TRACK REVIEW: Ailbhe Reddy – Bloom

REVIEW:

Ailbhe Reddy

PHOTO CREDIT: Niamh Barry

Bloom

9.6/10

The track, Bloom, is available via:

https://www.youtube.com/watch?v=Q0XWRvgyRwg

Endless Affair is available here:

https://ailbhereddy.bandcamp.com/

RELEASE DATE:

17th March, 2023

LABEL:

MNRK UK

PRODUCERS:

Ailbhe Reddy + Tommy McLaughlin

TRACKLIST:

Shitshow

A Mess

Damage

Inhaling

Bloom

Last to Leave

Shoulder Blades

I'm Losing

Good Time

You Own the Room

Pray For Me

Motherhode

_________

AN artist that…

PHOTO CREDIT: Barry Cronin for The Sunday Times

I interviewed six years ago now, I do feel this attachment to Ailbhe Reddy. A remarkable artist who I am keen to catch up with again soon, I loved her Personal History album. That came out in 2020. Released at the real height of the pandemic, it was an unfortunate time for an amazing artist who would have hoped to tour the album quite widely. It did give us a treat, comfort and something beautiful to listen to when we were all going through such a tough and uncertain time! The London-based Irish artist is someone who I knew, even back in 2017, would be a huge proposition! She will be back in the U.K. soon, but she is currently playing in the U.S. It is wonderful (though not surprising) American audiences have embraced her. I am not sure whether we in the U.K. look at Irish music as deeply as we should. Great artists from there such as Fontaines D.C., and Sinead O’Brien are definitely showing what stunning and original music is coming from there. So too are the majestic Pillow Queens. In fact, I could go on and on. Ailbhe Reddy is thrilling and seducing American audiences at the moment, and I know soon enough she will be playing huge venues in the country. I would be fascinated to see a Reddy video diary or documentary where we see her on the road as she goes from city to city. I am going to approach this review in a slightly different manner to previous ones. It has been a while since I have done a review (when I looked at Fable’s astonishing debut, Shame, in July 2022). The brilliant Endless Affair is out now. I wanted to review a single track from it, as I don’t think I can do true justice to the album without writing about 6,000 words – and how many people have the patience to read that?! Suffice it to say, it is a sensational work from an artist who grows stronger with every release. Being someone very fond of Ailbhe Reddy, it is heartening and uplifting reading how people have taken to the album. It is already one of the best albums of the year. I would not be surprised to see it nominated for a Mercury Prize later in the year!

I am going to source from a few interviews with Ailbhe Reddy soon, just so we can get to better know this incredible artist. Before then, I would advise everyone to go out and get her new album. It is gathering so much love from social media, and critics are showing their respect for Endless Affair. Here are some details from Rough Trade:

“A much needed aural tonic for an extended emotional hangover, Irish alt-folk artist Ailbhe Reddy releases her highly anticipated second album, Endless Affair. Inspired by her romantic relationships and her fractured memories of many a fun night spent partying in her early 20s, the record is a tender exploration of emotional resilience that sees Reddy embrace the fact that - in her own words - she's "an absolute melt" when it comes to letting things go.

Written and recorded between January 2019 and October 2020, Reddy paired up with producer Tommy McLaughlin - who also worked on her debut album Personal History - to co-produce the new album. She relished the opportunity to have more input and create a truly rounded sound on Endless Affair, which maintains the raw spirit of her debut, but showcases a development in her intuitive talent for writing songs that continue to tap into both a personal and universal vein. Ultimately, Endless Affair is a poetic reflection on personal growth, and a heartening reminder that we're all just "amateurs", trying to make sense of the bruises that mysteriously materialise on our bodies the morning after we've had too much of a good time. Reddy taps into our need to be with others, to soak up the experience as much as possible, and to remind listeners that they're not missing out - even if they have to leave the party early”.

