We could talk about bringing the house down at Witnness. We could talk about being touted as the finest emerging talent around, or we could just talk about the tunes. When it comes to the crunch, the tunes are the only things that you really need to know about David Kitt. Small Moments, his home-produced debut release for Rough Trade, contains a magnificent seven of them.

Kitt has a busy weekend ahead of him. Aside from the obvious Witnness duties, there was the small matter of the album launch gig to attend to.
"It went grand, but the worst part of playing gigs is after them. You're not really too much in the mood for talking to people. I prefer to just do the gig and then just disappear. You want to see everyone, but you never feel like you had a proper conversation with anyone, it s always just someone tapping on your shoulder or whatever. I hate to see someone I haven't seen in ages and not to be able to barely talk to them."
While possibly not an aftershow party animal, Kittser always looks like he has having the time of his life onstage.
"There are different forms of synergy onstage, synergy between the other performers onstage Paul Smith, Dermot Dermody and Simon O'Connor," explains Kitt. "When there is something going on between the three or four of us that s really special in itself. Then there is the whole chemistry between the stage and audience, and that s something that really lifts the experience of a gig. I can never work the crowd that much; if they re into it, they're into it. It almost seems sometimes like a random thing. There is just something in the air and they are the special nights that you remember."
The first installment of David Kitt recordings has been almost totally engineered and produced by the boy Kitt himself.
"A lot of the artists I'm into of the last ten or fifteen years such as Pavement and Palace Brothers, and even people like My Bloody Valentine, released records that weren't as interesting as what they went on to do, but they definitely informed in some ways where they were coming from," adds David. "I've been recording music for five or six years and none of that will ever be released. I'd reached a point where people around me were encouraging me to release this. There was something about the whole process and just being in the room. It was a very solitary process, so 99% of this album is just me with an eight track, keyboard and guitars and drum machines. It s quite sparse and restrained even compared to some of the live stuff I do.
"A lot of the buzz around Dublin at the moment is based on the live stuff and this is a lot quieter and a lot of it is recorded very late at night," continues Kitt. "It is definitely a late night bedroom album. I tried to fit in as many ideas as possible into the very thin minimal canvas or palette that I had to work with. I definitely didn't want to overcolour things, just let the songs be themselves and breath as much as possible. I see it as just a step along the way to something that maybe I'll achieve in five years down the line, if I ever get there at all. This is part of documenting the process towards that goal. It also captures the process of making the most of the resources I had at the time."
Kitt is far more than just another sweet sensitive boy with a guitar and a great voice. He s an instinctive, experimental maverick with as much interest in electronica as folk.
"A lot of the electronic stuff I listen to would be very soft and sparse anyway. Against that kind of backdrop you can easily superimpose things, and there is quite a lot of room to do something. A group like Mouse on Mars wrote very lo-fi, analogue produced and made-at-home albums. A lot of the time people just fade out a song as an outro, but I tend to treat it as another section. It s informed by a lot of different types of music that have nothing to do with folk music."
Following one of the most captivating and unforgettable shows of the entire Witnness Festival, it is likely that Kitt's profile will continue growing.
"It is becoming a lot more public now. I'm glad to have the record out so people can take or leave as a whole thing rather than listening to all the expectation. A certain pressure goes with the speculative nature of a lot of people. Some people come along to the gigs and tell me that they were expecting to be disappointed but they really enjoyed it. That whole attitude can make me feel awkward, but having a record out gets rid of a lot of that.
"What interests me is to continue making music, develop and better myself through learning more and broadening my palette when it comes to composition.
"I went into Centra the other day and got a pack of smokes, and the guy behind the counter, who was a late forties/early fifties kind of guy, says 'you shouldn't be smoking those you'll ruin your voice!. It is yourself isn't it?' I was just shocked! What could I say except 'yeah, it is myself'?
Small Moments is out now on Rough Trade.