TR One: Chicarlow’s Finest Talk Shop


Racks of enviable equipment and releases with labels such as Don’t Be Afraid, Bodytonic, Lunar Disko, Apartment and Photic Fields. TR One have been remixed by Lerosa and Juju & Jordash, mastered by Alden Tyrell and have collaborated with New Jackson and Phantom Planet Outlaws. This is not a studio in Berlin, London, or Dublin – but in Carlow.

TR One –  Eddie Reynolds and Dean Feeney, run a strictly hardware homestead. Known for their ruckus filled live shows and slick, savage releases – they are the perfect example of doing what you can, with what you have, with where you are. Eddie talks about the importance of community, finding your confidence and channeling your influences into your signature sound.


The Early Days

My introduction to music was through friends. I first met Dean at secondary school – he was a DJ and I was getting heavily into music at the time. I loved listening to Dave Clarke’s World Service, Richie Hawtin’s – Decks, EFX & 909, Jeff Mills – Live At The Liquid Rooms but especially D1 Records. The First 8 Years Of D1 mix from Active Service Unit was a major stepping stone for me – it peaked with that mix. It felt like I was the only guy my age in Carlow into this music, but it felt good.

I became obsessed with buying D1 Records from Rob Rowland, Decal, Decoy, Active Service Unit, Visitor – all the D1 classics. I was amazed that this deep Detroit techno was coming from Dublin and only an hour up the road from where we were. We started collecting records – travelling to Waterford to Rotate Records, up to Spindizzy in Dublin and Selectah. Looking at the art and sleeves on the way home on the bus is a good memory. I eventually saved up to buy my first set of 1210’s from a good friend who ironically bought them previously from fellow Carlow man John Gibbons – I still have them!



Getting Started

It was just the DIY ethos of music, seeing all the grainy pictures of old Detroit and Chicago producers with their drum machines – it felt like anybody could do it and we could do it.

They just made such an impression on us and we eventually got our first record released and it snowballed from there. We got more and more gear, more into the scene and into the Irish dance music culture.

Our first piece of equipment was the Yamaha SY77 synthesizer – a mouse actually crawled into it and shit all over it and destroyed the circuitry, that one is now in the graveyard somewhere!  Also the Jomox Xbase 09 – it’s a 909 clone but with a unique sound and I still have that – it’s one of my babies.

I’m not musically trained but I’m self-trained over the years – to anyone that is getting into production – it’s trial and error and you will find your own sound and you will realise what’s right. You make a lot of bad, bad tracks, but it’s a learning process like most things. We felt it was right and it was great  – but listening back it was heavily out of key and it was so bad …but it was just the energy.. that feeling it gave you.

At the moment Dean is in Canada and before that he was in Cork at university and his life was down there and mine was up here and we didn’t make that much music together.

At that stage with me personally, any track I made it wasn’t good enough. I was comparing it to all the other great tracks I was hearing it every week. The anxiety was building up for making my own music, it was just unbearable and I just froze every time I turned on a machine. I was just eating myself up inside thinking it wasn’t good enough.

Eventually, you get your head down and maybe you realise it is good enough. Dean will be back making music but I’m enjoying making music on my own at the moment’s good to find your own sound and eventually, it should go back to being the two of us.


This is advice to anybody starting to make music or experiencing this right now, just stick at it, and no matter if you think it’s bad and you are anxious over your tracks, they are good. The fact you are putting creative energy into these tracks is amazing –  you are putting your time, thoughts, love and emotion into these tracks – that is enough. People have to sit back and realise the tracks are good enough and just give them time. All it takes is a friend or someone from a label to say that’s good and then your idea changes.



The Live Show – and the lamp!

The lamp is actually sitting in my sitting room now! When we got our live show on the road ..which was basically bringing our whole studio. was an absolute nightmare but obviously great. The lamp idea came from one of our favourite movies of all time which is ‘Stop Making Sense’ and David Byrne had a lamp in one of his tracks. And we said we would take it like that, set it up beside us on the stage and make it our little calling card. It eventually featured on our vs Phantom Planet Outlaws record. It started out as a bit of a joke but then we got known for it. The lamp will always hold a special place in my heart!

With the sheer amount of midi cables, wires and jacks for the live shows, there was always something that went wrong. One classic story was in The Twisted Pepper – our battery ran out on our DX100 and we had to send New Jackson out to the shop to replace them. During performances sometimes things just don’t work –  but it’s all part of the energy.



