Tag Archives: piano

A Night to Remember: Jim Corr and Liam Monagher in the Lisdoo, Dundalk

Just before Christmas, Dundalk was treated to a very special night of music in The Lisdoo in aid of the Louth Society of Prevention of Cruelty to Animals. The night was so lovely and enjoyable that it deserves further acknowledgement than just a handful of Instagram posts.

The bigger picture of the night was of course, raising awareness for mistreated animals and for raising funds for a worthy charity who work tirelessly to care for, treat, house, feed and rescue animals who need positive human intervention. A topic close to my own heart and indeed many hearts, as the venue was close to full. Such a positive and affirming act in itself!

Musically, the event was centred on Dundalk musicians, in particular those who are aligned with Irish traditional music- Jim Corr, Liam Monagher, Zoë Conway, John McIntyre and The Oriel Traditional Orchestra. If you were in any way interested in the music of our ancestry performed by professional, highly regarded and empathetic artists, you didn’t need a second invite to attend- for this was a once in a lifetime show.

Following a brief introduction from local broadcaster Harry Lee, The Oriel Traditional Orchestra opened the event. The orchestra performed pieces from the Oriel region which encompasses Louth, Meath, Monaghan and Armagh, arranged for orchestra. Their sound was as big as their number. They performed the sweetest melody on solo tin whistles to a hushed audience and they filled the room with the joyous sound of approximately sixty musicians in harmony. You couldn’t not be in awe of their collective passion and talent. At this point I will add that Zoë Conway and John McIntyre who played after Jim Corr and Liam Monagher, were fantastic. They’re a wonderful duo who compliment each other in a fantastic way, vocally and instrumentally. This blog is about Jim and Liam so I will not delay.

Succeeding the flurry of sixty-odd chairs getting packed away and guests’ tables getting pushed closer to the small-rise stage to fill the gap (no problem, I’m not shy! I very much would like to be closer to the artists I’m there to hear!), Jim Corr and violinist Liam Monagher sat on the edge of the stage very casually and chatted with Harry Lee. The friendship between Jim and Harry was obvious as Jim chatted about his sister Andrea’s newly published memoir and spoke about how much he enjoys the fact his son Brandon reads it to him in the evenings. Undoubtedly emotional and nostalgic for Jim, as his sister recounted stories and memories from her childhood right up until the time of publishing, many of which concerned their family while growing up. Harry turned to Liam and asked him to speak about his professional career as a violinist. Liam humbly revealed he has performed in prestigious venues including the Royal Albert Hall, London and Carneige Hall, New York. The pair have played together before, but this night was to be their debut public performance, one which Harry inquired, might be the beginning of a future project?

While Jim Corr needs little or no introduction due to the global success of The Corrs with his three sisters, he has always been a steady musician onstage, keeping an eye on each of his sisters in brotherly support and contributing to the formidable sound without drawing heaps of attention onto himself. I watched their performance in the O2 Dublin in 2016, each sister sibling cast adoring looks at their brother as they nervously returned to the Irish stage and I watched Jim acknowledge them and give a small and reassuring smile. Jim Corr is a pillar in terms of a live, performing musician and is a force of creative energy in the recording studio with an incredible wealth of knowledge concerning music production.

Liam Monagher also from Dundalk, began playing violin at the age of six and trained with the renowned violinist Ms. Patricia Treacy and also with Mr. Michael d’ Arcy at the Royal Irish Academy of Music, Dublin. As a solo violin performer, Liam has won many awards at Feis Ceol’s at Newry, Warrenpoint, Belfast and Sligo and also competed with success at Feis Ceol Dublin. As an orchestral musician, he has performed with numerous orchestra’s including the Orchestral Musicians of Northern Ireland, the National Youth Orchestra of Ireland (NYOI), the NYOI Camerata and the Cross Border Orchestra of Ireland (CBOI). Throughout the years, he has performed in many of the world’s most prestigious music venue’s including Boston Symphony Hall, Carnegie Hall, New York and Chicago Symphony Hall. Most notably, he was leader of the CBOI in performances at the World Expo Shanghai, China, the Lincoln Centre, New York and the Royal Albert Hall, London. In addition, he has played in all the major venues in Ireland including the Helix, the National Concert Hall, the RDS, Dublin, the SSE Arena and the Waterfront Hall, Belfast. Although principally a classical violinist, Liam who has been described as an “accomplished and stylish player” has won awards at Fleadh Ceol Na hÉireann at county, provincial and national level, including two gold medals, under the tutelage of respected Dundalk musician, Brendan Gaughran. Throughout his career to date, he has had the opportunity to perform for many dignitaries including President of Ireland Mary Mc Allesse, Her Majesty Queen Elizabeth II and HRH the Duke of Edinburgh, Prince Philip to name but a few. In recent times, Liam’s musical career has taken a diverse twist, seeing him record and perform with some of Ireland’s most outstanding musicians including Lisa Hannigan, Jim Corr, Miss Paula Flynn and Brian Kennedy.

