From the auld fiddly-aye-ooh of the trad act down your local to U2’s trademark cash register ching, Ireland is renowned the world over as great producer of exceptional musicians. Can you think of a major Irish label? No! We didn’t think so. Certainly, you’re more likely to come across an amazingly talented busker in Temple Bar than a commercial home grown record label.

Despite there being tax breaks for those in the creative arts, there are no incentives for those involved in discovering new talent and promoting it. Which is very odd when you realise that Irish artists account for more than 2% of all worldwide sales of CDs. So what does that say about the music industry? Not much, although it does demonstrate that the record industry we do have is terrified to take chances on innovative talent. Instead, we get the likes of Claddagh Records and Emerald Music playing it safe with traditional Irish music they know will do well enough overseas to keep the business in the black.

The DIY Music Scene

More and more Irish bands and artists are doing it for themselves. Whether this means relocating to the UK or running their own label from a band’s rehearsal space, real talent backed by determination and a little bit of luck always pulls through. Record companies often overlook real talent because of the financial risk or because the act doesn’t fit their profile. And yet we know that fans of music will travel to see an Act, buy the merchandise, pick up the homemade CD and spread the word. By the time an Act comes to the label’s attention, it’s too late. The band is already doing very well on its own and enjoying the freedom of managing their own efforts. 

Take the example of Cruachan. Who? Exactly! Cruachan is a Dublin-based act mixing traditional Irish music with black metal. Not particularly commercially appealing, but the band are signed one of the world’s biggest metal labels (in Austria) and sell thousands of records all over the world, notably in Eastern Europe, Russia and South America. The group is one of the few Irish bands to have toured Russia and have just come back from a spate of South American gigs. No one in the Irish music industry wanted to know.

A more well known example is Damien Rice. Previously a member of the band that went on to become Bell X1, he was forced to record his debut album in his bedroom over the course of two years. Of course, every Irish industry mogul wants a piece of the action now that he’s gone platinum and is on course for cracking the US. The labels only have themselves to blame. As most fans know, record companies are notorious for ripping off artists, making obscene profits from CD sales while the bands rarely see a cent. Not exactly an incentive to support the industry, especially when it isn’t difficult to download your favourite music for free these days.

The labels, or the lack of them, are only part of the problem. Whereas festivals are a regular occurrence in every country in mainland Europe, financially, it’s made as difficult as possible by the powers that be to do anything similar in Ireland. As a result, the likes of Slane and Oxegen are hugely expensive for gig-goers who could easily afford to fly to a European festival, and spend less on drinks and food when they get there, for less than the price of admission to an Irish festival.

A Missed Opportunity?

The government hasn’t helped, only recently applying VAT to gig tickets. Cheers lads! Here’s a little piece of trivia for you. The music industry in Ireland as part of GDP is equal in value to the newspaper and magazine publishing industry, with no incentive or support, financial or otherwise. Imagine how much of a bigger part it could play in our economy with a little stimulation. Sure, being a musician has never been the most lucrative career, but in Ireland, where booking a band means pay-to-play, making a living from it is virtually impossible. You can listen to the latest demos in our Unsigned Irish Bands section and even contact the bands directly for gigs.

Started in mid 2011, Bandpages.ie won an Eircom Spider Award within 6 months of launch and has been getting busier ever since. For the next stage of our growth plan we are offering a full-time Marketing Internship to join our small team of music aficionados - starting mid June.

We are interested in your attitude and ambition as well as your experience and qualifications. We don’t expect you to re-invent the wheel, but we do expect you to create successful marketing and PR campaigns/ideas and implement them. You will be given the autonomy to follow through on your initiatives and the satisfaction of being a significant member of a team who drives success. Full support and training will be given to help you achieve your goals in this role.

This Internship period of 9 months is not paid, however we do provide lunch or will cover your travel costs. We will even pay for lessons if you want to learn an instrument or a music/video production course. On successful completion of the Internship and having achieved your KPIs, you will be appointed as a full-time salaried Product Manager where you will take ownership of one of our online commercial ventures. Our office is based in Temple Bar, Dublin 2.

Purpose of Role:

• Drive awareness of Bandpages.ie using both online and traditional marketing activities.
• Work with existing Bands/Musicians and identify meaningful ways of attracting new ones.
• You recognise that Google Adwords and Facebook Advertising alone does not build a business.
• Formulate a detailed commercial marketing plan and implement it.
• Be comfortable on the phone and in person speaking to musicians, promoters and venue managers.
• Attend conferences, seminars, gigs, networking events and trade shows as required.
• Manage the monthly marketing budget and be able to understand the ROI.
• Implement industry SEO best practice techniques and apply them - we will teach you.
• Create digital content on a regular basis to drive customer engagement.

Skills Required:

• 3rd level qualification, prefelably in the area of digital marketing.
• Be a self-starter who is passionate about generating new and interesting ideas.
• Awareness of social media platforms and the power of positive engagement.
• Have a strong work ethic and be a core part of a small busy team.
• Telesales or customer service experience would be an advantage.
• Have a sense of humour when things go wrong... because they often do!

To Apply: 

• 1 x page cover letter outlining what skills you would bring to the party.
• 1 x page CV outlining your career experience and education to date.
• Send your application to us by the 1st of June 2013 for consideration.

We are happy to hear from Jobseekers and this role will not affect your weekly payments.

Gone are the days when people rushed to the record store first thing in the morning to buy an album and then spent the rest of day listening to it over and over again. We’re no longer getting excited about taking a record out of its sleeve or hold our breath for the first spin. Some people don’t even seem to care about the beautiful artwork that once accompanied us through the first listen.

Music purchases in the past few years are turning more and more towards digital. In 2011, digital revenues were up 8 per cent to a staggering US$5.2 billion. And with the tendency to download music came yet another change in the music lover’s behaviour - downloading single songs rather than albums. Why spend money on music you don’t want when you can purchase just that one track you love?

In the United Kingdom, revenue from digital sales in the first three months of 2012 accounted for 55.5 per cent of the total £155.8 million spent on music. And this only sheds some light on the habits of people who actually buy music. It’s getting easier and easier to get by without spending a penny on music, and doing so without even getting close to breaking the law.

Music streaming services which usually function on a subscription service offer a certain level of access for free to music lovers who are feeling rather out of pocket. This model is often supported by advertising in between songs, and is becoming an increasingly popular choice for the cash strapped music lover. Ed Barton, director of digital media at Boston-based research company Strategy Analytics, told the Telegraph: “People are increasingly valuing accessibility and availability over actual ownership of digital music which, in turn, drives growth in streaming services which routinely offer instant access to over 10 million tracks."