Hardware or Nothing

Have I ever used software? No, even the way I record.. after I put the structure and the spine of the track together, I always record live and in one take. I record as a live performance with live effects. If something is not right.. if the levels are off and I can’t really change it, I have to re-record the whole thing but traditionally you have a certain amount of sporadic energy in tracks that happen on the fly and it seems to work so I stick at that.

The Creative Process

This is something I have been thinking about…subconsciously throughout the week or throughout the day you are picking up’s like a track or an idea starts playing in my head on a loop and I think I have to try and get this.

But ironically I think this happens due to something that happens throughout the day….and it’s your brain and your mind.. it’s trying to transfer it to what you know best. That’s the creative process…you have to get it into the studio.

The Studio

It’s all hardware-based which is a lot of maintenance but I just don’t know any other way. I love the hands-on approach of making music. The MPC 2500 is the heart of the studio. From there I have a midi patchbay going to a Juno 106, a Korg Minilogue, a Jx8p, a TG500, a TX81Z, the Yamaha DX reface, JP8 amongst many other things. The TX81Z cost me 80 quid and it’s such a solid little module. No matter how expensive your gear is, it’s all about how you use the machine. The cheaper items always have such character.

I have about 7 mini channels going into that alone and then I’ve got a couple of drum machines, samplers, outboard effects units and a compressor. I’ve got the space echo which adds that signature fog to the mix. I will always start with the skeleton of the track and usually start with beats. Sometimes I think it’s better to start with the music elements and then work with your beats around it. But I’m so stuck in my process, I’m so used to it at this stage. Sometimes it works sometimes it doesn’t, again for me it’s the live take and the live performance are something we have always done. That’s why the tracks transfer into the live show so easily, we were used to that jamming in the studio. It has its pros and its cons, but it’s the signature sound from TR One.

I’ve always wanted to have the foresight to realise what a track might sound like on a dancefloor but I just don’t have that. It has to please me – I’m not really sure what I’m looking for. You could spend 6-8 hours in a studio and the next day they just sound shit – your ears have just gotten so used to the loop.

‘Herd Of Trains’, the B side of ‘Living In, Now’, that came together in an hour and a half. We started off the MPC, we overdrove the kick drum in an effect and the effect was from the boss but that had no effect on it so it was just giving this crunch. It was kind of a random discovery, this crunch to the beat, and then we just took a lo-fi bass sample and looped it over and over to get that unique sound underneath it and it just enveloped from there. And then something like ‘A Month Has Passed’, that took me about 6 weeks to finish. I just don’t know what it was about it – I was just never happy with it. But eventually, when I recorded it, I still say to this day …that it’s the one track that I’m truly happy with.

When I listen back to tracks I’ve recorded I always turn my chair around and turn away from the monitors and look at the door, and it gives you a different perspective – so you are not focusing in on the speakers. In that moment you can almost think how someone else can hear it.

My biggest influence would be music itself. I’m obsessed with buying vinyl. It’s just hearing that one track that someone has done – it might be fresh and different, you are not necessarily going to want to do something the same as it, but it spurs you on to just think – ‘yeah – just get on with it’. There is so much good music out there, it’s just amazing ..and in turn, as well you think there is so much good music – what makes yours stand out? And then you think, do you want it to stand out, or do you just want to have it there? It’s nice to know it’s there – that you might have a bit of a legacy.

On Working with Labels

The biggest lesson from working with labels would expect and be able to take criticism for your music. It’s something that you do in the early days  – you put so much love, time and effort into music and someone just turns around and says no, it’s not good enough. But you have to be open and realise if you want your art to succeed in the world you have to let it go….you can’t be too obsessive about it.

I have a good working relationship with Kenny from Apartment Records, for the release with Lunar Disko I knew Barry and Andy well so I just sent them the tracks. It helps that we all became good mates over the years. With Bodytonic, I have worked with them over the years especially Trev and Conor Lynch who I have the utmost respect for – it’s nice to have another passionate crew there now. I was a big fan of the Don’t Be Afraid label – Benji is a great guy. I just said fuck it, I will send him a couple of tracks. It was during that period where it was very quiet and I had just come out of that lull of making music and I was starting to get confident in my music and to hear that he liked the music and that he enjoyed it, was really good. It comes back to my previous point, it’s good to have someone to challenge you ..there is a lot of back and forth – a lot of ‘can we do this to make it better’ and you come to the conclusion that you do want the best music out there.

