In a quiet corner of Kildare Town, St Brigid’s Cathedral sits on the original site of St Brigid’s abbey, which dates back to the 5th century. Standing on such hallowed ground lent this special night of music an air of palpable spirituality as a string of exceptional Irish women took to the stage there on Sunday: MC Trishauna Archer, Eimear Quinn, Róisín O, Loah, Cathy Jordan and Muireann Bradley.

This utterly brilliant assembly of female musicians was gathered under the vaulted cathedral ceilings to explore the theme Written in the Soul. Part of the Brigid Festival 2025, organised by Kildare County Council, the event was curated by Hot Press to celebrate the spirit of Brigid and the tradition of the Imbolc.

The first performer of the night, Muireann Bradley, kicked things off with a stunning rendition of Rev. Gary Davis’ ‘Candy Man’, the song which catapulted the 18-year-old songsmith to international attention following a performance on Jool’s Holland’s Hootenanny 2023. From the outset, it became clear that despite her rookie status, Bradley was anything but a beginner! She went from strength to strength through her four-song set, plucking majestic flourishes of finely executed ragtime and blues from the strings of her Dreadnought guitar.

Written In The Soul Concert at St Brigids Cathedral to celebrate Brigid 2025 with Hot Press and Kildare County Council. By Jason Doherty

The spirit of Elizabeth Cotton, the legendary yet wildly underrated U.S. folk guitarist, came to life as Bradley delivered a stunning take on ‘Shake Sugaree’, prefacing that the song is “about having to pawn everything you own because you can’t stop partying.” She then settled into a cover of the Hank Williams tear-jerker ‘I’m So Lonesome I Could Cry’, which accentuated her soaring falsetto via soul-bearing melodies and bluesy riffage.

In any other environment you might have questioned if she had sold her soul to the Devil in exchange for her finger-picked mastery, but not tonight, and not in the Cathedral. Although she is only a teenager, Muireann's performance at Written in the Soul ached with the kind of bruised nostalgia that many musicians might not acquire until much later in their career. The hypnotic power of her playing was a testament to her artistry – and a tantalising glimpse into the future of Irish music, which is, it seems, in very capable hands.

Following Bradley’s highly impressive performance, Róisín O took the stage to showcase her penchant for crafting gorgeous pop ballads. The Dublin singer-songwriter commenced with ‘Magic’, which she wrote in honour of her mother, the legendary Mary Black. With towering vocals, Róisín recounted her mum's remarkable ability to light up every room she steps into. Lighting up the cathedral itself, Róisín O’s performance offered a compelling case for the potent musical genes that run through the Black-O'Reilly dynasty, while also showcasing the star’s singular talent.

Written In The Soul Concert at St Brigids Cathedral to celebrate Brigid 2025 with Hot Press and Kildare County Council. By Jason Doherty

She followed up with a rendition of ‘Gypsies, Tramps and Thieves’, originally recorded by Cher back in 1971, which saw Róisín traverse a folk landscape awash with travelling showmen, mercenary preachers and dirty deals, all set to sticky minor-chord resolutions. Shifting the mood slightly, the Dubliner tied up her set with ‘Chris Pratt’, a tribute to her childhood sweetheart - both of whom recently rekindled their love - who bears a striking resemblance to the famed movie star. Like the best love songs, the track’s design invited listeners to see their own experiences in Róisín’s stories, all the while demonstrating her knack for delivering heart-melting melodies, scaled by a voice that could skim skyscrapers.

Kildare’s own Loah - aka Sallay Garnett - was next under the spotlight and immediately dispensed a soulful take on Georgia Douglas Johnson’s poem ‘When I Rise Up’, set to a majestic folk arrangement. Loah then flowed into an offering of divine feminine energy sung in the singer’s ancestral Shabo tongue. It sounded wonderful.