However, one thing will probably remain the same throughout the years regardless of digital trends. Live music entertainment will most likely stay in favour. Perhaps fans will show their support for their favourite artists more through ticket and merchandise sales rather than buying albums. The t-shirt and silly hat stall is not a new presence at gigs by any means, but it has become a much more prominent source of revenue for artists in recent years as traditional ways of raising money are no longer as effective as they once were.

Income from gigs is so important to musicians nowadays that it is not unheard of unsigned bands offering their music for free online in order to gain a bigger following and attract larger audiences to their shows. Live music is still impossible to replicate and the experience cannot be sold in bytes or given away for free, so gigs will remain a strong source of funding for artists.

Many musicians have to think outside the box and say 'yes' to offers from people who book live bands for more unconventional appearances. But jobs on talk shows are scarce and not every artist can boast a family friendly repertoire that allows them to play wedding gigs. 2013 is the year to get creative, and the music industry is one to follow as it’s bound to offer some inspiring ideas to bolster its profit margins once more.

by Liam

The volunteer run Festival Team have created an innovative curated online platform allowing musicians collaborate with filmmakers and promote their music in a new way. This idea first came to founder and organiser Graham Clarke when he struggled to source a soundtrack for an adventure film he produced. From that came the idea to bring music and film together and have some fun in the process. By interweaving filmmakers, sportsmen and musicians, the festival will be "a celebration of our planet and all the people of it", Graham says.

This weekend there will be film screenings, talks by adventurers and filmmakers and workshops in the city’s Radisson Blu Hotel. Then Kelly’s, the Bierhaus and the Cellar Bar host live music from 10.30 on both nights. Musically, the What If, Why Not? Festival is aimed at emerging unsigned Irish music and boasts a diverse line up of acts. 

Friday night at the Cellar will feature a themed chilled out set. Daniel Scannell of Seaweed Jam Records (who will also play a live soundtrack to the short film Life Cinematic on Saturday night in the Radisson) 'opens' proceedings followed by local boys the Depravations, showcasing the harmonies and pop rock sensibilities of their Mosey EP. The night is then rounded off by headline act In The Willows. Finalists in this year’s Red Bull Bedroom Jam, they’re a highly rated six piece folk band who has performed at Castlepalooza and Indiependence.

Saturday night the same venue welcomes Protobaby. After touring with the Frank and Walters, the indie rockers are featured in this week’s Hot Press and bring strong vocals and pounding guitars with a sound likened to that of Editors and Interpol. Support is provided by energetic rockers Social Welfare.

The Kelly’s Live venue above the late bar of the same name will host gigs on Friday and Saturday. Friday night will see performances from Nicholas Timothy and Autonomous I. Singer-songwriter Timothy defies the cliché of such a title with a distinctive repertoire that sound like he hails from Georgia rather than Ballinrobe while Autonomous I, highly thought of by Duke Special among others, possess a truly eclectic sound ranging from electronica to funk to grunge.

On Saturday night, Kelly’s goes electronica with performances from local act Willow Sea and highly rated Dubliner producer Benny Smiles. Smiles may have first caught attention with his hilarious NCAD Girl but had shown more strings to his bow with his Sunshine/Moonlight EP.

Also on Saturday, the intimate environs of the Bierhaus (with its fine selection of craft beers) will see a set from electronica songsmith REID. Tickets for the gigs range from €5 - €6 with €3 concession to those attending the film festival. The REID gig is free!

For more details on the Festival and the concept visit WhatIfWhyNot 

Who could know better what musicians want and need than themselves. Recognizing the iron clad barriers that stand in the music industry, the Primal Jelly Social Club was formed by Keogh and fellow musicians in 2006 with the aim of getting as many bands together as possible to gain strength in numbers and make a stand for independent artists. Dismissing any rivalry between groups, the idea was to band together and showcase all their musical talents through a series of gigs. Wanting to take it a step further, a weekend of music with 40 acts was held in the Ballyknockan Inn in 2007. It was a taster of what was to come as a three day festival showcasing over 100 acts was to take over the Blessington lakes each July, the following years. 

The festival still maintains it’s original non commercial ethos and hopes to continue this. The strong group of volunteers, many of whom have been there from the start have skills "second to none", says Keogh. For bands hoping to make the lineup the standards have risen. This year they had the “mammoth task” of whittling 800 submissions down to 150 acts. Bands submit their application through the website Knockanstockan.ie by uploading songs, pictures and a bio. Sometimes the quality of the recording can make it difficult to decipher the true sound so a filter gig is held. "A live gig is the true test", says Keogh and as well as the talent, he looks out for bands who enjoy themselves and don’t take themselves too seriously. As applications are closed for this year it gives plenty of time to perfect the sound for next year.

"The best thing a band can do is get out there gigging" Keogh says, not only is the experience invaluable the opportunity to get to know other musicians and be influenced by other bands is just as important. He recommends gigging in as many places as possible, enjoy playing with your mates and take inspiration from other bands and their sounds. As with most things passion is key to success, "if you don’t enjoy it from the start it won’t work", he says.

Although Keogh admits things have gotten worse in the wider music industry he thinks the upsurge of festivals and regular gigging opportunities provided by the likes of Sweeneys and the King Kong Club  is brilliant and offers plenty of possibilities for young bands to get on the festival circuit and make a name for themselves.

 Knockanstockan offers more than just music with performance art and hot tubs among the extras included.  The event is family friendly and Keogh believes having something to do other than just looking at bands adds to the enjoyment of the overall event. "It’s important to create the environment that’s conducive to enjoying the experience",he says. 

Among the acts playing this year’s festival, July 27th-29th, are The Riptide Movement, Sal Vitro, The Salad Circus, Raglans, Blind Yakety and The Strypes, to name only a few. To whet your appetite further log on to Knockanstockan.ie where you will find over 100 videos by artists, full details of the lineup are available at Here and The Knockanstockan 2011 DVD is available from Monday and can be bought Here. 

DM

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It’s 18 years since Kurt Cobain’s death, yet his legacy lives on in a million copycat bands and tribute acts, all trying to recreate the anarchic spirit of his music and the global community that sprung up as a result of Nirvana. There can be little argument, the music created by Kurt Cobain and his cohorts changed the world of music forever, even if that was just to give birth to a new musical genre - 'Grunge'. As a live band they were untouchable, although probably not the type of live band you’d book for wedding entertainment!

But, perhaps the question we should be asking is, what if Cobain was still around? Would he still have earned the iconic status he enjoys in death? Are artists who die at the peak of their creativity and popularity immortalised at the height of their fame? Or, would he just have become another burnt out has-been like so many other veteran musicians?

Certainly, dying in order to achieve rock’n’roll immortality isn’t a great idea. Firstly, you’re dead, so you don’t get to enjoy all the trappings of stardom. In the case of Cobain, there were more serious repercussions for his daughter, Frances, who ended up being the rope in a traumatic custody tug-o-war between Kurt’s mother and Courtney Love. The latter openly admits she went off the rails and never really recovered from Cobain’s death. This is all part of the infamous legacy too.