Both musicians, with their incredible respective achievements, talent and musical training show no hint of pomposity, in fact they showed albeit only briefly, slight nervousness as they were playing to a home audience on home turf. They opened with the serene Irish traditional air Lough Erin Shore, more famously known as Paddy’s Green Shamrock Shore (Paul Brady and Dolores Keane). Corrs fans know the air very well as two versions of the tune bookend the album Forgiven, Not Forgotten (1995), and was still part of their White Light Tour set in 2016. Of course, this wasn’t exactly a typical Corrs audience, it was an audience of friends and family which is a different level of support, and enthusiasm is expressed in more reserved ways (That means I didn’t bring my hotel pillowcase with “Jim, you’re looking well!!!!” colourfully drawn with twenty Sharpies- who let the fangirl in?!). By reserved, I mean you could have heard a pin drop in the room as Jim took to the keys and effortlessly danced over them, his right hand providing beautiful ornaments to the melody while his left hand supported with his signature rich bass notes and chords. All eyes and all ears were on the duo. Jim played one round of the tune before giving Liam the very same assuring smile he gave his sisters in Dublin as he lifted his violin bow to join him. Liam’s 1802 Perry violin sounded rich, full and warm, perhaps one might argue that’s not an overly traditional tone for an Irish performance but we’re not here to discuss authenticity, innovation or tradition. We’re here to listen to two fine musicians play the music of their heritage. And I for one quite appreciate a rounded and smooth violin tone, it’s kinder to my ears. Liam’s vibrato is graceful, measured and in my view, appropriate, as he draws a gentle sweetness out of his instrument. His execution of the pitch slide in the second part of the melody evokes the spirit of the first recording on Forgiven, Not Forgotten and he imparts his own signature by adding extra ornaments throughout. The pair arrive at the tune’s crescendo and Jim nods to Liam, taking over the melody in the upper octave, his delicate performance bringing to mind stars twinkling in the night sky with the fairies or siogs dancing beneath. One more round of the tune with Liam and with mutual smiles, signalling an silent agreement that this was to be the final phrase. Broad smiles to rapturous applause and cheers from the audience, their rendition was very much enjoyed.

Liam took the centre stage for the next tune, Brian Boru’s March. Liam led the way with Jim watching intently and adding beautifully accompaniment with occasionally jazzy chords and mirroring the melody as if the two players were one. Jim looked visibly at ease during this performance, perhaps any nerves of playing the first number dissipated and the two seemed to be feeding off each other musically. Indeed the two were so well rehearsed that they could relax, catching the briefest of staccato notes in perfect synchronisation, to snap you awake just in case you were floating off with the dancing siogs! And indeed to pre-empt what was coming next. The two started a new tune immediately, in classic Corrs style (think the unabridged version of The Carraroe Jig that was on the Love to Love You maxi-CD which pops a jaunty Trout in the Bath in unison violin and right hand piano). Certainly a joy of life of its own, the surge of energy from both musicians was lifting and playfully, Jim played the very last phrase in unison with both his left hand and his right hand for dramatic effect! Class!

At this point in their set, I’m delighting in the opportunity to listen to the keyboard musicianship of Jim Corr in such close proximately and liveliness. Yes, we get a sense of his incredible talent particularly on the Forgiven, Not Forgotten and Home albums, we know he’s a brilliant player but we don’t really get to appreciate it fully as there is so much more excellent music going on around him. United, The Corrs are genius, there’s no doubt about it, they have a synergy unique to them and they’re all fantastic (and I would argue, underrated) musicians. But here in the Lisdoo, it’s just Jim and Liam. No drums, guitars and more going on, this is very stripped back and very live. Jim is not a show off, he’s too gentle and grounded to be, but he definitely deserves celebration. The fluidity of his playing, his choice of chord arrangement, his choice of volume velocity and the perfect execution of his performance would leave you open-mouthed. He’s a totally different player, but he’s got that same midas touch Thomas Bartlett of The Gloaming has. My only wish at this point is that I could physically see his hands but I’m too shy to get up and move my chair, even for one song.

