She’s a Beauty’ is a five piece rock outfit from Maynooth, Co Kildare formed in 2009.
They are Cathal Farrelly, Robert Hogan, Jamie Caprani, Francis McDonnell and Shane McBride.
They are Cathal Farrelly, Robert Hogan, Jamie Caprani, Francis McDonnell and Shane McBride.
After finishing off 2011 with the successful release of their debut E.P ‘Champagne & Skittles’, produced by Martin Healy (ex A-House). ‘Champage & Skittles’ was released to a sold out crowd at the Workmans Club on the 28th September 2011 and was also selected by Jackie Hayden as his ‘Pick of the Fortnight’ for Hotpress Magazine (September 2011)
Having spent 2011 conjuring up plans for the road ahead, 2012 is set to be a promising year for the band. The band are initiating a campaign to revolutionize the Irish independent music scene. Throughout the year, the band will be making multiple releases all via usb sticks which will be made available at selective launch gigs. The first of these gigs will be the release of their debut single ‘Copy & Paste‘ which is to be released on Saturday the 7th of April 2012 in the Grand Social, Dublin. Those who attend will be given a She’s a Beauty USB stick which will contain their single ‘Copy & Paste‘ as well as bonus material.
Furthermore plans have already been put in place for a prospective launch in May where fans will be invited back, and those returning fans will get cheaper admission for returning with their usb stick. First timers can come too, but will pay as normal.
Other highlights of this year have been:
20/01/2012 – Made their debut T.V. Appearance on TV3’s Ireland A.M, performing their track ‘Broken Bottles‘ which received extensive radio play nationwide.
Selected by Halcyon Records in Canada to perform on their Pink Floyd tribute album ‘Us[Them]‘ which featured artists from all over the world. 24/03/2012 saw the release of this album.
Been booked as one of the main acts for the Rory Gallagher International Tribute Festival for the June Bank holiday this year. Plans are underway for a nationwide tour, dates tbc.
“They are brilliant! They really are excellent!!” – Mark Cagney, TV3
“Where Is The Love’ takes a stand close by the sloppy rawness of early Rolling Stones, allied to the menace of Jim Morrison on vocals. It’s full of slicing guitars, earth-scorching riffs and nifty hooks.” – Jackie Hayden, Hot Press
“She’s a Beauty definitely has an individual sound to them, difficult to compare to anything else. There is a vague underlying sound similar to English band, The Hoosiers with a slight reminder of Snow Patrol in the slower songs, mixed with half a dozen other sounds”- Jenny Darmody, Dublin Soul Festival team
“A band that could turn over an empty biscuit tin, bang away and still get a top tune out of it.” – Phillip Ó’Baoighealláin, Music Review Unsigned
“There’s a lot going on in the ‘She’s A Beauty’ sound and it’s all good. The vocals are quality ‘Jack l’ style while the music varies from hard rock to jazz. An interesting mix by a talented band!”-2 U I Bestow. Music blog site.
“Strong distinctive vocals and an almost reed like guitar sound, there are echoes of everything from the Frames to Bloc Party and a nod to classic jazz in their material. Their finely crafted songs are dynamic, with swooping choruses, and dramatic notes throughout.” – The Anglo Celt
“Steadily gaining recognition as one of the best up-and-coming live acts around, the buzz surrounding She’s a Beauty at the moment is palpable. At a time when Irish Music is upping its game despite the dreaded ‘R’ Word, this Kildare quartet are confidently rising to the challenge.” – Sarah Folan – Indiesight
For the past year, composer Vincent Kennedy and playwright and actor Little John Nee, have been collaborating on an adaptation of Oscar Wilde’s story The Happy Prince. This beautiful music, storytelling and theatre work has been commissioned by Donegal County Council Public Art. During the process Vincent and Little John spent time working on the music and script in the Tyrone Guthrie Centre and other places. The result of this collaboration is an exquisite theatre presentation in which Little John will both narrate and act while Vincent conducts the Donegal Youth Orchestra and Donegal Youth Choir in the 24 music pieces and songs that make up the show. Vincent, who was a professional Trumpet player before establishing himself as a composer, will also perform a solo number during the show. The show is directed by Raymond Keane. This production of The Happy Prince is 55 minutes long and explores the timeless themes of love, friendship and compassion in a magical way.