PHOTO CREDIT: Niamh Barry

Ailbhe Reddy is such an important voice. As a Queer artist, I think that she is giving strength, voice and inspiration to some many in the L.G.B.T.Q.I.A.+ community. Someone who speaks up against transphobia, injustice, homophobia and inequality, Reddy knows the power of Queer songwriting. She recently spoke with GCN (Gay Community News) about Endless Affair, and how bands like Pillow Queens opened her eyes and ears:

“It looks so cool. And queer! In an earlier GCN interview, you talked about how it felt to perform a love song with she/her pronouns for the first time. I’m wondering how your experience as a queer artist has evolved since then?

Oh, wow! Interesting question. I was 23 during the Marriage Referendum in Ireland and I remember feeling like doing that was the bravest thing I ever could have done. Now I would put “she” in the song absolutely anytime. But it felt huge to me. Ireland has changed so much over the last 10 years, 15 years. It’s such a different place.

What’s cool is, when you talk to younger artists now, they wouldn’t bat an eyelid at that.

Yeah, that is something I’ve noticed with the younger queer community. Even talking about how I was nervous about holding a girl’s hand in public is unrelatable.

Yeah, that’s so fucking cool. I’m so glad that they don’t have to go through that. I’m delighted for them, and that’s why we did it. We had an easier time than the generation before us. There’s been so much progress in the last 10 years.

Hearing that quote from myself back is kind of mind-blowing because sometimes I even forget it.

I remember when it felt so cool and edgy to hear any female artist singing about a woman in a song. It was so rare.

I remember hearing a Lucy Dacus song years ago called ‘Night Shift’. She had such a great song and she says, “call you a bitch and leave”, and it’s like, oh my god, she’s talking about breaking up with a woman. And it was this feeling of just like – this thing is for me. So much popular culture at the time was for everyone else.

Bands like Pillow Queens changed the game. Imagine having a band like that to look up to and you were like, 16, and you see them being so successful and strong and cool.

Totally. Pillow Queens was one of the first queer Irish things that I discovered when I moved here and the experience of growing up with them sounds amazing.

I remember being 16, and I used to watch this YouTube channel called BalconyTV which was filmed in Dublin. They used to get artists in to play a little acoustic song on a balcony; I loved it.

Wallis Bird was on it and there was something in me when I was just like, “I know, she’s gay”. And I immediately became obsessed with her music. It’s not just that she was queer and a musician, she was Irish as well. This person feels like they’re from the same world I am”.

Ailbhe Reddy has spoken about how we need as many voices out there as possible representing the L.G.B.T.Q.I.A.+ umbrella. I want to quickly move to an interview with HOTPRESS before changing the subject slightly. It is fascinating ready interviews and promotion around Endless Affair. If Personal History was a great debut with no real linking narrative or theme, the fact Endless Affair is fresh and has more of a concept shows that there is no confidence emerging. An artist always exploring, evolving, and growing:

“Having earned a major domestic and international following with the release of her 2020 Choice-nominated debut, Personal History, alt-folk singer-songwriter Ailbhe Reddy is back with a raw new single ‘Inhaling’. Her current offering is shared via Ailbhe’s new label MNRK Music Group, an independent outfit that’s home to 50 labels, including world class music brands like Dualtone, Death Row, Last Gang, Indieblu and more.

‘Inhaling’ is about the sense of emptiness felt during the last two years, nostalgically looking back at times of freedom and fun.

“It’s all about being stuck inside all the time,” Ailbhe explains, “feeling bored and wishing you were out being an absolute idiot like you used to be (laughs). It’s the need for liveliness, which we’ve all missed. There was no spontaneity in life. Even when things opened up a little bit, restaurants and pubs had to be booked ahead of time. You’d be doing antigen tests non-stop.

"We’re not out of the woods yet, but it’s nice to have some of those fun moments back. ‘Inhaling’ is about yearning for that again. Now seems the opportune time to share it. I’m sure a lot of people can relate to the emotions and vulnerability within the lyrics.”

PHOTO CREDIT: Bridie Monds-Watson (SOAK)

Ailbhe enjoys working with Tommy McLaughlin of SOAK, Villagers and Pillow Queens production fame.

“Tommy’s really great at getting the best out of everybody,” she nods. “He’s really easy to work with and listens to what the artist wants. I’m co-producing my next batch of tunes, which we’ll release every two months this year. ‘A Mess’ is out in June. I worked super-closely with Tommy on those tracks, but they’ve been finished since February 2021, before Bridie Monds-Watson and Pillow Queens recorded their albums.