Bleach, Nevermind and In Utero! John Lennon, on the other hand, had a career of some 20 years before he kicked the bucket. Even Bros had a longer career than Kurt Cobain and unfortunately no one could convince them to end it. Nirvana fans will exclaim: ‘Nirvana started the grunge movement.’ So what? It’s not a coincidence that one of the definitions for ‘grunge’ in the Oxford dictionary is ‘rubbish’. Grunge led the way for the likes of Nickelback, Creed and Bush. Kurt Cobain would be turning in his grave if he knew that his contribution to music was to make punk rock commercially acceptable. And, for that reason alone, if he were alive now, he’d probably hate himself more than he did on that fateful day he took his own life. 

When it comes down to it, Kurt Cobain didn’t like being famous. He didn’t like people. He didn’t like even like his fans – who he believed misunderstood his music. For that reason, it’s very doubtful that he’d still be making music today, certainly not for the commercial record-buying masses. Becoming part of the 27 Club may have done more for Kurt Cobain’s career and legacy than his musical genius ever did. Was he really the last great rock star or just another flash-in-the-pan who ran out of creative juice when he was 27? We’ll never know. 

The closest any of us will get to experiencing Nirvana live will be to catch one of Ireland’s Nirvana tribute bands. Or if you’re having a party or music event, you might even consider booking a Nirvana coverband for your live entertainment and relive your teens... rock on!

LC

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The brainchild of Cathal Furey, 45sound allows fans to upload videos of live gigs to the site and have their video matched to the sound of the gig as recorded by a sound engineer and synchronised with audio-matching software. Along with software developers and audio researchers Dan Barry and Mikel Gainza and John McAuley, who developed the online side of the business, Furey has been progressing 45sound.com since late 2010 when it was demonstrated in Whelans at an And So I Watch You From Afar gig. The band’s sound engineer Andrew Coles since became the company’s live audio consultant.

45sound.com has already made an impression across the waters after being awarded third place in the Music Accelerator competition at the South By SouthWest festival in Austin, Texas last March. The awards were in their 4th year and celebrate the best in innovative web based products across a variety of sectors. 

In order for 45sound to work bands or event organisers have to upload their high quality sound video to  45sound.com, fans can then upload their videos and it is matched with the high quality sound. This is then sent to the fan and uploaded to YouTube. It’s a win win situation as both bands and fans benefit from the technology. Improved audio means bands are shown in a better light when their gigs are uploaded on YouTube for all to critique and fans have their memories of the gig upheld with quality sound to do it justice. iPhone and Android Apps are already available with a more sophisticated next generation App also in the pipeline.

Recent festivals that can be accessed from the website and improved are the Tres Sesenta Festival, which was held in Pamplona, June 7-9, and the Camden Crawl Dublin. Band performances are uploaded individually. Previously uploaded videos can be viewed on the website Here.

Such technological advances are revolutionising the music industry, opening up more potential audiences and revenue streams to bands. The WholeWorldBand App, developed by former 10CC member, Kevin Godley and Andy Wood was launched last March and allows musicians from all over the world to collaborate on a track from the comfort of their own homes by uploading their video performance. Artists can add original tracks or contribute to existing ones and can earn from downloads of their tracks. Updates on the App can be found Here.

The 45sound technology allows fans to enjoy recorded live performances without the scratchy sound and backround noise usually acquired by amateur devices. Bands who are interested in having their music uploaded  can contact 45sound directly through the site. You will be given your own YouTube channel which will be automatically updated with fans’ uploaded videos of shows. Coverage on 45sound will allow artists reach a wider audience while showcasing their live gigs with their own sound standards in tact.

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This Thursday the nation will rejoice once again to celebrate the diverse musical talent that exists the length and breadth of the nation.With many world renowned artists hailing from our shores, U2, Thin Lizzy, Sinead O’Connor, Rory Gallagher, Enya - the list goes on and on, there is plenty to celebrate on the music front. 'Love:live music' will recognise National Music Day through a wide host of free music events all across the country. International Music Day is celebrated in 120 countries worldwide and through the vast array of events organised Ireland is holding its own by showcasing its unique culture and talents.

A highlight event, La Ceoil, will be held in Meeting Square, Dublin from 6pm to 10 pm. This will include performances from Buffalo in the Castle, We Banjo 3, The Unwanted, Tarab, Mick O’Brien, members of the RTE Concert Orchestra and DIT Traditional Ensemble. Special performances will come from Sean Mac Erlaine and RTE Lyric FM composer in residence Linda Buckley with a world premiere of an exclusive commission. The event is non ticketed and the public is invited to attend throughout the evening.

Among the many other events throughout Dublin include Steve and Joe Wall (The Walls, The Stunning) entertaining lunchtime audiences in Temple Bar and a hip hop evening in conjunction with Working Class Records and First Music Contact (FMC), showcasing some of Ireland’s leading rap artists . Iarnrod Eireann are also supporting the event by treating passengers on the 11.10am service from Dublin Heuston to Waterford to a full live performance by electronic two piece, White Collar Boy cleverly entitled Trainspotting with White Collar Boy. Other train stations across the country will be graced by samba performances from Irish, French and German groups in conjunction with the Drogheda Samba Festival.

Elsewhere throughout the country Clonmel is offering four hours of free street music . This will include an outdoor music trail and a special collaboration of renowned artists, Julie Feeney, Cora Venus Lunny, Laoise Kelly and Niwei Tsumbu, followed by a classical chamber concert at the County Museum at 8 pm. In Kerry a solstice celebration will be held at Lochtar na Cua Standing Stones in Waterville with Scottish pipes, Irish harps and dancing.

With over 200 events already registered anyone can get involved and host their own event to join in on this celebration of music and culture. Events can be registered on the website Love:live music with the aim of National Music Day being to promote access to live music to everyone and highlight the importance of music in individual lives and society, demonstrating its power to rejuvenate spirits even through times of doom and gloom.

So whether you’re a performer or better suited to the enjoyable role of onlooker there’s no better way to enjoy the longest day of the year than joining in on a feast of musical treats to suit all tastes.

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Many of Ireland’s boutique festivals have been growing steady in popularity in the last couple of years with an upsurgence of them this year replacing mainstream festivals as the cheaper, eco friendly alternative. Not so rock'n'roll as much as spirit and soul, idyllic settings, emphasis on environment and associations with charities are characteristic of many of these festivals. We look at a selection of what’s on offer this Summer:

Life Festival: Taking place this weekend, May 25-27, at Belvedere House, Mullingar, Life festival will showcase over 150 live performances and dj’s across six stages. Headliners include Jamie Jones, Engine-Earz Experiment, Iration Steppas and DJ Marky. Committed to minimizing its ecological footprint, last year their recycling station was able to recycle more than 70% of their waste. Luxury camping accomodation includes American Indian Tipis, Mongolian Yurts and Bell tents. Pre–booked full weekend tickets are €128 with weekend tickets at the gate setting you back €150.

