The First Cuts Are The Deepest

One of the attractions for me writing the First Cuts column every fortnight is that I get the chance to hear new emergent talent from Ireland (and often from overseas as well) at a time when they are making their first tentative steps in music, and probably before most other people on the planet even know of their existence.
Gone are the days when demos were a chore to listen to, as you struggled to imagine what might emerge if this or that act had a decent budget to go into a proper recording studio. Advances in technology and musical skills mean that I actually keep about one in five for my own selfish pleasure and to entertain visitors to the estate. Some recordings are technically as good as proper grown-up releases, and many will be on my hi-fi over the Christmas period. So it is a little unfortunate that none of our national rock programmes play demos much these days, if at all.
Fortunately, seven radio stations (including one in the UK) support my column by featuring my Pick of The Fortnight on their programmes, thus bringing valuable radio exposure to the new kids on the block and showing that at least some people in radioland have the imagination to look beyond the lazy playlist formula.
But the purpose of First Cuts isn’t to discover the next U2, Thrills, Neil Hannon or even the next Who’s Eddie. Neither is the column meant to be a free A&R service for record companies, although I do get regular calls from A&R people looking for more info on this or that act, and always without the act finding out about their interest in case it raises their expectations.
One of the attractions of the column is that by giving space to somebody’s musical efforts you validate that effort and acknowledge that it is at least worth hearing, worth spending time trying to formulate an opinion on and offering some response to. That response, as far as I can make it, is intended to either inspire or provoke the act into moving on to the next phase, whatever that may be.
It’s not intended to be any kind of final judgement as to whether an act will “make it to the toppermost of the poppermost” or not. In fact, it’s a fact of musical life that some will pack it in for a whole variety of reasons before they move much further, while others will soldier on forever. And ever.
So there is much personal satisfaction in looking back over the crop of records from previous years and seeing that the column was probably the first national coverage for acts such as The Answer and Roesy, both of whom have moved steadily up the fame ladder, as well as acts like Neil White, Shaz Oye, Robert O’Connor and Eamon Mulvihill, all of whom will have debut albums out next year.
The pick of the crop from 2005 included Paul Casey, who scored big-time airplay in 2005 with his single ‘Something’s Gotta Give’, and his album Songs In Open Tuning has attracted the attention of Chris Rea. This year also featured The Rubens, Ham Sandwich, The Hansum Binmen and Brendan Keane, all of whom have been rattling a few cages since, and the last-named is currently doing well on TG4’s country talent show.
So what about the picks harvested in 2005? Here are three that particularly stand out as artists I will want to keep a personal eye on in 2006:
In pole position, Michelle Ann Kelly. Her six-track CD A Breakfast Affair had a superb title track and she scored overall with her warm vocals. Her inventive arrangements and musical effects were the icing on top of a selection of very tasty songs that are already attracting publishing company interest.
In second place, Noelie McDonnell, whose raw brand of country-folk-rock and expressive voice has already attracted much attention to his debut album.
The third spot goes to the incorrigible Kill City Defectors who make you feel good that guitar bands are back, and who also remind you what the volume knob on your CD player is for.
To the above, and to all the other musicians who made my 2005 a challenging and rewarding experience, a big thank-you. Bring on 2006!