A Year in Music – 2024 – Karl Whitney (Author)
by Killian Laher

Karl is the author of “Hit Factories: A Journey Through the Industrial Cities of British Pop”, a personal exploration of the musical and social history of urban Britain, which was published in June 2019 by Weidenfeld & Nicolson.

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

Busy enough, bouncing between the UK and Ireland a good bit and getting to see plenty of gigs and fitting in some new music when I can.

What are the albums you enjoyed most this year?

Mdou Moctar’s Funeral for Justice – a step forward from the previous album in terms of intensity and wicked soloing! I’ve just stumbled across David Murphy’s Cuimhne Ghlinn: Explorations in Irish Music for Pedal Steel Guitar. Absolute manna for pedal steel pervs with a slight interest in traditional Irish music.

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

Bill Frisell. I saw him twice in London, first in Islington Assembly Hall and recently in Cadogan Hall – both wildly different line-ups and almost completely different sets. He’s truly one of the greatest musicians of the era. In terms of albums I think Jack White’s No Name justifies his continual, obsessive and slightly crazy ploughing of the garage rock furrow.

Do you get to many gigs these days?

I’ve been to a good few this year – most recently in Dublin, GZA from Wu-Tang doing his LP Liquid Swords in the Button Factory: an incredible performance from an artist who seemed deeply motivated to deliver the best possible show. Wildly outstripped my expectations. Nick Lowe in the National Concert Hall was charming and brilliant.

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

Yes, and that’s probably a good thing. Who wants to spend two hours standing on a football pitch watching Noel Gallagher’s eyebrows on a massive LED screen while tiny figures stroll around on a stage a mile away? Far better to go to something smaller and enjoy it on its own terms. In August, a friend and I went along to see Ryosuke Kiyasu play a snare drum for 45 minutes in Unit 44 in Stoneybatter. In its own way a perfect gig. A couple of months later Kirkos Ensemble, the collective that ran the venue, announced that it would close. Dublin needs grassroots venues that cater to all aspects of music and culture if it’s to be taken seriously as a place in which art can be made and not just consumed. Unit 44 will be missed.

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

I think of Wayne’s World and want to watch it.

Anything interesting in the works yourself?

Um… get back to me on this one in another year.