The Happy Prince is one of the key events of ‘Donegal Gathering 2012 ‘. See http://donegalgathering2012.blogspot.com/p/april-2012.html
The first performance of The Happy Prince will be in An Grianan Theatre, Letterkenny (www.angrianan.com) on Saturday April 14th at 7pm and Sunday 15th April at 3pm. Further performances take place on Saturday 21st April at 3pm and 7pm in The Abbey Centre, Ballyshannon (www.abbeycentre.ie ).
Galway songstress, Aisling Quinn spent her formative years devouring music without prejudice to particular styles or genres. Home was full of instruments and Aisling was tinkering on pianos and strumming guitars for as long as she can remember. Piano was the first instrument she learned formally, but like most teenagers, the discipline to practice escaped her.
So, inspired by jazz and blues albums from the 30’s and 40’s and her mum’s Carole King LPs, she decided to go down a more laid- back style of jamming, teaching herself as she went rather than being penned in by formal, structured lessons. Her curiosity and love of sounds led her to pick up many other instruments such as mandolin, flute, violin, melodica, bodhran and glockenspiel.
One of her first breaks in the industry came in 2009 when musician Albert Niland happened upon her music. This discovery resulted not only an Irish tour with Albert Niland but also, as word spread, another Irish tour with much lauded performer, Roesy.
But even without this leap into the spotlight in 2009, Aisling had not gone unnoticed by the industry. Her EP, A Simple Arrangement, released in 2007 was praised by Hotpress Magazine, noting her ‘winning vocal style’ and singling her out as an artist who ‘avoided singer songwriter clichés and offered something less predictable’. With influences ranging from Gershwin, Sarah Vaughan, Ella Fitzgerald, Joni Mitchell, Carole King to Merz, Rufus Wainwright, Ed Harcourt, Ben Folds, Fiona Apple and Nick Drake what could be predicted except the unexpected.
“Songwriting, for me, is like having my own language where the hum of a bus, the sound of footsteps, a typewriter can all form part of the dictionary.”
With a qualification in music production also under her belt, Aisling began to delve into the world of theatre. Her work in this area was also drawing media attention with Irish Theatre Magazine describing her collaborative theatre work as ‘intelligent, truly inspiring theatre.’
Aisling’s focus, however, was still very much on creating her own musical entity and during this period she had been writing a collection of songs with a view to releasing her debut album. In 2008 she settled herself into Jam Studios with co-producer Martin Quinn to do just that. The end result is Let The Games Begin, a collection of eleven beautifully crafted songs, packed with energy, colour, personality, melody and an endearing vulnerability.
The album, which was released in May 2011 was received with a 5***** review in UK’s Maverick Magazine and equally positive reviews in Ireland. Having spent 2011 playing Body&Soul, The Galway Arts Festival (supporting The Walls), Knockanstockan and Body&Soul at Electric Picnic, Aisling kicked off 2012 by playing at Celtic Connections Festival in Glasgow where she was invited to play on the Danny Kyle Open Stage, which showcases upcoming talent
‘Song I Wrote For You’ is the second single to be released from Aisling’s debut album. The song is typical of Aisling’s quirky style of songwriting, this time feature a typewriter as percussion! It has already received international recognition reaching semi-finalist status at the prestigious ISC (International Songwriting Competition) 2010 a prestigious US based competition that recognises new songwriting talent from across the world. Judges included Tom Waits, Rhianna, Jeff Beck, Robert Smith, Jerry Lee Lewis and a host of industry names.
Aisling Quinn will perform tracks from ‘Let The Games Begin’ in Bewley’s Theatre, Dublin on Thursday 19 April, The Grand Social on Sunday 29th April & The Purple Room, Drogheda on Saturday 16th June, more dates to be announced.