The new record with Bodytonic

A favourite of mine is ‘From Me To The Rain’. I made that about eighteen months ago, it just really came together even the way the snare and the hats swing in it, it’s absolutely perfect and I love how the strings develop towards the end. Surprisingly, some tracks that you think are dead or you think are not good enough would be tracks that other people love. You are constantly surprised.

His Record Collection

My records span from some hip-hop to a lot of disco, a lot of old soul music and to classic house, Chicago house, Detroit techno into the deeper ends of techno. I have an unhealthy obsession with all Detroit based electronic music which influences my buying habits. I’m really into the Hessle Audio and Shackleton sound at the moment. UK Bass is exciting especially with the elements of techno intertwined. I find it impossible when people ask what your favourite record is – it’s like asking which is your favourite child… I can’t answer it! Every one of these records has given me a special moment. We are DJ’s first and foremost and a live act second. The question is will I, or we ever play live again..we definitely will play live again.. I’m just not sure when.


Sampling is a fine art – people like J Dilla and Moodymann have made sampling their own. There have been a couple of tracks where you attempt to sample but you have to be very skilled at it. I would like to be better at sampling but then you hear people like Terrence Dixon who I read doesn’t agree with sampling culture – it makes you think beauty is definitely in the eye of the beholder. That’s what is so amazing about electronic music. Some people have a real talent for it, a real ear for it, and hopefully, it’s something I can work on in the future.

The Community Found in Music

The scene is very supportive, but because it’s small it’s almost a victim of its own restriction as well. There is only so much that can happen in a country this small or in a city like Dublin,  especially when things are restricted.

Again it’s great that the clubs are selling out every weekend but part of me thinks maybe the big clubs and the big names are not the way forward. It’s great to see so many young people into music but when they look back it’s just going to be a lot of faceless nights.

It’s crazy, the amount of people we have met over the years and you hold friendships with them. I have also now have a monthly show on Dublin Digital Radio –  it’s amazing how they are opening boundaries and are harbouring an amazing aspect of togetherness.

There is so much good music coming through now but it feels good but this country is not nurturing the talent like it should. These draconian licensing laws, you have 3 or 4 hours and that’s it. How can a DJ even build his own set in an hour, hour and a half? I hope we get traction with this ‘Give Us the Night’ programme. Realistically there is so much talent in this country – but there are not enough venues. There are not enough venues, not enough hours to play to develop a scene..therefore so many talented producers just give it up. You can see it over the years and why it happens and how it happens. I think it’s just time to change that, we need to nurture what we have here.

The Future

This year I want to get more music out than I ever did – there are a couple of things planned. I feel like it’s a good period, it’s a good time for me making music personally, I feel like this year could be something different. I’m also going to continue with my DDR show that I’m thoroughly enjoying.


My idea of success has gotten more realistic since our first record was released. Success is skewed in a way because success can be playing to 10,000 people on a weekend or playing in a different country every weekend, or it can be knowing your music is getting out there. I’ve always had this idea that maybe you might not become international, become mainstream, become big…but there is that one time where you think that your track was played by a DJ somewhere and there was someone on the dancefloor that had that moment –  they might be smiling ..and you get a bit of solace in that. Maybe that’s the best way to judge success.

It’s frustrating too because the way the internet is today –  it’s so full. You have to sponsor your posts on Facebook for them to be seen and that’s just wrong. There is nothing wrong with that and I would never rule it out, but it just goes against the idea of being 17 years old and going into a record shop and discovering a record, looking up that artist and finding more of their records. Now there is so much good music released – which is great, but it’s very hard to balance that promotion aspect because you are not just a DJ or producer you are now a promoter and agent and a manager. Part of me just wants to be in the studio making music, I don’t want to be that guy that tries to sell himself because it stands against what I want to do with music. But then you want to see people come and see you and you want to have gigs.

There is not a lot I could change going back to those early years because the journey I went on good and bad has helped shaped my music, your sound develops over periods of bad shit and good shit in your life or just music in general.

But my advice to anyone starting out would be definitely develop your own sound. Don’t do it by the numbers house music, deep house, or thumping techno music…just jam with your machines and come up with ideas and don’t be afraid to develop them.

