I’ve often wondered whether I came to music later than it came to me.
Music was always around me growing up. My mother was a wonderfully talented musician with a beautiful singing voice and spent many years teaching music to primary school children. She probably doesn’t realise how much she influenced me, but I do remind her from time to time. Ironically, I dreaded singing in primary school and never imagined that one day, I’d be writing songs or standing on a stage performing them.
That all changed in my mid-teens. I discovered bands like R.E.M., Nirvana and The Lemonheads, and suddenly music superseded mere entertainment. What grabbed me wasn’t flashy musicianship or guitar solos—it was the introspective and descriptive lyrics. I loved songs that painted pictures, told stories or left enough mystery for the listener to work things out for themselves.
For me, the words always came first.
While at uni. in Galway in the mid-90s, I recall sitting on the concourse filling foolscap pages with lyrics and humming melodies on the way home. Eventually, I realised both needed somewhere to live. I bought a guitar, and my friend Dara showed me a handful of chords. That was enough. Very quickly I reached the point of no return. Being a late bloomer felt, and has always felt, that I’ve been making up for lost time.
Before I started writing in earnest, I had this idea that great songs had to be built around complicated chords, unusual tunings and technical brilliance. Then I heard Lucky Man by The Verve. Discovering that such a beautifully anthemic and impactful song could be constructed upon four simple chords – G, D, A and Em – was a complete game changer. It taught me that if the melody is strong, the lyrics connect and the musicians believe in what they’re playing, then simplicity can be incredibly powerful. Richard Ashcroft has a lot to answer for!
In 2006, I recorded my first album, Some Belated Truths, under the moniker Urban Hermits, in Hungary of all places! I was there for three years teaching English. Looking back, it seems an unlikely place to begin, but that’s part of the story. The album was released in 2007 and marked my first real step into the world as a songwriter.
One of the highlights of that period was launching the record with a performance at Liverpool’s legendary Cavern Club. Standing on the stage that helped launch so many iconic artists was both surreal and humbling, and it reinforced the belief that the songs I’d been quietly writing for years deserved to be heard.
As the years passed, so did my influences. The early American bands that first drew me into songwriting gradually gave way to artists like The Verve, PJ Harvey and The Stone Roses before evolving again with the arrival of American indie-rock stalwarts The National and The War on Drugs. Their ability to create atmosphere, emotional depth and songs that reveal something new with every listen continues to inspire the way I write today.
After an extended hiatus due to family commitments, I experienced a timely unleashing of creativity in 2018-19 that resulted in Fearless (2020), Emotional Kaleidoscope (2023) and Victory Has A Hundred Fathers (2026). These albums were recorded at Valley Music Studio in Ballybofey with Terry McGinty, a talented, experienced and brave producer who has constantly encouraged me to push my songs further than I ever thought possible.
On the latest album, Terry was joined by Kevin Halpin and myself as co-producers. Kevin is also the lead guitarist in the band and one of the finest multi-instrumentalists I’ve ever worked with. He’s been with me since the launch of Fearless. When someone of Kevin’s calibre, talent and experience believes in your songs, it gives you confidence to keep writing and striving to improve. We’re joined by Rory Halpin on bass and backing vocals. Rory is a terrific young songwriter in his own right, and I feel lucky to share a stage with musicians who genuinely care about the songs rather than simply playing the notes.
I’ve released four singles from Victory Has A Hundred Fathers so far: ‘Capo-Happy’, ‘The Final Arrow in Your Quiver’, ‘83, 25’ and ‘Without A Fight.’ Each represents a different side of the album, from uplifting indie-rock to more intimate, reflective songwriting. I’m currently preparing the fifth single and its accompanying music video, which continues my long-standing collaboration with director Michael Gillespie. By the end of this campaign, we’ll have made eighteen music videos together, something I’m immensely proud of.
At the moment, I’m in a quieter phase, but it’s a productive one. I’m currently revamping my website and EPK while continuing to promote both in Ireland and overseas. There are also some encouraging conversations taking place with a record company that has shown a genuine interest in my catalogue. Whatever comes of those discussions, it’s reassuring to know the songs are connecting. People naturally ask what comes next. In truth I amn’t focused on rushing back into the studio to make another record. It’s about stopping for a moment, taking a breath and reflecting on what’s already been created.
Over the past few years I’ve been fortunate to write and record songs that I’m genuinely proud of, tracks like ‘Wither’, ‘Krakatoa’, ‘My Capital’, ‘Cycle the Volcano’, ‘Drop Tools’, ‘Without A Fight’ and my Christmas song, ‘The Kindness of Strangers.’ They each have their own story, their own identity and, I believe, their own audience. My priority now is to make sure those songs are heard by as many people as possible.
That means putting more energy into radio airplay, getting on playlists, more live performances and introducing people to the music I’ve spent years making. There’s always a temptation for songwriters to chase the next album, but I don’t feel that pressure. The songs I’ve already recorded deserve their chance to breathe before I move on.
My focus then is getting back on the road. The north-west of Ireland will always be home, but I’d love to take these songs much further afield. We’ve developed a two-hour live set that speaks to people both in bombastic chants and hushed tones. Now, I’d love the opportunity to play festivals and venues throughout Ireland and beyond as I believe that songs only really come alive when they’re shared with an audience.
That doesn’t mean writing has ceased. Far from it. I already have the guts of another album ready, with a number of songs already recorded and well over a thousand voice memos filled with guitar ideas, melodies and lyrical fragments still waiting to be explored. They’ll still be there when the time is right. For now, the future isn’t about writing more songs. It’s about giving the ones I love the audience I believe they deserve.