Body and Soul Festival: Also in Westmeath, the Body and Soul festival celebrates the Summer solstice at Ballinlough Castle from June 22-24. Now in its third year it has been billed as a magical alternative to your standard festival. Emphasis is put on  the whole experience rather than hype and attractions.Voted Best Small Festival at the Irish Festival Awards in 2011, it also prides itself on being sustainable conscious. This year’s line up includes the Villagers, Gold Panda, Django Django and Tieranniesaur as well as alternative entertainment including a masquerade ball,acrobatics, fireworks, yoga workshops and burlesque dancers to name a few. Weekend tickets are available for €99. 

Forstock: The same weekend will see acts such as Aslan, The Rubberbandits, Ryan Sheridan and The Riptide Movement take over the beautiful Vances Estate in Clones, Co. Monaghan. Two days of entertainment will also include activities for adrenaline junkies such as zorbing and bungee jumping. A weekend camping ticket will cost €70. 

Indiependence Festival: August 3-5  sees Mitchelstown, Co. Cork host Feeder, Maverick Sabre, 2ManyDJs, Delorentos, The Japanese Popstars among many more. The festival was nominated for Best Small Festival at the European Festival Awards last year after extending the event to three days. Situated on a limestone basin at the foot of the Galtee Mountains, makes it perfect for combating adverse weather conditions. 

Castlepalooza Festival: In direct competition, the Caslepalooza Fesival is held the same weekend on the grounds of Charleville Castle in Tullamore, Co.Offaly. Line up includes The Charlatans, Jape, Ghostpoet and MMOTHS. The festival was a finalist in the Green Awards 2011 Entertainment and Leisure Category resulting from their committment to promoting environmental efficiency and sustainablility. Launch offer tickets cost a very budget friendly price of €50 for three days including moat camping.   

With alot more on offer than just music, this year’s range of independent festivals has something for everyone, ensuring the Summer’s festival calendar is in safe hands.

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With eight venues across Dublin city to choose from and five venues hosting fringe events there was plenty of choice for music lovers at the weekend. Whatever your musical destiny turned out to be there was a wealth of talent to enjoy with the biggest complaint being  too much to see too little time. The times and venues for acts were selected democratically, leaving the element of surprise for festival goers until they picked up their tickets. The festival is billed as a launch pad for new artists, so there were no headliners and venue size didn’t necessarily translate to the popularity of the band. Even the distances between some venues encouraged festival goers  to go with the flow of things rather than stringently plan their night. 

Duke Special kicked things off upstairs in Whelans to a packed room. Arriving a half hour after the official start time, naively expecting the schedule to be on Irish time, we weren’t even able to get a glimpse of the dreadlocked man. This twist of fate had us leaving Whelans in time to get settled in at the Village for the evening and meant we were in plenty of time for Jape, who were well worth seeing up close. Liking our close proximity to the stage, even if it meant it was near impossible to get to the bar, we slowly got closer to gain prime position for We Are Scientists and were rewarded with a bottle of water and a photo with Chris Cain. While the set started mellow everyone was going crazy towards the end as Nobody Move Nobody Gets Hurt and Rules Don’t Stop Me got the crowd going. Being in the mosh pitt was worth it even if we were in danger of being kicked in the head by Keith Murray as he followed suit of one fan and crowd surfed through the revellers.

Saturday night started with the more chilled Katie Kim, where she set the tone at the Button Factory with a hauntingly beautiful set that included Chris Issac’s Wicked Games. As the crowds gathered in we stayed put for Gaz Coombes and Mystery Jets. Meanwhile across town other audiences enjoyed Fionn Regan and the infamous Rubberbandits among others.

Both nights were followed with DJ sets in the Grand Social Club, The Mercantile and The Workmans Club, catering for the variety of audiences the Camden Crawl attracted.The festival atmosphere could be felt around town as a more eclectic mix of people than usual crawled the streets. The Camden Crawl Dublin is to become an annual event and is sure to gather momentum as a cheap, cosy alternative to the outdoor festival. That said, it nicely sets the bar high for the remainder of festival season as a sweet taster of events to come. 

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Derry or ‘stroke’ city as it’s often referred to, is no stranger to musical success stories. You only have to look at the some of the names that have come out of Derry to take their place on the wider international stage: Phil Coulter, Nadine Coyle of Girls Aloud, Peter Cunnah the singer with D:ream, Neil Hannon of Divine Comedy fame and the Undertones to name just a few.

So it should come as no surprise that Derry, which celebrates 2013 as the UK City of Culture, has also just been chosen to host the All-Ireland Fleadh the same year. After all few cities in Ireland can claim to host a jazz festival every year consisting of hundreds of bands in tens of venues across the city. But then Derry has always been a hotbed of exceptional musical talent. 

The influence of music is evident everywhere you go. At night, the bars, clubs and venues are full of bands playing rock, blues, jazz, indie and traditional Irish music. Indeed, Derry is home to one of the best venues in Ireland called the Nerve Centre, which has hosted big name acts such as The Coronas, Ash, Bell X1 and Snow Patrol. No mean feat for a city with a population of less than 100,000. It would be fair to say that the Nerve Centre came about very much as a result of the city’s musical heritage. Incorporating rehearsal rooms, a recording studio, a live venue, renowned for its excellent sound and facilities, and a meeting place in the form of Café Nervosa, the Nerve Centre is very much a priming ground for the town’s musical talent.

That’s not to say there’s any shortage of other venues. Masons consists of two separate venues hosting a wide variety of homegrown acts, from tribute acts such as the Jeannette Hutton band to up-and-coming Irish bands and local heroes. Resident cover bands take the stage in the nearby Gweedore every weekend and, right next door, there’s Peadars, the scene of many an impromptu trad session. In fact, there are so many venues, that the town can easily accommodate the 100s of jazz and big bands that descend on the city for the jazz and big band festival each spring. 

Such is the surfeit of musical talent that the town even has its very own record label. Smalltown America boasts the likes of Lafaro, Fighting With Wire, and Our Krypton Son on its roster. Of course, it’s not just original acts that make for a great night out and Derry has always enjoyed a reputation for tribute bands that are the best in the game. Hardly, surprising, the town is also home to one of Ireland’s most sought-after wedding bands The Hitmen. Clearly, Derry’s a good place to look if you’re looking to book a wedding band or other live band for a special occasion.

Whether a long history of high unemployment meant people had little else to do but play music or there really is something in the Derry air that brings out the musical talent in people, who knows? But if you love live music and a good night out, then Derry is certainly worth a visit.