Ask people for advice or their help. The mixing end of things is important – it doesn’t have to be a perfect clean mix, to be honest, I think that’s a good thing –  if you have that bit of edge in your mix. A bit of distortion on the hi-hats or whatever or the low end that might be a little’s giving you that signature – that taste of your own music, and that’s how I think artists can develop their sound.

Thanks to Barbara Reynolds & Liz Rooney.

This interview originally featured on

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New Jackson’s City

David Kitt has always immersed himself in all genres of music, which can be heard on releases under his own name. But following ‘The Nightsaver’ in 2009, Kitt realised he had to alter his artistic outputs. He found that merging all his musical influences into one channel was creatively exhausting so he sidestepped to a new project he would call New Jackson. This new avenue allowed Kitt to focus his love for electronic music on New Jackson, while his singer-songwriter work remained under his David Kitt flag. Ironically, by separating the two, he created unity – and has never been busier, with this year seeing the release of ‘Yous’ under David Kitt and ‘From Night To Night’ his debut New Jackson LP.

From the cosmic chaos of Found The One, the subtle smash from Blaze All Day, the intriguing and enchanting Of A Thousand Leaves and the comforting rhythms of the title track, he doesn’t just channel this creativity, he completely owns it.

Key to creating the New Jackson sound was the purchase of an SP 1200 sampler. Kitt explains “It’s a sound I’ve tried to get close to for almost half my life now and the only way to really nail it was to get the machine itself. It’s featured on so many of my favourite records by the likes of Premier, RZA, MF Doom, Daft Punk, Moodyman and Theo Parrish”

I sat down with Kitt to talk creativity, staying focused and what Dublin means to him ahead of his album launch in Dublin on the May Bank Holiday Weekend.

On the New Jackson sound

It’s been a gradual movement since day one, my first release was an instrumental, primarily electronic release and that is nearly 20 years ago, so it’s always been there. If you listen to The Nightsaver, it’s fairly obvious the signpost leading to this album. There are one or two songs in particular that could almost be on the New Jackson album, and there are a couple of songs on New Jackson that could be on The Nightsaver.

Why he’s most creative at night time

I’m just a bit of a vampire – a vocational insomniac. I remember Leonard Cohen saying something like not wanting the day to do down in debt, where you reach that point where you still haven’t got anything from the day and refuse to be beaten.

Overcoming creative blocks and staying motivated

I find that exercise helps you with procrastination, that you run it out of you, you get through the noise. When you come back you have dealt with some of the stuff, rather than having 4 hours of sitting looking at something. It’s a balance.

Even younger people asking me ‘do you have any advice’, it’s just about showing up really. I put in 50-60 hours a week to music most weeks, and that’s really all it is – just showing up. 

His creative process

It’s both structured and playful, there is a thing that Seamus Heaney said about writing poems, that you write your way into something, and then you write your way out of it. And I always find that the more you get on the way in, the better – the easier your job is. I spend a lot of time trying to think of ways to where I will get as much as possible on the way in, because the way in is the initial rush, excitement, the creativity of the eureka moment – when you can kinda see it, but then, actually finishing it…if you don’t get enough on the way in finishing it can be very difficult because it’s not as fun, playful or exciting..and it can take months to finish.

Discovering new sounds and influences

Right now is as good a time for new and old music as I have ever known. They are just reissuing all sorts of weird and wonderful stuff from the past. Undiscovered stuff, and all manner of amazing stuff that maybe wouldn’t have found an audience in its time. With that you have a lot of really exciting new music, like Kaitlyn Aurelia Smith, that really blew me away. Having All City as a record shop is a good one for going in, they know your taste and they can recommend stuff. Do I dig in shops or online? It’s a bit of both. I have a couple of sites and blogs that I go to regularly, but you can’t beat going into a record shop, it’s still the best way.

On his studio

It’s a combination of new and old – it’s mainly hardware like old drum machines and samplers, and then some newer modular bits, bits of electron stuff and a lot of old synths and some more modern digital stuff. It’s a hybrid of new and old really and I’m trying to bring some newer sequencing approaches to older equipment, and ultimately trying to make as much of it bespoke and have as much of your personality in it as possible.

