggers Bush Barracks in the gorgeous is the National Print MuBuried away atold theOratory back of Building the old Beggers Bush Barracks in seum. It’s a haven for geeksBuilding with a penchant for Heidelberg’s. the gorgeous old Oratory is the National Print MuThereIt’s area weekly workshops, video documentary screenings seum. haven for geeks with a penchant for Heidelberg’s. and anare opportunity to see some of these beautifulscreenings antique There weekly workshops, video documentary machines in action. Feats engineering made the newsand an opportunity to seeofsome of thesethat beautiful antique paper possible and Feats whichofcreated somethat of the most machines in action. engineering made thedecisive newsdocuments in history are on display – while themost museum is paper possible and which created some of the decisive the home ofinthe original Proclamation 2016.There documents history areIrish on display – while until the museum is is a home mezzanine which acts as a gallery and kiddie area, the of thefloor original Irish Proclamation untila2016. There the recently revamped Press hasand delicious sambos iswhile a mezzanine floor which acts as aCafé gallery a kiddie area, and goodies. A nicerevamped visit for allPress the family. while the recently Café has delicious sambos Garrison and goodies.Chapel, A nice visitBeggars for all the Bush family. Barracks, Haddington Rd, D4 +353 (0)16603770 Garrison Chapel, Beggars Bush Barracks, www.nationalprintmuseum.ie Haddington Rd, D4 +353 (0)16603770 www.nationalprintmuseum.ie
The start of a new year brings with it a myriad of promises made with the best of intentions. We’ve all pledged to take better care of ourselves in the wake of holiday excesses and Let’s Get Checked are offering an innovative, convenient and confidential way to monitor your sexual health with their home STI testing service. Simply order the pack online at www.LetsGetChecked.com or pick up one up from your local McCabes, Lloyds or Allcare pharmacy. You will need to create a personal account, guaranteeing the results are truly confidential. Follow the simple illustrated instructions, return the kit with the pre-paid addressed envelope included and results will be made available online within two days. In the event of a positive result of any kind, a nursing support team will contact the customer by phone to arrange a same day consultation in a private clinic. A specialist doctor will be able to assess the problem and you can begin the prescribed treatment program then and there. While much of the negative stigma relating to STIs has faded in recent years, people still have a tendency to put sexual health checks on the long finger simply due to the time constraints of their busy working lives. The fact that 80% of sexually transmitted infections can be symptomless and may cause you no undue discomfort means people don’t feel any urgency to get to the doctors office. However STIs can lead to much more serious problems for you or your partner in later life if left untreated, including infertility. Let’s Get Checked take all the hassle out of a trip to the clinic during work or precious weekend time and allow you to get on with the important things in life with peace of mind. Let’s Get Checked and their healthcare screen-
Order online or purchase in pharmacy
ing partner PrivaPath Diagnostics have also begun offering home laboratory kits to check for bowel cancer, HPV (Human Papillomavirus – the leading cause of cervical cancer) and prostate cancer with further plans to expand the range. The service is built around giving customers improved access to the best in testing. #Health is more than a trend involving ingesting green liquids and wearing clingy fabrics. Let’s Get Checked delivers an essential service tailored to the needs of the individual; access to fully accredited laboratory testing is easier and more affordable than ever. The sexual health tests kits come in three different varieties - the Simple 2 testing for the most common STIs chlamydia and gonorrhea, the Standard 6 and the Complete 12 with prices ranging from €50 to €220. Visit www.letsgetchecked. com for the full lowdown.
Online orders are delivered in a discreet package
Collect your sample from home or with your trusted pharmacist
Sample is returned using the pre-paid envelope provided
Samples are analysed by an accredited Irish laboratory
Receive an email saying the test result can be securely viewed online
Our nursing support team will contact you and arrange a clinical consultation
Customer results are purged from the system after 30 days
Enjoy a fusion of French inspired flavour and the finest drinks menu in Dublin. Discover bistro classics, craft brews and clever cocktails. Lounge in the lavish art deco interior over lunch. Drink and dine until late at Dublin’s destination Grand Café & Bar ... Café En Seine. Dublin City Bar of the Year 2015. Open seven days a week from lunch until late. Easy luxury and effortless service... experience & enjoy. For bookings call 01 677 4567, email firstname.lastname@example.org or visit www.cafeenseine.ie
CAFÉ EN SEINE, 40 DAWSON STREET, DUBLIN 2