LC

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If you walk down Grafton Street on a Saturday afternoon chances are you will have heard The Riptide Movement performing. Usually surrounded by a wide circle of onlookers, the band brought their music to the streets having seen an opportunity to build up a loyal fanbase and have continued ever since. Busking offers an invaluable point of contact with the public and while they might of had some trouble with the Gardai and shops owners initially "it was easily ironed out as they got to know us". It’s about “knowing how to do it in a way you’re not offending people” says guitarist JP Dalton. There are only a certain number of spots that are appropriate for musicians on Grafton Street which doesn’t tend to cause many problems among the busking community. It’s a system of first come first served.

There has been talk for quite some time about bringing in a licence to busk, but this still hasn’t been implemented. JP admits “it’s scary at the start, you’re really putting yourself out there” but now they don’t think twice about it. He says the experience has given them “more confidence and opportunities for self promotion”. As the debate over Irish bands and radio play continues, JP admits busking can help get airplay in Dublin as DJ’s passing by may stop and listen however this doesn’t tend to translate nationwide.

He thinks getting yourself established is harder now than ever before. Hard work and determination are required as well as an understanding of new tactics such as Facebook. “The game has changed”, he says but with social media platforms you can reach a much larger audience. As a self managed band they would recommend this approach to other bands as it gives you more creative control and a better understanding of the industry. “You can do your own thing... less people to pay, you’re thrown into the deep end, cd maufacturing, distribution, you know more about each individual component.”

Busking on the street also gives the opportunity to reach a much wider audience than the usual 20-30 age group. Through this they have gathered alot of younger fans who are appreciating their rock'n’roll sound,  “music is for everyone... its great seeing all types of ages enjoy it” says JP. Exposing yourself to an open audience also means you never know what to expect, whether it be an unexpected opportunity or a lively session. St Patrick’s Day a couple years ago led to an impromtu dancing on the street when as many as fifty German tourists gave as much entertainment as they got, headbanging enthusastically to the sounds of The Riptide Movement .

The Riptide Movement continue to busk as a way of promotion. Their new album Keep On, Keepin’ On was launched on Friday April 20th and is available to download from their website or iTunes.

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The first ever Dublin Camden Crawl takes place this May 11-12 in over 15 venues across the city. Following in the footsteps of the London Camden Crawl which has been running since 1995, it promises to showcase 100 “cutting edge live acts” from home and abroad. The London Camden Crawl has proved itself as a launch pad for many artists since its inception among them Snow Patrol and Amy Winehouse.

Self dubbed as the first major ‘festival’ of the Summer, the two day event will take place one week after the London event and is the first time the show has been taken on the road. The line up includes Jape, And So I Watch You From Afar, Rubberbandits, Gaz Coombes, Ghostpoet, The Ambience Affair, Duke Special, Cashier No.9, Katie Kim and Funeral Suits. A number of new UK acts including Dutch Uncles, Let’s Buy Happiness, Bastille, DELS and Alpines  and US bands We are Scientists and My Best Fiend will also perform.

Is it really a music festival though if you don’t have to pack baby wipes and toilet roll in your bag? Surely if you don’t have to worry about a stranger wandering into your tent in the middle of the night or preparing in advance for four seasons in one day then you’re missing out on something? It’s a sign of the times when festivals are targeting Ross O’Carroll Kelly and his cronies. The country may not be as flush as it was a couple of years ago, but that precious mindset is still alive and swanning around Grafton Street in skinny jeans with a semi-skimmed chai latte.

With a lot of festivals losing momentum due to high prices and a more pampered youth, the Camden Crawl has honed in on a market which probably wouldn’t have existed in Ireland ten years ago. The posh Londoners enjoyed their music in trendy bars while in Ireland, Feile and later Witness catered for music fans who revelled in the festival atmosphere and all that was attached to it. Sitting in temperate conditions in a well stocked bar wouldn’t have had quite the same appeal. It’s not just the fans that are getting posher with many of the GHD styled musicians looking more like they belong in a Tommy Hilfiger catalogue than on a festival stage. They even seem less likely to rough it in the name of rock’n’roll.

While the 'grit and grime' of the festival circuit might be lacking, the Camden Crawl gives the well-heeled an opportunity to let their perfectly groomed hair down. Proudly boasting they’re at a music festival for the whole weekend and didn’t cop out by getting a day ticket or paying for the luxury camping area. Meanwhile they can go home and sleep in cashmere sheets before returning to Day 2 of festival frolics looking fresh faced thanks to the three step process of cleanse, tone and moisturise and still feel as ‘hard core’ as everyone else. The opportunity to be cool and look good at the same time has never come so easy for festival goers.

More Info Here

DM

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Remember those infamous scenes from Spinal Tap where, one by one, each of the band’s drummers die in mysterious accidents? One unfortunate 'sticksman' even implodes live on stage. A misunderstood creature maybe, but no musician comes in for more stick (sorry!) in popular culture than the drummer. And there’s a very good reason for this. The drummer is the guy who chose to learn drums because he can’t sing, wasn’t clever enough to learn lead guitar and couldn’t count the number of strings on the bass. So is it really any surprise that a whole subgenre of comedy has sprung up with the poor misunderstood drummer as its central character? 

What do you call someone who hangs around with musicians?
A drummer.

Unfortunately, we can’t do without them. To be in a really good band, you need a really good drummer. Which is the main reason that so few bands make it. Finding a really good drummer is like finding Axl Rose turning up 15 minutes early for a gig. If you want to remain an unsigned Irish band, then keep feeding your drummer. Alternatively, if you want to be known as one of the best live Irish bands in the world, sack the drummer and get a drum machine in. After all, you only have to punch the information into a drum machine once.

Seriously though, it’s highly debatable whether drums are a real instrument in the first place. You can’t make a tune with them. You just hit them with sticks, or whatever else comes in handy. Which is why more and more real musicians are happier using drum machines. In most cases, drum machines have more personality anyway. So, if you’re ready replace your drummer with a machine that can actually keep time, here are a few legitimate excuses you could use. 

How do you know there’s a drummer at the door?
He doesn’t know when to come in. 

It’s actually quite easy to sack drummers because they get it wrong in so many ways. Firstly, there’s the drummer that actually thinks he’s a musician. He’s so wrapped up in being artistic behind the kit that he forgets that he’s there to lay down the tempo for the rest of the band. Which is why when something goes wrong, it’s always his fault. That’s why you’ll so often see guitarists glaring at the drummer mid-song, as the no-hoper obliviously attempts a Neil Peart solo when all the live band needed was the simple 4/4 beat to ‘Highway To Hell’. 

This ‘glare’ is, of course, the natural precursor to his departure from the band. Another common excuse for firing the drummer is when he comes out with that immortal line: ‘Hey, guys, why don’t we try one of my songs?’

What do you call a drummer that breaks up with his girlfriend?
Homeless.