On Dublin Bay being the backdrop to his studio

I remember when I was 16 or 17 being in Sandymount and thinking “one day”. My parents were always slagging me saying “you haven’t made a penny but you yet have managed to live in Sandymount”. It was a really, really magical time. Just felt so lucky to be staring at the sea and across Dublin Bay. I think ultimately, everything about the house, my housemates were big music fans, there were records everywhere, you would be working on a track and you would come down and someone would be playing a jazz record that was in the same key and you would think I’ve to sample that. You would be straight back up, and there was this amazing library of music and a constant flow of interesting people coming through the house. And then the view itself, I had a listen back to some of the David Kitt stuff that I did when I was there, songy stuff and you can really hear it lyrically.

What Dublin means to him

With the city, it’s a love/hate thing – it’s where you are from and as soon as you are away from it even for more than a month you miss it so bad. Sometimes when you are here it can be too small, and you can’t get away from yourself or your history or your ghosts on every second corner, but I think the overriding feeling is one of massive love. It’s an amazing place, and you appreciate it more as you get older.

When he finally got that SP 1200 sampler

It was a very big moment, I borrowed one …I’ve always heard it on records and thought “oh my god how do you get that sound” and tried to get it with sample banks that you buy for Ableton or different filters and plugins and stuff like that. It was an aesthetic that really influenced my work but I never quite nailed it because I didn’t have the actual machine itself. I borrowed one from Paudi Ahern, just to make sure because I wasn’t going to buy one because they are quite expensive, I wasn’t going to buy it just on spec. And literally the first day it did exactly what I hoped it would do. I use it every day and it just brings me great joy.

On his other influences for ‘From Night to Night’

It’s a long journey, it goes back all the way to being an 18-year-old going to see Billy Scurry in the Temple of Sound…It’s not like it’s a retro record or anything, it’s a fresh take on some stuff that’s been with me a long time.

Why ‘From Night To Night’ was chosen and the title track

It just summed up the album as a whole. It came right in the middle of making the record, it was after my first time playing in Panorama Bar and there were a lot of friends over for it and my girlfriend and stuff, and it was just one of those magical weekends that kinda sticks out.

I suppose there are certain things with New Jackson that I already feel like I’ve kinda ticked a few boxes, that I wasn’t expecting to ever tick. I’m playing there for the third time in a few weeks, and there is a part of me that wonders how long I can sustain the nocturnal approach, and so and also I kinda was very aware that this is going to be my last time living in a house with a bunch of music freaks. I thought it was a good title – from the night shift to the night people, to my fellow vampires and to the night itself.

The album’s artwork

I bought that picture from an exhibition of Rich Gilligan’s about 8/9 years ago, it’s a polaroid actually of his wife’s parents house in West Kerry. I was struggling a bit with the artwork and I was just sitting at home one day and I just thought that’s it..that’s the cover. And Donal Thornton did this thing with the design that really lifts it as well. It’s a lovely collaboration between everyone. Rich has just done a video for Anya’s Piano, and he’s someone that I’ve been working with for a long time, he did the cover of The Nightsaver too. I’m just really happy for it to be him. It’s one of those things that wasn’t that difficult in the end.


On approaching All City Records

I’d been trying to get Olan (All City label boss) to release something of mine for a while, so I was like “ok I really have to make my case” and I think Olan really thought I was giving him stuff in a really willy-nilly way – him and maybe 8 other labels, and seeing what stuck. But it was actually genuinely head and shoulders above any other labels that I wanted to work with and a lot of that is just instinct really. So when you actually start working with someone that’s when you see what it’s all about and it’s been a very fruitful relationship.

It’s actually the first time I think in my whole time working within the music business where I have been more or less left to my own devices and completely trusted as an artist. And there is a level of respect between both people that makes things simple and fruitful; and we actually got quite a few releases planned for David Kitt stuff, New Jackson stuff and another new project that I’m working on. The Lock In is me and Tim Wheeler from Ash and an old friend of mine Conor Creaney, it’s a lot of synths kinda stuff that we did about 3 or 4 years ago that I’ve been sitting on that I just sent to Olan, he really loved it we are going to be releasing some of it on All City Records soon.

Thanks to Sarah Doyle for the fantastic images

Find out more about New Jackson on Facebook and support them on Bandcamp here. 

This article originally appeared on

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Word Up Collective

Changing times bring creativity and collaboration for this new Dublin collective.


Ireland is in a constant flux of transition, and cultural shifts bring endless inspiration. When societies mold, mesh and change, it allows an explosion of coalitions, collaborations, and creativity. As new scenes and influences blend into society, they impact musical journeys.

