Easy Rider

Aside from its musical output, one of the more defining characteristics of the Irish music scene is the sometimes overbearing, ‘buddy-buddy’ machismo associated with its (largely male) populace. Amid the gales of testosterone, Ann Scott is more than holding her own. In fact, Scott’s no-nonsense, unpretentious and grounded stance renders her, on occasion, vaguely reminiscent of the scene’s other doyenne, Gemma Hayes. When asked of whether she believes Hayes has opened the doors for women performers in this country, Scott is somewhat pragmatic.

“When a woman is really successful, it seems to pave the way. Maybe it’s just that the industry moves in trends,” she muses. “Remember when Alanis Morissette was really big? There were all these females coming out that looked like they had copied her… I think it was more a case that they were always there, but because she had become successful, record companies started looking for that format, or maybe journalists and DJs understood that they could pencil in a new female act in with Alanis Morissette. Who knows, maybe in a way, it’s a good thing…”
Anyone with even the most casual ear cocked to the Irish music scene cannot have failed to notice Scott’s silent yet stealthy infiltration of the singer-songwriter’s Round Table. Not only was her debut album, Poor Horse, produced in part by Karl Odlum (whose production credits also include David Kitt and Mic Christopher), but anyone who bought Halite’s Head On album may have noticed her vocal input on ‘Seconds Out’, and as is characteristic within the music scene, it’s very much a case of ‘you-scratch-my-records-I’ll-scratch-yours’. “Graham (Hopkins) is great fun to work with – in fact, he played drums with me once or twice as a favour. I’m supporting him in Whelan’s next month, and I think there’s a plan that I will sing on stage with him that night too.
“Everyone’s really friendly within Dublin. People who are in similar worlds on a similar level simply tend to bump into each other. You would imagine that there would be more backstabbing than there is within a group of musicians… There’s a healthy level of rivalry, which is good. When the general standard is good, it raises everyone’s game.”
It is arguably on the live circuit that Scott is really making her mark. If the list of Irish acts that she has played with is anything to go by, Scott seems to have a reputation as being excellent company on the road among her fellow countrymen; Mundy, The Tycho Brahe, Woodstar, The Stunning and The Jimmy Cake, Gemma Hayes and David Kitt have all had the pleasure of her company of late while on tour. She has also opened for an impressive calibre of international acts, including Fairport Convention, The Strawbs and, most notably, Blondie. “I only got notice to play the day of the show, but it was cool. I didn’t see too much of her, maybe only a bit of leg… I was a bit shy. The band were lovely, in fact they typed out my set list for me. I think they were probably really bored at that point.”
Having released her debut album to much critical acclaim (not least from fellow songwriters), she admits that, having released Poor Horse through her own label, Raghorse Records, she is learning fast about the industry.
“It’s pretty hard running a label, there’s no two ways about it, but at least it lets you call the shots, even if there is a very limited amount of money to call any shots with. It’s very much a learning process. The one thing I’ve learnt about more than anything is the timing of things, and getting that right.”
Still, it’s not bad going for a girl who had high hopes for a glittering career in journalism after graduating from DCU.
“I was in an indecisive mood at the time, I think. I did the course simply because I wanted the degree, but I was really getting into music at the time. I was too into music to do music journalism – I didn’t want to have to comment on bands that I knew, or review a mate.”
It would seem that rock journalism’s loss is Irish music’s gain.

Poor Horse is out now on Raghorse Records. Ann Scott supports Halite in Whelan’s on November 29