I’ve been asked to look after Tour Management for Sinead O’Brien in September and October. Her band have tour dates across Europe, UK and Ireland.
The multifaceted Irish poet, songwriter and performer is ascending into new territory with her debut LP, Time Bend and Break the Bower.
The artist’s poetry — a constant, active absorption of how people speak, communicate and clash in the era we are living through — is an essential clarion call heard in the future.
Communing at the triangulation of words, music and image, O’Brien is a conjurer of powerful worlds: and none are more powerful, or as immersive, as those of Time Bend and Break the Bower.
Treading her path as a poet, O’Brien has forged an identity she feels is truly hers: it is, simply, how the artist has to communicate.
Born in Dublin and raised in Limerick, there are no overtly explicit references to O’Brien’s home country, but the atmosphere of its landscape is nonetheless found in its lyrical world.
Since 2020, O’Brien’s releases — such as 2021’s ‘Kid Stuff’ single, and 2020’s ‘Drowning in Blessings’ EP — have garnered international critical acclaim, from titles like Rolling Stone, DIY, Dazed, Dork, Loud & Quiet, NME, Paste, Stereogum, The FADER, The Guardian, The Quietus, and AnOther Magazine, among others. O’Brien has also been consistently supported on national radio: she counts Jack Saunders at BBC Radio 1, and Steve Lamacq and Amy Lamé at BBC Radio 6 Music, as champions of her music, with the latter station giving two tracks a spot on their B List. And O’Brien is building on her prior US support from the likes of Seattles’ KEXP with appearances at SXSW — in virtual…