Then there’s what’s known affectionately as the ‘building site’ drummer. This is because he most commonly works on a building site hauling round a tonne of cement in one arm and a hod of 100 bricks in the other. The problem is when it comes to playing drums, he doesn’t play. Instead, this muscle-bound moron batters them and everything in a two-mile radius into submission. Distressingly, for the rest of the band, there is no volume knob on a drum kit. Some drummers play so loud that you can’t hear the guitarist despite his twin 100W Marshall stack set up. The simple solution is to sack him!

What do you call a beautiful woman on a drummer’s arm?
A tattoo. 

Then there’s the drummer who’s only in it for the money and the chicks. Big career mistake! No girl wants to go out with a drummer and no percussionist has the intelligence or business acumen to make money anywhere other than the building site. What’s more, they’re just too much of an easy target, so they end up getting ripped off by the band and just about everyone else in the music industry.

So the moral of the story is, if your drummer isn’t adequately financing the band and 'in' with a national radio station playlist controller (nod, nod, wink, wink)... then sack them and buy some backing tracks!

LC

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Having initially been discovered by an L.A producer while busking in Galway City, Keywest found themselves back where they started. The band’s lead singer Andy Kavanagh said they were busking to get more radio play in Dublin. He said they’ve been able to get radioplay all over the world but finds it much more difficult in their home country. The fact they’ve been hotly tipped as the next big thing by their grammy nominated producer Mark Needham (The Killers, We are Scientists, Neon Trees) and are making quite an impression in L.A doesn’t matter to Irish Radio stations. 

This struggle dates back to when Thin Lizzy fans had to tune into Radio Luxembourg to hear them, granted at that time there was only one Irish radio station. Today there is a proliferation of radio stations across the country and several Irish artists such as U2, Sinead O’Connor, The Cranberries, The Script and many more have established their place on the world stage. The talent is there and yet Irish Artists still have to campaign to get their music on the radio.

It seems Radio stations are much more interested in their commercial interests than promoting real homegrown talent. Ian Wilson (2fm) recently said “radio stations are becoming less and less relevant”. This isn’t the opinion of many bands who see getting their music on the primetime radio slots as an opportunity to reach a whole new fan base. Louis Walsh has also previously spoken out about the difficulties he had trying to get airplay in Ireland for Boyzone and Westlife even when they were topping charts worldwide. The argument that the music of many of these Irish bands isn’t daytime friendly also needs to be questioned. Keywest are easy listening pop, making them perfect daytime radio. 

Play Irish is an initiative trying to tackle this at a local level. It’s aim is to get more airplay for artists who have established themselves but still have problems getting continued airplay in their native homeland. There has been alot of comparison with the Canadian radio policy where 35% of music played on daytime slots has to be of Canadian content. This MAPL system has made a huge difference to Canadian artists who were treated with indifference before its introduction in 1971. The EU competition law, however, has made the introduction of similar legislation in Ireland very difficult.

Should we really have to enforce legislation to hear our own artists on the radio? The role of radio seems to have radically changed and is more focused on DJ’s attempting witty banter than actually providing music to its listeners. Maybe if less time was spent on speaking senseless drivel they would actually have the time to listen through the music. When they do decide to play ten songs in a row they proudly state something along the lines of ”we play more non stop music than anyone else". That maybe the case but it’s all the same music. Why does every radio station pride itself on being homogenous and blending into one another?

Perfectly acceptable songs are being made tedious by constant airplay while possibly better ones aren’t even getting the chance to drive us mad. I can honestly count on two hands the amount of times I have heard Olly Murs “oohing about his baby” on the radio today. Maybe it's time to give someone else a chance to sing about their crazy quest for love as we know there are plenty of Unsigned Irish Artists out there already doing so. 

DM

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In My Boy – The Philip Lynott Story, Philomema Lynott reveals some of the personal experiences that inspired her son’s lyrics. “Philip loved writing songs about real people, particularly people who were important in his life” she says. The ladies in his life, his two daughters Sarah and Cathleen, his grandmother Sarah and Philomena herself were all gifted with a song. She says the song “Philomena” which Phil recorded for the Nightlife album on his birthday in 1974 “is a monument not just to Philip’s poetic talent and his creativity but also to his ability to love”.

His Irish heritage also held a special place in Phil’s heart which he showed in many songs including “Dublin”, “The Friendly Ranger at Clontarf Castle”, “Eire” and “Fool’s Gold”. He lovingly portrays Dublin in “Shades Of A Blue Orphanage”.

When Thin Lizzy were starting out Philomena owned and managed the Clifton Grange Hotel in Manchester. Phil often stayed there among many colorful characters including cabaret singers, dancers,magicians,strippers, verntriloquists, comedians and even a drag artist. Percy Gibbons, from the successful Canadian cabaret act The Other Brothers also stayed there at the time. Late night jam sessions in his room sparked the origin of many ideas that later turned up in Thin Lizzy songs such as “Clifton Grange Hotel” from Thin Lizzy’s debut album released in 1971 was inspired by the hotel and is referred to as “a refuge of mercy”.

The origin of the classic “Dancing in the Moonlight” goes back even further. It may not be surprising to hear it had its roots in teenage rebellion. Philip was 17 and living with his grandmother when she became worried about the company he was keeping and his late night escapades. He arrived home one night without one of his expensive new shoes! Even his uncle Peter, only a year older, was becoming frustrated with his behaviour and on one occasion when he failed to return at the agreed time, locked him out of the house. Phil tells this story in the lyric “It’s three o’clock in the morning / And I’m on the streets again / I disobeyed another warning / I should have been in by ten.”.

He delved into the darker side of life in many songs - “This kid is going to wreck or ruin / I’m not quite sure of what I’m doing, you see / It all happened a little too soon.. / I’m a little sick,unsure and unstable / But I’m fighting my way back.”  -  “Fight My Way Back” from the 1975 album Fighting. Philip spoke of how  “Warriors” on the 1976 Jailbreak album was about heavy drug users. Other songs like “Opium Trail” and “Sugar Blues” on the Bad Reputation album (1977) have obvious drug inferences as does “Got to Give it up” on Black Rose (1979).

Phil’s song repertoir reads like a musical autobiography as he willingly exposes layers of himself in his music. He fearlessly strips any superficiality from his songs. This authenticity comes across in Thin Lizzy’s music and is among the reasons it is still reaching new fans today. If there is one songwriting tip to take from Phil Lynott - it is put yourself in the music. Among today’s sea of contrived,     manufactured artists; genuity and a willingness to show raw vulnerability stands out now more than ever.

DM

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When are we going to realise simply wanting something and writing it down does not make it happen. It seems like The Secret has been adopted by demonstrators, politicians and music moguls alike. Draw up a list of your desires, believe they will manifest and magically your dreams will come true. You can understand why the Occupy Dame Street camp might live by this philopsophy but more practical rationale is expected from those in the money making business. Yet time after time manifestos are often little more than wish lists drawn up without any indication of how goals are expected to be achieved. 