“oozes songwriting class from the beginning…I’m not going to say that Quinn sounds like any artist in particular, because she simply doesn’t. There’s something authentic and original running through this album that is hard to pin down. Reference points are as varied as The Beatles, Laura Nyro, Rufus Wainwright and Ella Fitzgerald” – Maverick Magazine UK
“an impassioned and eloquent debut, lovingly made and expertly played” Johnnie Craig -Sunday Business Post
The ISPs had complained to the High Court that implementing measures to counter illegal file-sharing demanded by the Digital Economy Act would mean incurring disproportionate costs. They also claimed those requirements were incompatible with EU legislation on individual privacy and data protection.
The court case against the ISPs’ appeal was led predominantly by a number of interested parties who are among those involved in the Creative Coalition Campaign (CCC), which co-ordinates the UK creative industry’s response to the issue of piracy.
The decision has been welcomed across the creative sector, including CISAC member societies in the UK – DACS, Directors UK, and PRS for Music, who are part of the CCC.
Welcoming the decision, CISAC Director General Olivier Hinnewinkel said: “The judges’ ruling that the Act is proportionate, legal and enforceable paves the way for this important legislation to finally be implemented. It also sends a positive signal to creators worldwide who are facing opposition to proposed measures to effectively tackle the blight of illegal downloading and online piracy.”
Mr Hinnewinkel added: “Creators want to be able to make a living out of their art, whether in the physical or digital environment.” The UK has probably one of the largest creative sector in the world and these measures are vital to secure the future growth of the creative sector and its 1.8m jobs in the UK.
Although BT and TalkTalk could yet appeal to the UK Supreme Court, the creative sector is urging the ISPs to now enter into full discussions with rights-holders so that, jointly, they stanch the flow of illegal content flooding the Internet.
In a statement, Directors UK concluded: “We now hope to see the Government, creative industries and ISPs working together to implement the provisions set out in the Digital Economy Act, as stated in the Court’s judgment.”
The DEA came into force on June 8, 2010; UK regulator Ofcom is currently working on the final details of its implementation, which is expected to be in 2013. Both France and Ireland already have similar legislation in place, requiring ISPs to send warnings to internet users who illegally download or share copyrighted content, with a range of possible sanctions for persistent offenders including, eventually, restriction of Internet access.
The UK judgment also means ISPs will be required to pay 25% of the cost of processing information on illegal activity received from rights-holders and issuing any resulting warnings. They will also have to pay 25% of the costs of users’ appeals against sanctions.
Written by : Tom Ferguson for CISAC
“Digital music goes global in 2011 while action on piracy gains momentum”
- Major international music services now in 58 countries, up from 23 in January 2011
- Digital music revenues up 8 per cent to US$5.2 billion
- Anti-piracy action makes an impact in France, New Zealand. US to follow in 2012
The digital music business saw unprecedented global expansion in 2011, while key steps forward were taken in several markets to help tackle digital piracy.
With rapid expansion into new markets by services such as iTunes, Spotify and Deezer, the major international digital music services are now present in 58 countries, compared to only 23 at the start of 2011.
Consumers are benefitting from a widening choice of services for experiencing digital music. In 2011, subscription services expanded and linked with new partners to reach new audiences. Meanwhile cloud technology is helping transform the way fans manage and store their music.
Global revenues to record companies grew by an estimated 8 per cent to US$5.2 billion in 2011 – a faster rate than 2010 – with strong consumer demand for both single track downloads (up 11 per cent by volume), digital albums (up 24 per cent by volume) and fast-expanding subscription services. The number of users paying to subscribe to a music service leapt by 65 per cent in 2011 to 13.4 million worldwide, according to IFPI estimates.
In the US, the world’s largest music market, digital channels have overtaken physical formats to become the primary source of revenues for record companies. Globally, 32 per cent of music industry revenues come from digital sources, far surpassing the film, newspaper and book sectors. New services launched across Latin America, while in China record companies are working in a landmark partnership with the largest internet company Baidu.