Speaking of The Joy of Life, Liam introduces the next tune as it. Jim starts the tune slightly slower than he normally would with The Corrs (it’s better to be too slow than too fast) and Liam picks up on this and pushes ahead, encouraging Jim to pick up the pace. The best tunes sound easy to play but are actually quite the handful (I’ve tried this particular favourite myself but alas, it’s definitely best left to the professionals). The Trout in the Bath rushes in, and some super-enthusiastic soul in the back of the room screams his lungs out in appreciation. Jim stomps on an endearing piece of wood with a boundary microphone attached to it, placed on the ground underneath his keyboard, emulating a kick drum or perhaps, emulating the stomping of the ground at a session in full swing (at this point in my own sessions, I’m rolling off as much low-end as possible on the mixer and have already requested the players to kindly remove their shoes!). But you can’t beat Jim’s energy, the audience are clapping in time with his stomping. We get a momentary rest with Jim’s jazzy sustained chords underneath Liam’s energetic playing and then in classic Corrs style, Jim yells “one two three four!” with support from the audience. They’re elated. Another few rounds of the tune before a flashy finish of violin tremolo’s and a sweep of all the keys, finalised by a synchronised final home note.

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Liam Monagher and Jim Corr. Photo by Stephanie Caffrey 2019.

Jim takes the microphone to introduce the next piece of music, the theme song from the 1988 film Cinema Paradiso. I had forgotten all about that film, we watched it in school during our Leaving Cert year. According to Andrea Corr in her memoir, Jim has perfect pitch and I well believe her, but Jim admitted difficulty in learning this particular piece of music solely by ear and said he only recently obtained the sheet music for it. Talented and humble. He had no sheet music in front of him that night and he grinned “I hope I play it ok now, I’m under pressure!”. The piece is distinctly classical, a far cry from his fusion/Irish sound he is known for. But let’s remember that Jim Corr has been playing piano since he could reach the keys. His father Gerry, taught him (and all the girls) and Jim studied at the Royal Irish Academy too. He could have pursued a career in classical music if he chose so. And evidently from this performance, Jim didn’t let the piano fade in the dust after his commercial zenith with The Corrs, nor did he stop playing classical altogether. His performance was flawless. Liam joined him with an equally flawless rendition of the melody, sliding effortlessly between left hand positions- one of the many hallmarks of an accomplished classically-trained player. The hairs on the back of my neck stood on end at the beauty of their sound. Truly it was a sound to behold. And I’m not into classical music at all, bizarre I know (call myself a music lover?).

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Liam Monagher and Jim Corr performing Cinema Paradiso. Photograph by Stephanie Caffrey 2019.

Return to Fingall was performed next. Another one from The Corrs’ repertoire, Return to Fingall featured as a bonus track on the Japanese release of their fifth album, Home (2005). Why it wasn’t included on the Irish/UK releases baffles me as it’s a stunning tune. Originally a piping tune made famous by the great Séamus Ennis, it translates onto violin, tin whistle and piano beautifully. Delicate ornaments from Liam decorated the tune, putting his own stamp on it, he also emulated well through his choice of expression, how the tune might be played on the uilleann pipes. “Is that it?!” Jim yelled as Liam raised an eyebrow and shook his head mid-bow, “Oh yeah!” Jim grinned and seemed to remember by muscle memory the delicate piano solo that’s next. It was different to what we hear on Home, in fact there was a touch of Enya in Jim’s choice of harmony, perhaps a tip of the hat to the Donegal musical family that inspired his own. He ended the tune with another sweep of the keyboard but this time in key and with his foot on his sustain pedal. The audience were too polite to clap over the extended decay which made a beautiful and poignant chord, until it fully diminished.