“I signed with MNRK, which is great. I’m so excited for everyone to hear the new music. ‘A Mess’ is about not feeling good enough. It’s not like someone is making me feel that way, it’s just my own self-worth. There’ll be a video to go with that.”

Ailbhe is Dublin-based now – and looking forward to the summer months.

“I’m feeling really excited and positive,” enthuses Ailbhe. “I went on tour with Bridie and Tommy at the beginning of the year when things were just getting back to normal, which was amazing. We hadn’t booked flights or accommodation until about 10 days before, because we had no idea if it was going ahead or not, which is mad. It was a beautiful, intimate way to return to shows. To travel with two friends is a total blessing – working with them is just lovely”.

I think things are changing in Ireland, but there has been talk from bands like Fontaines D.C. about how bad it can be. In terms of higher rent and creatives not being supported. So many artists from there are migrating to the U.K. and U.S. We are seeing wonderful Irish artists come over here…but I wonder what the situation is like for homegrown Irish acts that are hoping to break through now. Ailbhe Reddy is someone who shows what can happen for aspiring Irish talent. She will give that hope and focus to so many. I do think that her success should spur the government and culture secretary there to think about how artists are supported. Making it more affordable to live in cities like Dublin and ensure that there are opportunities at home. In 2018, Reddy touched on this when she spoke with Ireland’s District Magazine:

“Would you like to weigh in on the ‘Ireland doesn’t support it’s creatives, so they’re all leaving’ argument that we hear all too often these days? Why do you think this is? Do festivals like Hard Working Class Heroes help combat it?

I think that criticism is levelled towards the lack of funding for modern music from the Department of Culture. It’s also a criticism that isn’t just from creatives, but plenty of young people in other fields too. Rent is impossible in Dublin (yet we need to be in Dublin to avail of opportunities), creative spaces are few and far between. There’s not a lot of support for young Irish people in general, and it’s even worse for creatives as they are often going down the road less travelled.

With regards HWCH, the opportunities are there for you to take. I did it in 2015 when I didn’t really have my act together and didn’t gain much traction. However, in 2016 I had released an EP, had a tight band together and I went to all the industry meet and greets and benefitted massively. Through that I got to go to The Great Escape, and through that I signed my publishing deal, which was my most important career moment to date. First Music Contact in Ireland is an incredible support system that facilitates artists working together, as well as educating us all on how to navigate the industry.

You’re quite open about having to juggle a job and music, this seems to be such a common problem for our country’s top musicians. How do you think this could be combatted?

More funding, which is something Angela Dorgan of First Music Contact has been fiercely fighting for.

Which Irish artists are impressing you at the moment?

I’m sure you’re more than aware of everyone I will name: Maria Kelly, LAOISE, Pillow Queens (I like to act like I’m their honorary fifth member), Bitch Falcon, Basciville, Rosa Nutty… I could name heaps!”.

PHOTO CREDIT: Niamh Barry

Prior to coming to a song review, I want to focus on a couple of new interviews where Ailbhe Reddy talks about the inspirations and ideas that go into the wonderous Endless Affair. I know that she will be looking ahead to a third album already. I can only imagine how great it has been like bringing this material to American audiences – many of whom are discovering her for the first time. I will try and catch her when she is in London. One of the most striking and notable aspects of Reddy’s music is her lyrics. Every song she writes seems to be about love in some way. Whether that is romantic love or that for a family member. When she spoke with Guitar.com this month, Reddy explained her lyrical process:

“Lyrics-first

Going through the ringer of solo acoustic gigs also informed Ailbhe’s direct, lyrics-forward songwriting approach. “I’m totally just hiding behind music to get my thoughts across. That’s what I love in songs, you know, it can sound really good. But if the lyrics are throwaway, I don’t like it. I’m the lyrics-first kind of person.