Written In The Soul Concert at St Brigids Cathedral to celebrate Brigid 2025 with Hot Press and Kildare County Council. By Jason Doherty

As her ethereal set continued, all of us in the audience witnessed the majesty unfold in real time, with Loah’s larynx sculpting silhouettes of blues and gospel singers rocking, swaying, eyes closed while awaiting delivery in full-throated pursuit. She brought out Cormac de Barra to provide a masterful harp accompaniment on ‘Black Is the Colour of My True Love’s Hair’, followed by a stunning performance of her own ‘Gabhaim Molta Bríghde’. The latter was just released only days ago to celebrate Imbolc, after receiving high praise for her performance of the then-unreleased track at last year’s Brigid 1500 festival, which Hot Press observed, at the time “demonstrated the extraordinary capacity traditional music has to evoke transcendental feelings.” Suffice to say, Loah stuck with the mesmeric original rendition sung as Gaeilge, transporting us onlookers into a state of sonic bliss as she closed her set.

Eimear Quinn followed, instantly winning over the audience with her crystalline voice that filled every molecule of air in the cathedral. She opened with ‘Silent Snow’, from her recently-released album Songs of Winter Dreaming. It was her first time to sing the song live, but you couldn’t tell as Quinn’s marvellous vocal technique ensured a truly infectious and utterly flawless performance.

Written In The Soul Concert at St Brigids Cathedral to celebrate Brigid 2025 with Hot Press and Kildare County Council. By Abigail Ring

The momentum hardly stopped there as the acclaimed singer delved into a treasure trove of emotional, yet tender numbers, including ‘The Mouth of Winter Dead’, penned by Brendan Graham - who was the night’s unofficial guest of honour - in celebration of Brigid. In keeping with the seasonal transition, the song welcomes the promise of Spring, as Quinn effortlessly offers: ”I will warm your winter lips with kisses I will bring / Breathe into your winter mouth, with the breath of Spring”. Joined by the talented Feargal Murray on piano and Maria Mason on violin, Quinn delivered an angelic rendition of ‘Ave Maria’, in the style of Caccini and Vavilov. The Dublin singer ended her set with ‘The Voice’, another gorgeous Celtic-infused Brendan Graham song – with which Quinn won the Eurovision Song Contest nearly 30 years ago – maintaining that same sonic elegance all these years later.

Closing the bill was the inimitable Cathy Jordan, of Dervish fame, with Feargal Murray reprising his role on keys. Together, they launched into Brendan Graham’s bewitching tune ‘A Winter Blessing’. From the outset, Jordan’s atmospheric vocals and Murray’s understated instrumental style captured the bleakness of Winter, but as the song progressed, the singer gently reminded us that Winter also begets a sense of hope and homecoming. Then, as she seamlessly transitioned to the sombre ‘Crucán na bPáiste’ – again a Brendan Graham song – Jordan’s heart-rending performance captured the desolation of the graveyard for unbaptised children who died during the Famine. Rather than merely singing the melody, Jordan fully inhabited the song and delivered its meaning from the interior.

Written In The Soul Concert at St Brigids Cathedral to celebrate Brigid 2025 with Hot Press and Kildare County Council. By Jason Doherty

The Dervish alum finished her set with The Pogues’ classic ‘Kitty’, which was originally collected by frontman Shane MacGowan’s aunt. In her version, Jordan granted the song a newfound majesty in its sparsely-appointed instrumental, making the poignant lyrics the focal point. It was an utterly magical set that gracefully tied the Written in Soul performance together with enchanting femininity and utterly sublime music.

Written In The Soul Concert at St Brigids Cathedral to celebrate Brigid 2025 with Hot Press and Kildare County Council. By Jason Doherty

Things weren't finished just yet, as MC Trishauna Archer rallied the audience once again for a final treat. To cap things off, the four women – Bradley, Loah, Quinn and Jordan – came together on stage for a captivating performance of ‘You Raise Me Up’ in a surprise tribute to its songwriter, Brendan Graham. Channelling the spirit of Brigid, they set off on a sonic journey together, with individual vocal parts and then together, in a marvellously impressive four-part harmony. It was a fitting conclusion to a festival showcasing the power and brilliance of women in Irish music - from properly established figures such as Eimear Quinn to emerging talent like Muireann Bradley – who continue to blaze a trail of hope and perseverance.

Long may it continue...