The last tune to be performed was of course, Toss the Feathers. The Corrs’ staple. A big “aw” from the audience and an apology from Jim for “only” giving the crowd six songs (six perfect songs!). “Not too fast” said Jim as he launched in a mock high speed tempo, which made Liam laugh out loud and tease Jim. After a moment of inner contemplation, Jim decided on a tempo and Liam launched the reel with bells and whistles. Not wanting to slow down, Liam carried on and impressively executed the melody perfectly at that pace. Jim started stomping on the stomp box again and “yeeeeeow”s interspersed the audience clapping along. We’re used to hearing a massive production on this tune (drums, bass, tin whistle, guitars, the whole sheh-bang) but the momentum was carried by the two musicians. Jim varied up the accompaniment with his jazzy syncopated chords (I say “jazzy” but I don’t really mean stylistic jazz, I mean chords you might typically find in jazz), he showed groove is possible in Irish fusion with just two instruments. He smiled broadly as he executed his offbeats along with his constant floor stomping, music and groove just flows through him. And Liam kept up the whole way, never relenting or missing a note. The duo finished with a flamboyant ending, complete with a leg thrown up on the keyboard (!) and more rapid violin tremolos. Pure class. Sure I only lost my mind there and then.

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Go on ya good thing! Liam Monagher and Jim Corr performing Toss the Feathers. Photograph by Stephanie Caffrey 2019.

Myself and my mother highly enjoyed this wonderful night in the Lisdoo. We had such great craic, heard some truly stunning music and got to contribute to a wonderful local cause. If Jim and Liam were to perform again, we would be there in a heartbeat and we’d probably bring an army of fans with us too. The world could definitely do with a little more of Jim and Liam. Hup the lads! Love to love you both!

My Names A, Your Names Zed… New Music from El Grey

For the creators and for the fans, active listeners or passive listeners, music has the power to move us all incredibly deeply. Sometimes we’re right here- in the moment and sometimes we’re floating in a sea of sounds- we blissfully lose ourselves for a tiny while.

And sometimes we’re both- Here and There.

The latest release My Names A, Your Names Zed from El Grey is exactly that.

el grey my names a your names zed
My Names A, Your Names Zed

If you’re already a fan of El Grey you’ll come to expect haunting, stunning and breathtaking vocal performances as standard. You’ll also expect crunchy beats mixed with a wash of synths and gentle acoustic guitars. You’ll also be aware that her music is deeply personal to her and each song is a little piece of her soul, committed to record.

Take all that you already know about El Grey and put a little twist on it. You won’t find this track anything like her previous release El Grey, but you will find her distinctive, trademark vocals affirming her ardent passion right here. Glistening synthy motifs bounce over and back a sound world of luscious piano playing and looped, reverberant vocals. Instantly you’re taken by the hand of El Grey herself into the infinite cosmos. If you haven’t gotten goosebumps multiple times within the first 60 seconds then you’re not ready for the journey she wishes to bring you on.

Hypnotic yet deeply grounding, her chanting vocal pulls you right into the centre. Looped over and over with additional harmonies, her voice guides the way- “Grab a coat, find a home”. While the chant gives way to a choir of swirly, angelic vocal expressions, we’re lifted further into the heavens, soaring high, looking for Home.

The mood changes somewhat after this point. You’ll hear a male voice enter- another new sound for El Grey. You’ll know that there’s something very special going on here- something very deep and very personal. In absolute contrast to what we’ve been listening to, she sings in her native tongue- and it works brilliantly. Switching languages in one song is a new and brave move for El Grey for she has something personal to say-revealing another dimension of herself and affirming her spirituality though her music.

El Grey

For me the most poignant lyric comes in around the 7-minute mark- “It’s just one heartbeat away from you” with echoes of “one” bouncing around, underpinning it. The music producer in me loves that line. The sentiment in me loves it too. It’s a line I’d hang on to for dear life.

This recording is 100% live and one take only. There was no pre-production. There was no doctoring this up in post-production either. The barest moments of extraneous sounds pop in and out here and there but these are not faults. Such sounds tickle my imagination and for me, they add to the soundscape. The piece in its entirety has a completely natural feel and I’m certain the musicians lost themselves in this performances-lost themselves to find a little something on the way back.

You could use a multitude of words to describe this track (atmospheric, holy, meditative, serene, gripping, stunning, special…) and you could find a multitude of situations to enjoy it in – at home with a candle, on a long, night-drive home, walking around a busy city- for it’s completely immersive and completely El Grey.

