Tom Dunne: These five songs saved the summer of 2023 for me
Watching the rise and rise of CMAT since the early days of lockdown has been one of the sweetest experiences of the last three years.
As the beating heat of the typical Irish summer finally relents, and the sun-tanned, unrecognisably mahogany faces of locals squint once again skywards and say "Oh thank god, autumn winds, relief at last," our minds turn to gentler pursuits.
In between days spent covering school books in wallpaper and telling our children "in our days, we didn't even have walls" we will find our minds drifting to thoughts of this year's best music; the albums, gigs, and songs that took our minds off climate change, Ryan Tubridy, and war in Europe.
It is of course too early for such lists, there is life left in this 2023 dog yet, but it is hard not to seek comfort in the ordered neatness of a 'best songs list' as the sweltering days of summer grind us down and you notice a fifth missed phone call in relation to the school's voluntary contribution.
"I thought this year it really was voluntary," you mutter to yourself as you tell the eldest to get the holiday fund coin jar out, again.
So as the squirrels sniff the air and imagine cosy images of hidden nuts and snowy fields, may I present five 'boys of summer' — a down payment on future lists, a small offering to get us through to then.Â
Five songs that lifted and transported me to such a point that at times I found myself actually believing that this was not the worst summer in Ireland since Cromwell in 1649.
I use the word 'boys' here in its modern sense, the non-gender specific sense, the same one Phoebe Bridgers uses when she refers to Lucy Dacus and Julien Baker as 'the boys in the band'. Yes, the modern cool one.
The bar by which all others are measured; best first verse, best glide into a chorus, use of harmony, other voices, cool exploration of mental health, the gentlest subversion of the word man, and teasing of the illusion that all men need to be strong. It puts me in mind of Dylan, nothing specific, just that wise playfulness.
Watching the rise and rise of CMAT since the early days of lockdown has been one of the sweetest experiences of the last three years. The singles just seem to get better and better, and this is a masterclass.
The tight harmony with Grant is exquisite but it is the lyrical department that CMAT truly shines. Her turn of phrase is pure genius, the sense of drama, human weakness, and regret, puts you in mind of Kirsty or Glen Campbell, or their offspring. An actual “instant classic!”Â
And speaking of drama: a lot of the charm of Republic of Loose, apart from era-defining songs, was the ramshackle nature of their existence. They were a band who would be saved by music or would self-immolate. You hoped for the best, you feared for the worst, but in the meantime, you danced and sang along.
You’d suspect Mik has spent the intervening years being nursed back to health in a nunnery by a kindly nun who shows no interest in this earthly realm apart from a tattoo saying 'I’m a Comeback Girl' on her ankle.
Whatever, the fires continue to burn, so brightly he can even risk letting May Kay sing, despite knowing she is one of the world's greatest ever singers. Oh, the confidence of it all!
Not since Bryan Ferry took time out after the first two Roxy records, to record a debut solo album, has a singer stepped back from a band that is so obviously at the height of its powers.
I was dubious, because I’m Irish and we are, but each single as surpassed the previous one.
You could mention influences here like a wine snob after a two-hour online sommelier course (“hints of Scott 4,” etc.) but could we just say it has a certain playfulness about it that is not always that obvious with Fontaines. Backing vocals, female voices, a wider palate of instruments, the usual laconic lyrical style: it is wonderful!
Still rubbing Oasis’s face in it. Was it ever really a debate? Unless Oasis reform for Glasto ’24. Then all bets are off.