“I usually come at a song with a concept rather than a riff or a chord progression. Like Last To Leave, for example, had the concept of being the last to leave a party, what that feels like, that kind of arrogance almost going in thinking ‘I know I’m going to be a total pain in the ass.’ I normally try to approach it by just building a track out from lyrical ideas.”

Sometimes this means building sounds that balance out the tone of the lyrics. “For I’m A Mess, I had all of these hangover lyrics I had written on my little receipts. But sonically, I definitely wanted to start with that weird tch, tch, tch, tch snare hit. I just thought it was such a weird way to start a song. And that descending guitar line was so central to the song – it’s so goofy, especially a song like that, where you read the lyrics and it’s this serious thing, like ‘oh, god…’.

“It’s kind of meant to be a bit petulant – I don’t actually believe what’s said in those lyrics, they’re just stupid little insecurities being levelled at somebody else. You kind of need the music to balance that out. So I tried to figure out the dorkiest guitar sound I could possibly get away with.”

But writing concept-first isn’t a hard-and-fast rule. “Every once in a while you get a song that just comes out – it’s not planned. Those are the lovely ones like Pray For Me. That, I just sat down one day, and I was noodling on guitar, and that song just came out in 20 minutes. And that’s special, because it’s not heavily edited or contrived.”

Not all of Endless Affair is as stripped-back and raw as Pray For Me. Like so many great indie-folk records, it’s peppered with extra instrumentation, with horn and synth lines augmenting acoustic and electric guitar parts. “I guess that comes from the people I was listening to when I wrote the album, from 2019 to early 2020. A lot of Julia Jacklin, and Andy Shauf, he has loads of brass in his stuff. And Villagers, another Irish band. I had a friend who played trumpet, and I was like ‘would you ever think of doing something for me on some demos, just to try it out?’”

“So we ended up doing that on a few of the demos for this record. On the more playful songs, the ones I felt were tongue-in-cheek, they same space was filled out by a synth sound – and for the songs that were more earnest, we had the trumpet. So it’s balancing interesting production elements, while also not losing the bones of the song. The best thing about this style of music is – if you take away all those elements, you still have the song. I would never put a song on an album that I don’t think I could get away with just playing a guitar and me”.

For the Rabbits also chatted with Ailbhe Reddy this month (she has had a busy promotional cycle!). There is a lot of fascination around her and Endless Affair. I would urge people to check the entire interview out as, among other things, Reddy discusses her time making music in the wilds of Donegal. I have chosen a few questions that are particularly relevant:

“FTR: What did you do differently with this record compared with your debut record?

I co-produced this record so I was a lot more hands on with the sound. I had demoed almost all the songs very precisely by the time we went in to record and we actually kept some of the original recordings I did at home on the record because they were impossible to replicate in studio. There was more of a clear narrative running through this album too, because my debut was made up of songs that spanned a few years, this record had more of a clear concept.

FTR: There’s a real narrative running through Endless Affair, do you consider it a concept album?

I do sort of. It’s very personal but concept is learning to let go, and coming to understand oneself. The first half is about chaos and wildness and parties, the second half is more about relationships and the final two tracks are about the people who ground me.

FTR: I was struck by how eclectic the record is, were you conscious of trying to showcase every aspect of your songwriting?

It’s truly not a conscious effort, but I like having a few different styles going. I think they are all tied together by a consistent sonic palette, but certainly sound quite different. Some songs are quite rocky and heavy, and others are very much soft folk.

FTR: Who were the influences on Endless Affair? What were you listening to when you were writing the album?

Andy Shauf, Courtney Barnett, Julia Jacklin, Big Thief.

FTR: I love the artwork for the album, where did the idea come from?

I had a pinterest board full of old film photos of people’s parties from the 60’s and 70’s. So I wanted something that was staged to look like one of those, where only I was addressing the camera, sort of breaking the 4th wall. I discussed it with Ruth Medjber who took the picture, and she had big ideas to make it happen. She wanted to pack the image full of people which I loved. It was also cool to have so many friends in the artwork!”.