Meet Word Up Collective – a new platform to promote the urban music scene in Ireland and to change how musicians interact, promote, develop and push themselves onto the Irish and international music scene. They take inspiration from overseas collectives and groups, fellow artists, as well as from immigrant influences on Irish music and society.

With a rock-solid roster of artists, led by music industry heavyweights Phil & Annette Udell, it’s clear that Word Up Collective is something uniquely special.

Describing themselves as “a Dublin-based collective of like-minded souls working in hip-hop, spoken word, R&B, rap, pop and related genres” – they believe no man is a musical island. Word Up Collective are heavily influenced by each other – it’s a symbiotic up-down relationship. There are endless opportunities to learn, collaborate or jump on stage with each other (as can happen at their monumental Bello Bar gigs). What makes Word Up Collective a sustainable success is the marrying of the creative and business elements within the music industry. There are lessons here for the Irish music scene – not just the urban music genre.

Find out more about Word Up Collective on their website or Facebook

Pictures by Dave Sexton from one of Word Up Collective’s regular showcases in Bello Bar

Phil & Annette Udell, Founders of Word Up Collective.

What was the lightbulb moment for an urban music collective?

AU: We wanted to promote that whole scene because we knew it was coming up through the ranks. We knew that the likes of Hare Squead and Rusangano Family existed – there was all these talented acts out there that needed help or nurturing or just a hand in getting a gig.  This is a new strain of urban music coming through and rather than the stereotypical gangster rap we have a new kind of Christian rap and Christian hip-hop coming through. All the lyrics are deeply seeded in gospel and it’s really interesting lyrically as well as live –  it’s an incredible experience. In the future hopefully, there will be a lot more of it and will be incorporated into the mainstream and not as sectioned off here as it is at the moment.

PU: There has always been that inner-city Dublin scene, what you have now is second generation of artists who have African parents. It’s inspired by where I came from in England, or grime in East London – where there is a tradition of making music within communities. I think the future of it will start to develop its own sound – you get things that work through. You have Katie Laffan working with Damola or Tebi Rex – they will all add their own twist to it.

What’s in it for the artists to come on board with the collective?

AU: It’s a collective that it’s not just the musicians or us – there are also songwriters, poets, spoken word, videographers – so it does have that sense of collective. It does offer them the opportunity to work with other people and learn from other people within the collective.

PU: We work on the media side as well – we send stuff out to radio and we do management for a couple of the artists. It’s not just a case that guys knew each other but no one has really worked together. You have a gig like tonight where people will jump on stage with each other – and that’s where it starts to get really interesting.

What has the reaction from the industry been like – highs, and lows?

AU: I don’t think there have been many lows to be honest, it’s accelerated and gotten better and better – we have had a lot of interest not only from Ireland but from abroad. We have never applied for funding as yet, purely on the basis we wanted to make sure that it actually did work. We don’t need it as such now, but when we go on to develop our record label…to get some money to record – that’s what I would look for funding for.

PU: Aoife Woodlock from Other Voices was at the very first show has been incredibly supportive, and she booked Dyramid to play on the spot. We have put tracks out to radio – the Aik J single did really well. Every song that they put out we help them, were not a label we are not going to put it out for them – but once they do it we are going to give them a nudge in the right direction. Lows? Some people don’t get it and there are a few rivalries – but we are all working the same end really. The Bello gigs have been getting better and better, and we have been doing Electric Picnic and Cork Jazz Festival too. It’s turning it into a business now for everyone that’s the next thing, all musicians are struggling to earn a living, so we want to try and find a way to make one.

What’s the biggest challenge for artists in the music scene in Ireland?

AU: I think getting heard outside the Irish music industry because it’s too small. We looked at other hip hop collectives, the likes of Doomtree in Minneapolis, and the underground hip hop scene in Germany and Paris which are huge. We try and make contacts there and actually swap over and exchange music and ideas, it’s the same ethos of the collective but take it outside Ireland and make sure it gets heard in other places.

PU: How to earn money from it –  earning money from music shouldn’t be a dirty word. We are putting Katie Laffan’s single out – will the public buy it or will they stream it on someone’s website? We have to try and find a way of turning that into something else and that’s the next step.  I think everyone in the industry is just trying to figure that out.

What advice would you give to someone who sees a gap in the market and wants to establish something?