IFPI’s Digital Music Report 2012 is published today, providing a comprehensive overview and analysis of the global digital music business at the start of 2012.
Commenting on the Report, Frances Moore, CEO of IFPI, said: “As we enter 2012, there are good reasons for optimism in the world of digital music. Legal services with expanding audiences have reached across the globe and consumer choice has been revolutionised. Meanwhile momentum is building in the fight against piracy as governments and a growing circle of intermediaries engage with our industry.
“Any complacency now, however, would be a great mistake. Our digital business is progressing in spite of the environment in which it operates, not because of it. In 2012 the momentum needs to build further. We need legislation from governments with coordinated measures that deal with piracy effectively and in all its forms. We also need more cooperation from online intermediaries such as search engines and advertisers to support the legal digital music business.”
Positive momentum but legal environment remains a huge problem
Piracy remains an enormous barrier to sustainable growth in digital music. Globally, one in four internet users (28%) regularly access unlicensed services, according to IFPI/Nielsen. This is rigging the market for legitimate services, stunting growth and jeopardising investment in music. IFPI advocates an inclusive combination of graduated response, site-blocking and other measures to tackle the problem.
There has been positive momentum in the fight against piracy in 2011. In France, the introduction of the new Hadopi graduated response law has seen peer-to-peer (P2P) piracy levels decline by 26 per cent, with around two million P2P users stopping the activity since warning notices were first sent out in October 2010 according to IFPI/Nielsen.
A newly-published academic study finds evidence that Hadopi has had a positive impact on iTunes sales in France. The analysis, by Danaher et al¹, found that iTunes singles sales were 23 per cent higher than they would have been in the absence of Hadopi.
In the US, a groundbreaking ISP cooperation deal was signed in 2011 and a graduated response programme will be implemented in 2012, with most major ISPs signing up to a “copyright alert system”. The move follows the closure of the illegal service LimeWire in 2010, which has helped cause a dramatic drop in levels of P2P piracy in the US market.
There was important progress elsewhere too. In New Zealand, a new graduated response law took effect in September 2011, with early indications of impact. In Europe, a string of court judgments has helped reduce copyright infringing activity on major sites like The Pirate Bay. In Belgium and Italy visits to the infringing sites dropped by 70-80 per cent in each case. In Spain a new law came into force to allow the blocking of illegal websites – a positive step, though disappointingly limited in its scope.
Stepped-up cooperation with online intermediaries
The recorded music industry is now working directly with advertisers, payment providers, search engines and website hosts to tackle digital piracy. A partnership struck in 2011 between IFPI, the City of London Police and payment providers MasterCard, Visa and PayPal has prevented more than 60 illegal websites from abusing payment services since it began in March 2011.
Better cooperation is being sought with search engines, which are a major channel for consumers to access music. Research in several countries indicates that between a quarter and a half of people illegally downloading access infringing music via search engines. However, many of the top results provided by search engines are linked to unauthorised content or sites which regularly infringe copyright.
With a sound inspired by The Smiths, R.E.M. and Wire, to Elvis Costello, Dusty Springfield and Nick Drake, “Plural” was written during a year living in Vancouver and recorded in Dublin across five different houses over the summer and autumn of 2011.
Gavin’s sound has been described as ethereal and dreamy and comparisons have been made to Elliott Smith.
“Plural” will be available from 6th April online through iTunes and Bandcamp, as well as in independent record stores Elastic Witch, Wingnut and Tower Records.
Ghost Estates are the latest Irish unsigned band to launch a Fund It campaign in an effort to raise funds to help complete their debut album. The band are hoping to release the album in May of this year and have fifteen days left to raise funds toward the vinyl pressing and CD duplication of the album.
The album is self-produced and was recorded between Sun Studios with John Henry and Ghost Estates own studio, and mixed by Marc Carolan.
A taster of the album is available on Ghost Estates’ Soundcloud page http://soundcloud.com/ghostestates where the tracks “October”, “Forever or Never” and “Paris” can be heard.