I have selected a few interview, as we know more about Ailbhe Reddy and the extraordinary Endless Affair. An amazing songwriter and producer, the album is such a rich listen. I have found myself revisiting it after the first couple of listens. As I said, it may well be in with a shout when we find out who is shortlisted for the Mercury Prize later in the year. That is how good Endless Affair is! I wanted to focus on Bloom, as it is one of my favourite tracks from the album and, as track five, it is in the middle of the album. It nicely nestles between Inhaling and Last to Leave. It is a beautiful track that definitely struck me the first time I heard it. It is also a new single from the album. The song is so vivid. In the middle of this party – as part of the concept of Endless Affair, we seem to be taken inside the album cover; that revelry at a party -, this song takes shape and finds its muse. Boasting one of the most beautiful introductions on the album, the guitar has this hypnotic quality. It seems to carry age, emotions, and story. That sounds silly, but you are already transported into the song without any words being sung! It is deep yet bubbling. It flows and carries you along. Reddy’s voice has a note of caution and sadness. The title could refer to a relationship blooming and blossoming, but it seems to pertain to something that could have bloomed or did once, but it has died or stopped. The vocals and guitar summon something riverside and calm, whereas the lyrics take us into something headier and more teenage. There is this wonderful contrast of quite traditional and beautiful Folk sounds mixing with a very modern aesthetic and lyrical palette. Ailbhe Reddy’s voice is soaked in wine and whiskey.

PHOTO CREDIT: Todd Owyoung

There are so many scents and sensations that she summons. Importantly, you cannot compare her to anyone else. She is one of the most original vocalists I have heard. That applies to her songwriting too. Consider the opening verse: “Met you in the bathroom queue/Thought that I'd seen you before/Singing songs that I thought that I knew/But I guess I was wrong/You were so rootless then/And it seemed romantic/But I guess that we all have to learn/I guess that we all have to learn”. Reddy’s voice has a slight weariness and sense of defeat, but there seems to be this longing or regret. It is such a compelling and nuanced song. I do wonder whether there are plans to film a video for this song, as I would love to see what concepts are considered. It is a new single, so this might already been in production or planned soon. In the chorus, Reddy’s voice lifts. There is this passion and declaration, but also a sense of realisation: that this potentially great thing is not going to go anywhere. I am not sure whether Reddy based the song on someone she was involved with or was hoping would be ‘the one’, but you do wonder as the chorus comes in: “To bloom where we're planted/Take love where it's handed/I could still want you could still want you/But my heart's not in it”. The production is incredible throughout Endless Affair. Crystal clear but with a touch of weariness, each song has so much atmosphere and gravitas. On Bloom, Ailbhe Reddy’s voice and guitar are right at the front. It is like you are hearing her play this song live, right next to you in fact. It gives extra weight and vulnerability to a song where you hear her voice almost shiver and crack in the chorus. I can imagine what it is like hearing this song performed on the stage!

Such an immaculate, unique, and superb storyteller, you listen to the three-minute song and want to hear more. You wonder what the aftermath was. If the lyrics give you the sense of a house party or a pretty hectic night, there is a soberness from the vocal. Soft and arresting at the same time, I get more and more intrigued when I hear the lyrics. Was this based on a specific event/woman that Reddy was once in her life? The second verse adds more explanation and answers: “The last time I saw you/We were standing in a crowd/Pills and cold water curing your hangover/Wonder how you're doing now/We were so restless then/And it all felt tragic/But I guess that we all have to learn/Guess that we all have to learn”. When the chorus come back round after that verse, it seems even more powerful and affecting. One of the most stirring and heartbreaking parts of the song comes at the end. The lines “We've all got to choose/A life and live with it” raises so many questions and interpretations – beyond the simple case of a relationship that could have gone places but never bloomed. Reddy did perform this track as early as 2020. It goes back quite a way, and it is obviously one that is important to her. A real gem from the awe-inspiring Endless Affair, I wanted to go into a bit more depth when it came to Bloom. This year is going to be the busiest and most successful of Ailbhe Reddy’s career so far. When she has come back from America, there are dates and appearances in the U.K. She will be welcomed with a lot of love and adoring fans! I am a big fan of her Personal History debut, but Endless Affair moves her story on and is her strongest release. I encountered her music over six years ago, and I am so glad I got to speak with this icon-in-the-making…