The Journal of Music has been a beacon illuminating numerous genres of Irish music, such as jazz, contemporary, classical and traditional, since the turn of the millennium. Initially a print edition, it transitioned into the digital realm after 60 hard copy releases. This enduring presence is quite an achievement in the challenging landscape of music publications, which was again exemplified by the recent merger of Pitchfork into GQ by Condé Nast.
Toner Quinn identifies a largely unrecognised factor in the ongoing global popularity of Irish music – the underground scene in Ireland. It’s here where artists such as Lankum, Fontaines DC, Lisa O’Neill, Sprints, John Francis Flynn, New Dad, ØXN and others have carved out their niche before making waves on the international stage.
Nevertheless, we often celebrate the emergence of contemporary traditional acts, without as much emphasis on the background elements and infrastructure that support them. A fitting example is the potential conversion of the esteemed Cobblestone pub and music school in Smithfield into another hotel. This controversial issue was cited in a November 2022 article titled 10 Impossible Ideas for Irish Traditional Music.
Despite seeming somewhat lofty, the publication titled What Ireland Can Teach the World About Music offers a captivating exploration of the unique soundscapes musicians create for our lives. This compelling collection of valuable insights concludes with a touching tribute to Sinéad O’Connor, entitled How Ireland Treats Its Free Thinkers: The Life and Death of Sinéad O’Connor, dated August 2023.
Just as the title suggests, What Ireland Can Teach the World About Music really does offer a window into the enchantment of music and the profound effect it can have on our lives.
Quinn points out that the historical anxiety in Ireland, rooted deeply in the society due to its troubled, colonised past, often stifles those who wish to challenge the status quo. This fear, common to many Irish people, discourages association with dissidents. But unlike the traditional approach of keeping silent and letting situations blow over, O’Connor opted to voice his beliefs regardless of potential repercussions.
Documented in a cleverly curated set of engaging and enlightening essays, Quinn navigates significant discussions regarding fringe music and inventive spheres. In a reflection borrowed from Ian Winwood’s impactful 2022 study on mental health and its relationship to the music industry, titled ‘Bodies: Life and Death in Music’, Quinn and The Journal of Music are highly praised for their noteworthy role in chronicling Irish music as the 21st century progresses. Their work is seen as an important resource for upcoming generations keen to understand the evolution of Irish sounds.