The Artists Charter is on par with a letter to Santa that hasn’t even been addressed. With only 508 signatures, according to their official site and no clear statement of who they intend to hand this petition to more action is needed to enable artists “just and favourable renumeration” for their work. A list of ten non controversial statements about their rights, wishes and the industry is not going to create any revolutionary change to the current situation. Their call on the government for intervention, “we urgently call all on governments to assist us in the legal protection of our collective artistic output from piracy and other unauthorised infrigement” is likely be in vain. Both SOPA and PIPA have failed to make an impact despite a much larger network of support. 

It would be more beneficial to come up with ideas for potential alternative platforms instead of drafting a list of reasons why an artist deserves to be paid for their work. The fact that artists deserve to be paid for their creative work is not in dispute, but until a new platform is created to achieve this nothing will change. Consumers have happily paid for music for years, that isn’t the issue. If there is a service in place they will pay for it. Spotify and Netflix are examples of online services paid for by the consumer. The WholeWorldBand App, recently launched by Kevin Godley (formerly of 10CC) and Andy Wood also tackles piracy from the outset. The App allows artists to upload their song and video permitting members of the public to also contribute to the song. Both the original artist and any contributing artists earn royalties for every purchased download.

The Artists' Charter needs similar forward thinking action to make any difference. Support will only be offered so long in a losing battle. Occupy Dame Street is proof of this, residents were recently evacuated after five months. Although many people agreed with their sentiments about society,  initial support waned as they produced no active agenda and no results. Likewise the Artist’s Charter has failed to gather momentum and needs to take a step into action. We don’t need another another petition or demonstration, it’s time to stop asking and start doing. Neccessity is the mother of all invention. If the music industry wants to tackle the piracy crisis it’s time to put away the vision board, stop pointing the finger of blame and put a new effective business model in place.

DM

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Artists, DJ’s, producers, promoters, radio programme directors and barristers took part in a number of lively discussions addressing some of the obstacles faced by budding musicians. The forum was used to launch the Artists Charter by barrister Gavin Bonnar, who drafted the charter based on Article 23 of the UN Declaration of Human Rights which states that everyone is entitled to 'just and favourable renumeration' for their work. He was joined by Bressie, Barry Devlin and Steve Wall to discuss the issue of digital piracy and the artist’s right to be paid for their work. Speaking passionately from the Artist's point of view, Bressie painted a somewhat bleak but realistic view of the effects digital piracy has. He set the story straight as to why he left the Blizzards stating that "his bandmates had started families and simply couldn’t support themselves financially through music”.

There was similar pessimism underlying the radio panel with Sinead Troy (IASCA), Mal Tuohy (The Riptide Movement), Nessa McGann (Spin Southwest Controller), Michelle Doherty (Phantom FM DJ), Mark Cunning (iRadio Head of Music) and Ian Wilson (2fm Producer). Wilson was frank in his remarks with regard to Irish bands looking for airplay saying “there is simply too much music to search through. Radio stations are not listening to everything and anyone that says they are, is lying”. He believes radio stations “need to divorce themselves from the record labels as they are becoming increasingly irrelevant... yet they still dominate radioplay”. 

Faced with an industry where the public no longer want to pay for music, panelists gave their titbits of advice to artists. Cunning suggests “when approaching radio stations don’t use the word demo” as it gives the impression of being a rough draft, say ‘single or LP’ instead. McGann said from a regional radio perspective “if bands can get out and play gigs locally, it makes such a huge difference when you have people texting in to play your songs”.

Artist’s are also hindered from getting radio airplay due to the nature of tightly controlled playlists. The system works on the basis that commercial records are ranked A, B and C and given respective airtime priority. This leaves little space for promoting Irish musicians on daytime radio slots as Mal Tuohy from The Riptide Movement points out.

Meanwhile the IASCA hope to get more Irish artists airtime through their Play Irish campaign. The project was launched on the John Richards show on Galway Bay FM last October and due to its success will now be applied to Beat FM. The station still chooses the music they wish to play but it has to be Irish and during primetime slots. “One artist will be promoted throughout the week with the aim of getting consistent Irish airplay”. 

Whether these initiatives will have any major impact for the struggling musician remains to be seen. However you can show your support and track progress by visiting these websites Artists’ Charter and Play Irish.

DM

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Drug abuse, trials, prison spells, failed rehab, questionable love affairs… Pete Doherty appears to attract trouble in the blink of an eye. He's the most improbable celebrity and a somewhat curious musician. Hot Press magazine hailed Pete Doherty’s talk at Trinity College as "the best gig in town" when he became Honorary Patron of the Philosophical Society alongside Al Pacino, Salman Rushie, Desmond Tutu, Johnny Marr and Dame Helen Mirren. 

You cannot deny that Pete brings a certain something to the music world. A humble, almost meek man, Pete’s stage presence is nothing special compared to other similar celebrities al la Amy Winehouse or Paul Weller. There have been many high profile events where we thought Pete would finally bow out and disappear from the music world. When he won the NME’s Hero of the Year Award in 2008, The Enemy's Tom Clarke said "Doherty doesn't deserve to win anything. He isn't in the music industry anymore; he's in the drugs trade." However, with his current tour in full flight it seems that Pete has both feet firmly rooted in the music industry once more. 

For some of Doherty’s fans this is the 'last chance saloon'. While the public has been entertained at the antics of a drug addict on the path of self-destruction, loyal fans have followed the musical development of Pete through The Libertines and Babyshambles. His current tour has been hailed a success following a great turnout across Europe, credited with strong audience interaction and some fantastic live performances. It appears that Pete is returning to his talent of poetry in song writing and producing some potentially huge hits. 

His musical talent is at last shining through and may just be enough to eradicate the bad press he has attracted in the past. If he can pull this tour off, it will show people that you can indeed carve out a new destiny for yourself. However, 2 things potentially stand in his way – first is the undisclosed sum he will receive due to the recent phone hacking scandal. An ex drug addict with a large amount of cash could prove to be a dangerous combination. Secondly, is the news that Pete is allegedly the father of a second child with model Lindi Hingston.

Loyal fans will be praying these huge media stories do not overshadow Pete’s tour and his obvious musical ability. It's said that 'everyone loves a reformed character' and Pete may finally be on his way to receiving open-armed acceptance within music and media circles for evermore.

LC

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Yes.. there is lots to do and see at the event this year with some great speakers and panelists supporting the line-up. I have a fair idea of who I want to see already, so here is a list of some of the main activities and we hope to see you there! Download the Program guide Here.