AU: You have to be passionate, it’s not instant returns or rewards, this has been very fast to take off but you have to work very hard to push it. Social media does mean the world – one thing we did realise was that two older people managing a collective aren’t going to have the same voice as a lot of the artists in the collective. That too is where the collective works –  because they are the ones that can help us. Be very vigilant of everything that’s going on around you. Even from a management perspective be aware of your limitations – get everyone working to their strengths if you want to start something make sure you have the right people doing the right jobs and try and promote yourself in the best way you can.

What’s your vision for the next 5 years?

AU: Ideally to have our own stage at a few festivals, create more of a media and social media presence, whether that’s a Facebook live channel or YouTube channel and from that grow into a natural record label, as a platform to put out music.

PU: We would like to be the start of something and that in five years time there are people who go “I was there and that night in the Bello Bar” or “that night at EP”. When you look back and think it all kinda kicked of and became something –  because this is really important.


I moved here when I was 13 from Nigeria. I was listening to a lot of African and Nigerian music back in the day, and had a lot of huge Jamaican reggae and dancehall influence. I remember listening to artists like Majek Fashek, Daddy Showkey and stuff like that.

I used to write stories at first when I was like 8 or 9 years old. I was in boarding school in Nigeria for 3 years, when I turned 13 I came to Ireland. I seen some people doing music, rapping in Ireland, a lot of people from African descent doing the whole rap thing –  I always wanted to get involved. To be honest with you it was more like peer pressure – not peer pressure in a bad way, it was just a thing that everyone was trying this.

I have a strong hip hop background  –  I have bring that Jamaican flavour every now and then in my music. I do a lot of speed rap, quick flows and that kind of thing.

The first challenge was looking for a place to record, that’s what drove me into producing because I was not able to afford a professional studio. I just put some money together and bought my own equipment and set up my own studio from there. Other challenges were trying to connect with industry people and also building a fanbase.

Really believe in what you are doing – don’t derail from ideas you have or from the dream you have, but also be very analytical about what you are doing. I think it’s about finding that balance between being confident and believing in yourself, but also being very critical of what you do and always trying to improve as well. I think it’s quite difficult to actually find that balance, coz a lot of the time you can become too confident and you don’t want to listen to advice that can actually help you,  or being too critical and don’t believe in yourself.

Katie Laffan

I started playing the drums when I was 12 – weird drums like bossanovas and latins and stuff like that, that’s where I get the funky styles from. I found GarageBand on my Dad’s computer and I got obsessed with it. I then moved on to Logic Pro, and went to college since just to study music.

I started playing live about 3 years ago, and I got a band last year. Playing live solo was a bit boring, I wasn’t even enjoying it so I got the band, it’s gotten more gigs with the band so it’s obviously a bit better than what I was doing before.

When I was younger I was on the cover of Hot Press with this competition (The Big Break), yet I didn’t really know how to get gigs – it wasn’t in any book…that was a big obstacle to me. How do you get gigs?…what do you do when you record a song – who do you send it to?  – that’s only something we have learned in the past year.

I played a State Faces gig for Phil, he told me to send him my EP.  He just told me all about the collective and what they were doing and I just thought it was a brilliant idea. They are a booking agent in some ways, they help out with getting gigs, their advice is really important because they tell you when something is shit and they are honest about it.

(Portrait of Katie Laffan by Ruth Medjber)

Matt O’ Baoill from Tebi Rex

I remember getting a phone call from Phil one night in my room and being really excited.

He was putting together this hip hop collective and we were mad to get involved. We thought it was a good idea, the idea of a label and a collective.

We are really heavy on identity – myself and Max are crazy different.  I’m an Irish language enthusiast, involved in student politics, he’s a writer, debater, and a massive wordsmith. Even our look is different – I’m a pasty white ginger dude and he’s this black minority. We have this juxtaposition in our group where you wouldn’t expect me to do heavy rap, yet you wouldn’t expect him to do an indie vibe either. Identity is really an essential part of what Tebi Rex is.

Word Up Collective is a sense of community, it’s a sense of sharing an interest with people that are just as enthusiastic and as passionate as you are and you can see it. Everyone is so different and everyone gives something different to the collective, and then everyone uses it as a different outlet. They have pushed us along massively-  they give us the freedom to do whatever we want and supported it even if the idea is stupid or not.

Find out more about Word Up Collective on their website or Facebook

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