Whelan’s main room was already buzzing for Paddy Hanna last night, with chants of his name ringing out well before he took the stage. Oylegate signs were lit in red neon at the back, as he launched into a set that was hypnotic, chaotic and effortlessly charming.

The Dublin singer-songwriter played his newest album Oylegate, produced by Daniel Fox, in a live setting in his hometown. Before going solo with his 2014 debut Leafy Stiletto, the Dublin artist fronted experimental pop outfit Grand Pocket Orchestra. Initially planning to make a traditional Irish album, the newer album offers slower, more introspective sound, influenced by Soviet-era cinema and synth-based music.

The night kicked off with a vibrant set from Clara Tracey, who immediately brought the energy. Armed with synths, piano and a clear love for performing, her set moved between playful techno textures and more theatrical moments.

Synths swarmed the room, loud and immediate, as Paddy walked out to the stage and launched straight into 'No Sleep For Life'. Vocally sharp and focused, he set the tone early. Piercing bass rattled the room, and his fearless vocals sliced through as the band matched him in intensity - especially the drums, which were relentless throughout.

Paddy Hanna at Whelan's. Copyright by Curtis DeSmith.

There was a sense of playfulness and unpredictability that ran through the set. “The coat is not going to stay on for long, I’ll tell you that,” he sighed after the first song. His deadpan charisma was magnetic, and the transitions between songs were slick, keeping the energy high. At one point, the crowd’s ongoing chants of “Paddy” turned into an improvised merch-themed chant song. “This is all about buying merch,” he rapped.

The Oylegate tracks were standouts: 'Thumbtack Ticky' with its piercing drums, 'Tuscon Arizona' a quirky, poetic, and emotional love song, and 'Martha', a late-show highlight that had him belting soaring vocals with ease. By then, he was well warmed up. “Everybody start dancing. Right. About. Now,” he teased mid-song, and everyone did.

But it wasn’t all new material. “This is an oldie we’ve never played live before because of fucking Covid. Whatever,” Paddy shrugged, before launching into 'Cannibals'. It was a clattering, fearless performance driven by powerful percussion and jagged rhythm. He shouted through lyrics and threw out wild dance moves, totally caught up in the sound.

Later, he reached further into his back catalogue, pulling out 2015 singles 'Austria' and 'Camaraderie', both delivered with clear conviction.

Paddy Hanna at Whelan's. Copyright by Curtis DeSmith.

He shifted between synths, piano and guitar, each instrument pulling something new out of the songs. 'New York Sidewalk' was a gorgeous piano-led moment, while 'Sinatra' saw him dive into a darker, freakier soundscape, ending in an explosive vocal burst. 'Underprotected' and 'Pure Imbalance' were highlights of the night. Their beautiful sound was sported with sweeping synths, glowing lights and a full-band swell that swallowed the room.

Paddy ended the night beautifully with the closer of his new album, 'I Won’t Be Afraid'. “Bet you all like drums,” he smirked, and the band responded with a thunderous percussion finale that shook the room in all its intensity.

For the encore, he returned after what he called a “terrible fake-out” and moved through three final tracks. 'Harry Dean' brought a synth-heavy slow-build with vocals that rose effortlessly, followed by the off-kilter rhythm of 'Yoko Ono'. He closed with fan favourite 'Bad Boys', keeping the energy high as the crowd danced right to the end.

Lifting his guitar in a silent goodbye, he left the room buzzing. Sweaty, loud and a bit chaotic, the crowd was intoxicated by that weird charm only Paddy Hanna can pull off.