Enjoy the music here: My Names a, Your Names Zed – EP by El Grey on iTunes

El Grey: My Names A, Your Names Zed – Music on Google Play

el-F# | El Grey

elf logo7

El Grey perform tonight at the Hot Spot Music Club, Greystones in support for Oxfam Ireland alongside bands Calm State, Woodlark and Retrofix. More info: El Grey, Calm State, Woodlark, RetroFix play for Oxfam

 

 

Oh, Happy Day!

Oh, happy day indeed! I’m very excited to announce that I have joined Gerry Simpson’s Augustinian Gospel Choir on a permanent basis!

The concerts last week in the Barbican theatre in Drogheda were very successful. It was a fantastic production and my inbox was full of messages from everyone who enjoyed the experience!

Gerry Simpson and the Augustinian Gospel Choir. Photo by Colin Bell.
Gerry Simpson and the Augustinian Gospel Choir. Photo by Colin Bell.
Gerry Simpson and the Augustinian Gospel Choir band. Photo by Colin Bell.
Gerry Simpson and the Augustinian Gospel Choir band. Photo by Colin Bell.
Yours truly on bass. Photo by Colin Bell.
Yours truly on bass. Photo by Colin Bell.

Augustinian Gospel Choir @ Barbican Centre 2013 – Images | Colin Bell.

Great review in the Drogheda Independent by Hubert Murphy.
Great review in the Drogheda Independent by Hubert Murphy.

‘Mindblowing’ night of music at the Barbican – Independent.ie

I enjoyed the concerts and rehearsals so much I couldn’t bear the thought of parting ways with the choir after the shows last weekend. I got such a lovely, friendly, positive energy every time I was around the members of the choir! Chancing my arm, I offered my services of alto vocals and my offer was greatly accepted with open arms! I attended my first rehearsal as an alto last Tuesday and there I received the warmest welcome from everyone.

I have been aching to take part in a music production for a long time, I’m so excited!

Today we performed at the Annual Mass for Road Traffic Accident Victim’s in the Augustinian Church, Drogheda. I was playing bass again alongside Alan Barton on drums, Gerry Simpson on piano, backing up the choir. It was a very beautiful and touching Mass.

I will be announcing further performances in the near future!

Myself and Gerry Simpson after the show :)
Myself and Gerry Simpson after the show last weekend in the Barbican theatre, Drogheda 🙂

 

Alternative Version of “Close Your Eyes” is Online Now!

Some vocal edits, some tweaks, some mix balances, I don’t think I should call it a remix but a small re-work of my original song “Close Your Eyes” which features Fiona McErlane and Keith Caffrey on vocals.

Fiona McErlane
Fiona McErlane
Keith Caffrey
Keith Caffrey

I personally prefer this version. I intended on making the female vocals and drums clearer. I especially hope the listener is drawn to the delicate subtleties of Fiona’s voice.

Both versions will stay online! Enjoy!

New Song: “Close Your Eyes” feat. Fiona McErlane and Keith Caffrey

Today I’m sharing my latest music production project “Close Your Eyes” which features my guest vocalists Fiona McErlane and Keith Caffrey.

I talked about the creative and recording process in my previous blog post.

I finished the mix last night and I’m delighted with the response already to the song. This was yet another very personal and emotional project. I hope you enjoy it!

“Close Your Eyes” was composed by Stephanie Caffrey and the lyrics and vocal were written by Keith Caffrey.

Female vocals: Fiona McErlane
Male vocals: Keith Caffrey
Acoustic drums: Craig Sullivan
Traditional harp: Fiona McErlane
Acoustic piano: Stephanie Caffrey
Electric guitars: Stephanie Caffrey
Synths: Stephanie Caffrey.

Recorded, produced and mixed by Stephanie Caffrey.
Special thanks to studio assistant Gavin Clarke.

Recorded in Dundalk Institute of Technology Feb-May 2013.
Copyright Stephanie Caffrey.

Another Music Production Project Tracking Completed!

It’s that busy time of the semester again! The time where time itself is running out and the assignments are piled high! Recording projects are wrapping up and are in the final mix stages, essays are full speed ahead and how I wish there were more hours in each day!

Tonight I finished tracking my Music Production Project for semester 4. I haven’t blogged about the production process like I did last semester, so apologies for that! This semester FLEW, I think the Erasmus trip to Norway accelerated that, where does time go when you’re having fun, eh?!

