A Year in Music – 2024 – Pat Barrett (Arrivalists)
by Killian Laher

How are you, what sort of year have you had?

I’m good thanks, I’ve had a quiet year creatively, mainly because I wanted to. I’m working on a commission long form piece of music that’s been funded by The Source Arts Centre in Thurles, so that has my brain thinking and working differently. More about that in 2025. The reissue on vinyl of Hedge Schools – At the end of a Winding Day brought us all such great joy, it warmed me to see how it still matters to so many beautiful folks. Bless you, Ray O’Brien.

I’m happy and grateful for what and who I have in my life.

What are the albums you enjoyed most this year?

The Bill Ryder Jones record was my standout (Iechyd Da), also the Oisin Leech long player, Cold Sea, was something beautiful, brought a calm to the turntable, as did the Adrianne Lenker record (Bright Future). The Group Listening album called Walks was really a beautiful thing too, ambient and lo-fi with shades of Talk Talk. Big fan of that, mad interesting approach to how they make music.

The Barebones record called Sparrow was a magical record of ambient piano works by a guy called Paddy O’Mahony. Loved that.

Is there any artist or album that defined the year for you?

No Flowers Grow In Cement Gardens by A Lazarus Soul, the movement and strength of community around that record was something powerful to witness. I think Factory Fada is the greatest tune Brian Brannigan has ever written, and there have been quite a few, but that is at a different level.

Did you get to many gigs this year?

A few, not as many as I’d like to or used to. I’ve become slightly disengaged with music in the past year. A thing I thought I’d never lose the avarice for, but I have.

Do you think it will get to the stage where the ‘big concert’ is unaffordable for most of us? 

I think we were at that stage 2 years ago if I’m being honest. I much prefer finding music that occupies small venues, it’s always so much more interesting I find. There are still some wonderful small promoters in town but again, they are finding it harder to book acts and pay for accommodation for them in the city.

What’s your reaction if Stairway To Heaven comes on the radio?

Firstly I’d wonder why the radio was on, then I’d set off the nearest fire alarm. Evacuate the surrounding area, make sure everyone is accounted for.  Radio in this country is on the floor, stifled by playlists, driven by commercial agenda. Lilian Smith, Ray Wingnut, and Tom Dunne are the few mavericks left, and long may they hold the fort.

Anything interesting in the works yourself for 2025?

I’ve the commission for The Source Arts Centre to finish, and I’ve started writing what I hope might turn into a book, at the moment it’s just words on paper with tenuous links to each other, we’ll see what happens.