 Those lined up to give workshops include:

* Thin Lizzy founder member Eric Bell

* Hard rock and trad legend Pat McManus

* David Lyttle multi-instrumentalist and producer

* Jonathan Mover who’s drummed with Aretha Franklin, Peter Frampton and Joe Satriani

* Richie Buckley gives a Sax masterclass

* A special Drum Clinic with Chris Slade (AC/DC)

Joining the Music Show seminar and panel discussions line-up are:

* Producer Ben Hillier - Blur, Elbow, Cathy Davey, Depeche Mode, Natalie Imbruglia

* Rubberbandits, the controversial platinum-selling comedy and dance duo; 

* John Giddings who has worked with U2, The Rolling Stones, Lady Gaga and Madonna

* Brendan Graham, whose modern classic 'You Raise Me Up' is the most successful song in the world

* Shamal Ranasinghe co-founder of Topspin

* Maria Doyle Kennedy who needs no introduction 

* Legendary producer and DJ Arthur Baker, who has worked with Bob Dylan, Bruce Springsteen

* iRadio Assistant Programme Director and Head of Music Mark Cunning who’s a big champion of Irish artists; 

* Spin South West Programme Controller Nessa McGann who also goes the extra yard for domestic talent; 

* Phantom 105.2 and When Under Ether presenter Michelle Doherty; 

* Pugwash and Duckworth Lewis Method man Thomas Walsh, who was nominated for an Ivor Novello Award; 

* Peter Smidt, the driving force behind Holland’s Eurosonic showcase festival

... and many more.

Following his meteoric rise as Nirvana’s drummer and before sealing his own rock credentials with the Foo Fighters, somehow Grohl has maintained a reputation for being a really nice guy. We also know he is a private man, which makes this biography appealing to so many fans of rock music and the Nirvana story. 

On the book's front cover Kurt Cobain's death is highlighted in big black letters "Someone called and said Kurt died. I just lost it". However don't be misled, if you're hoping to dive right in to this part of Grohl's musical journey you can skip the first 100 pages or so. Nirvana undeniably still fascinates and sells, however Grohl's rise from the tragedy of Nirvana is not only worth reading but is inspirational in its own right. It was only when he formed the Foo Fighters that he found the freedom to take what he loved about making music. 

Grohl’s tenure in Nirvana is the book’s highlight, with a avalanche of revealing insights that go far beyond simply telling the band’s story. He recounts in 1992 that Cobain wanted to renegiotate the publishing royalties, which up to that point had been split 3 ways. The new arrangement would see Cobain get 90% of monies due and he wanted it to be applied retrospectively to include Nevermind. In effect the agreement meant that both Grohl and Novoselic would owe Cobain money from monies already received. Clearly arguements ensued over this arrangement and Brannigan claims it nearly split the band up.

There are interviews with musicians and producers such as Dischord's Ian MacKaye, Scream's Pete Stahl and the infamous producer of the Nevermind album Butch Vig. This makes for a compelling and detailed description of the singer's influences and prolific career to date.

With an account of Grohl's life that is more personal than anything written before, Brannigan reveals Grohl for the first time and this is certainly the story of a man who has changed the music landscape forever. Overall it's a well written but sometimes pacey, insightful and facinating read.

LC

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The shortlist nominees are read out by Dara O’Briain who then announces “This site allows users to find the perfect musical match in their locality for their Wedding, Corporate function or Private Party. The judges liked the user interface and the context-specific, simple search functionality. Overall it’s clean, simple and easy to use.... Bandpages.ie is the clear winner”.

With music being so socially orientated, visitors to the website can follow artists on Facebook and Twitter for regular updates and even view band videos via a YouTube link. We also have a vibrant section for Original Irish acts where visitors can listen to their music 'free' and even download the tracks directly from iTunes.

“What’s so unique about Bandpages.ie is it’s a one-stop-shop for all ‘live’ music entertainment in Ireland. And because we are not an agent or management company, the customer can negotiate directly with the Acts and cut out the middleman to reduce costs. In essence we are making live music in Ireland more accessible” says Founder Liam Carey.

"We're delighted to find out that we have been shortlisted for this years awards. It shows that Bandpages.ie is considered an innovative website that offers our Users a very unique internet experience when it comes to booking 'live' music entertainment on-line". Winners will be announced by compare Dara O'Briain @ Convention Center in Dublin on 10th Nov.

The first of the notable changes that have been introduced is the new pickup system. What’s particularly interesting is the move away from the old ‘square’ 9v battery which has been replaced by the more convenient 2 x AAs. Yamaha has cleverly managed to boost the battery voltage to an impressive 11v to give it a ‘wider dynamic range’ and lower distortion levels when the batteries are running low. There is also a new Piezo under-saddle pickup which contains 6 individual elements on a wider strap for improved clarity, definition and balance.

The pre-amps retain the same functions of a 3-band EQ and wide-range mid contour facility and an auto-chromatic tuner which we tested and found to be very accurate and a vast improvement over the older models. Simplicity and clarity are the key here and Yamaha have certainly got it right in this case. The only down-side we see is that you cannot mute the guitar ‘live’ on stage for mid-set tuning, an opportunity missed yet again perhaps.

This particular guitar is widely considered to be the entry-level model. The rosewood fingerboard is edged in body-matching cream plastic binding and, like all APX and CPXs, there's a second strap button at the heel. In common with all steel-strung, six-string APXs, the span across the nut is 43mm, while the nato neck has a moderate-depth 'C' profile with just the hint of a 'D' along the shoulders, and width graduates only modestly further up.

Aided by a fine set-up, well-dressed fretting and a shorter 634mm scale length, this is eminently playable and comfortable, yet bridge string spacing is perverse. One change from the standard 53mm at the nut is the reduction to 43mm. This may hinder some fingerstyle players as the strings are now much closer together, we reckon that Yamaha is targeting this guitar towards 'strummers' and hence the change.

Features Summary:

• System 65 electronics with under saddle piezo pickup, 3 band EQ and built in tuner
• Thinline body gives this guitar a sleek look and very comfortable fit
• Oval soundhole thickens lower-mid response and gives a more open low end
• Non-scalloped X-type bracing allows the guitar's top to sing and maximizes the resonance
• Spruce top with nato back and sides for a warm tone with great clarity

Overall this guitar is a very capable performer with its blastingly loud acoustic volume, smooth tone and good dynamics for it’s body size. The new pick-up system pays dividends and there is a distinct lack of the Piezo ‘quack’ which leaves the guitar sounding natural, flowing and open. The build quality is excellent and with a high finish standard leaves us to conclude that this guitar offers a huge improvement over the previous APX500 in a variety of ways. And the best news is you can buy it for €300 in Dublin which is much less than our usual 'go-to' on-line retailers for a change (ahhem... Thomman.de)! 

Keep an eye out for Liam on Grafton Street this weekend as he tests what the public think of the APX500II and whether he can convert songs into cash with it's much improved sound performance. 

by GC

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