You can check out Ghost Estates’ Fund It campaign here:
Recent Elastic Artists signing, Ryan Vail, returns with the much-anticipated Colours EP following on from the success of last year’s intricate, layered electronic debut, These Words, which gained widespread support from BBC Radio 1, Richie Hawtin, Rob Da Bank and The Japanese Popstars.
With label interest already from Warp Records, as well as support slots for Jon Hopkins, David Kitt, Boxcutter and Luke Vibert behind him, 2012 is set to be an incredible year for Ryan. He has already been entered into the Contenders Award – part of the 150th Year celebrations of Belfast’s Ulster Hall on 25th May this year – an accolade that could see him follow in the success of previous winners The Wonder Villains.
The Colours EP delivers three tracks that contribute to the continuing conversation between deep, textured, ethereal electronic music and strong, emotive songwriting. Comparisons to James Blake, New order, The Album Leaf, The XX, and Boards of Canada go some way to describing the lush texture and glacial melody of Ryan’s sound which is inextricably rooted in low rumbling analogue warmth and crisp drum machine rhythms.
The Colours EP Remixed is already in the works with some of the most exciting names in electronic music at the helm, the fruits of which will be available in the not too distant future so keep your eyes and ears peeled.
‘An extremely beautiful EP, love the emotion, already looking forward to future releases’ – The Japanese Popstars
‘Underworld meets James Blake. Not a bad way to start.’ – Composure Records UK
‘Love Ryan’s vibe and atmosphere’ – Cloud Collective Records
11th May – Culture Glitch @ Love and Death Inc., Belfast
25th May – The Contenders @ Ulster Hall, Belfast
2nd June – Pigstock Festival @ Gem Saloon, Comber UK
Will take place @ IMRO Offices, Copyright House,
Pembroke Row, Lower Baggot Street, Dublin 2
From 11.30am to 5.00pm
Stuart Worthington is a professional industry consultant with over twenty years experience. He has acted as a small business adviser; consultant and training provider working both directly with private sector clients and via the whole range of public sector agencies in the UK since 1987. Since 1990 he has concentrated on delivering small business advice and learning programmes to the cultural and creative industries, specialising in services to the music industry.
Advises a broad range of clients in the corporate sector on commercial issues and has been involved in the negotiation and drafting of a wide range of commercial agreements, corporate restructuring and commercial transactions. She has also advised industry clients in contentious issues such as breach of contract, patent infringement, breach of copyright and passing off. Eileen also provides an eclectic mix of music and media clients with advice on recording, management and publishing agreements and generally in the area of copyright law and intellectual property rights.
Alan Murray is a tax specialist and a chartered certified account with over 15 years experience with a particular emphasis on clients involved in the entertainment sector. Alan is a senior member of the Mazars OJK Entertainment Division and his clients range from global international high profile entertainers to indigenous performers based primarily in the Irish market place. Alan has experience in advising on the tax issues of all elements of entertainment income streams for performing musicians including recording and publishing royalties and live performance income. He also has particular expertise in dealing with HMRC in terms of agreeing UK withholding tax for live performances in the UK. Through his work in this area Alan has developed leading entertainment contacts in both the UK and US and can offer a global service in this sector”.
Producer / Engineer / Songwriter / Keyboard Player
Ray has been in the music business for the last 20 years. Started by playing keyboards in a few Dublin based bands, and gigged Ireland & UK. From playing keys in bands and the introduction of sequencers and computers he progressed to programming for bands and artists and then to recording them. He set up a recording studio in Dublin in 2002 and worked with artists such as Aslan, Alabama 3, The script and many others. He then moved his studio back home and freelanced from there onwards using various studios and engineers to assist him in his work. Ray is currently working with some unsigned & signed artists with artists such as Aslan, The Script, The Coronas, The 4 of Us, Royseven, Boyzone and several others and this year will be co-writing and producing his own album.
Cost of training day is €20 for MMF members
Cost of training day is €32 for IMRO members
Cost of training day is €70 for non-members