I have been working on one of my own songs for this semesters’ production project. It is a song I started working on over Christmas, inspired by Electronic/Dance music I had been listening to a lot (and still am- I’m also currently enjoying various Dubstep tracks while walking, the Sound City album while driving and Evanescence while running!). I have been writing New Age/Chilled Electronic for a few years now as I really have been enjoying creating music “in The Box”. Logic Pro 9 is my little getaway place!

While I was in Norway I continued working on the piece of music, structuring and shaping the sounds and taking deep inspiration from the emotions and experiences of the Erasmus Programme and the natural beauty of the cold, snowy, sunny, fjord and mountain landscape. The programme was very intense emotionally as I struggled with homesickness for my friends, college, home and family, I felt slightly lost at times as workshops made me close my eyes, look inside myself and think about sound, light and creativity in new ways.

Inspirational beauty in Norway which inspired me
Inspirational beauty in Norway which inspired me
Random sign on my long walk through a Norwegian wood ;)
Random sign on my long walk through a Norwegian wood 😉

When I came home I had a draft mix of synths, beats and ambient nature recordings, which I was very happy with. There were only 2 lines of lyrics, which I tracked at home “Close your eyes/What can you see?”. I listened to my mix on the lovely Genelecs in the college studio just for fun and it was suggested that I make the the music into a song, go write lyrics and melodies and think about bringing the song to a whole new level, record acoustic drums and other instruments! Make it my production project! I was skeptical at first as I was rather attached to this piece of music (music for thinking to- as I saw it as), which I composed entirely by myself.

Enter Keith Caffrey. If you have been following my blog, you’ll already know that Keith is like the other musical half of me! He is my songwriting partner and close friend, the music I’ve written with Keith through the years has always had deep, personal meaning and a creative enjoyment I never experienced before. I sent Keith the draft mix and emotional ideas I would love to communicate through lyrics (closing of the eyes, looking inside myself and being more aware of myself yet still feeling slightly lost).

Very quickly the music turned into the song. Keith came down to my bedroom studio and we tracked the entire vocal idea. The lyrics were so deep, personal and emotional, Keith understood perfectly what I had been feeling (as spiritually close friends, there are few who understand me so well!). It was also as if Keith KNEW we had only been studying the art of vocal expression in college, he felt the song should have lots of aspirate on-sets and releases, creaks and shakes.

Keith writing lyrics in my bedroom studio during a late night recording session
Keith writing lyrics in my bedroom studio during a late night recording session

With minor structure adjustments and a guide vocal done (and a huge migration into Pro Tools 10!), the song was ready for addition instrumentation. I’m not going into the nitty-gritty details of my sessions but I recorded drums in session 1, harp, piano and electric guitar in session 2 and female vocals in session 3.

Craig Sullivan on drums
Craig Sullivan on drums

During my time in Norway I made lots of new friends and valuable contacts, Fiona McErlane being one of them. We met in the airport and sat next to each other on the plane from Dublin to London and hit it off straight away with giggles over drinks! I heard her singing in the music performance workshops in Norway and was blown away by her pure, crystal clear, angelic voice. I knew back then I wanted to work with her in the future but didn’t know for what project!

Having the craic with Fiona in Norway!
Having the craic with Fiona in Norway!

I asked her to sing on the project and play a little bit of traditional harp. She was excited about the song and the inspiration of the music and lyrics (she was actually present when I made the recording of the fjord shore in Norway).

So tonight was our final recording session, we tracked lots of vocals and had a very productive session. I was so happy with her performance, she gave it 110% emotionally and technically, she jumped right in with suggestions and gave it her all. I was also happy that I got to finally track using the Distressor compressor (gentle 2:1 ratio) and got to try out the Rode K2 valve mic, it sounded sweet!

Our session was the first official night time recording session in DkIT 6pm-9pm. Yes! Finally! A night time recording session!!! I’m a big fan of working in the evenings/nights (last semesters’ Monday 9am-12pm were not to my liking!). Energies are high, vocals are warm, people tend to be more relaxed in the evenings I find! So please, for next semester, more night time sessions please!

I better go to bed, it is 12:30am now and tomorrow is a new day of vocal editing! I will of course share the song “Close Your Eyes” when it’s mixed. Special thanks to Keith Caffrey, Fiona McErlane, Craig Sullivan, Gavin Clarke for their creative input and help and to my friends for their support!

I’ll leave you with this fun snap from tonights session!

Fiona gave it socks! ;)
Fiona gave it socks! 😉