Pot Duggans is an old converted farmhouse where North and West Clare meet, set on the River Inagh in Ennistymon. We do intimate gigs, loud gigs, and the odd thing that probably shouldn’t work in a room this size — but does.
Cois Abhann is an exploration and appreciation of that. Trad, bands, live electronics, club nights — whatever fits the room and feels worth doing.
A series of events by the river, across our yard and barns, celebrating the space we call home and the town around it.
Pot Duggans. Ennistymon. By the river.
We kick Cois Abhann off down the electronic end of things. Properly.
SLOUCHO has built a strange masked universe of his own — part club music, part visual project, part internet fever dream. Bass, UK garage, rap, hyperpop and plenty of stuff that’s harder to put a name on. Good.
Rory Sweeney has been quietly involved in a serious amount of Ireland’s best underground music. Producer, DJ, collaborator and general genre-hopper — grime, footwork, rave, dreamier stuff and whatever else makes sense at the time.
Two very different brains making forward-looking Irish electronic music.
Kinchy gets the room moving first.
Friday night. Barn. Loud.
Live band first. DJ afterwards. Sensible stuff.
GrooveLine are hard enough to put neatly in a box — funk, hip-hop, jazz, soul, rock, trad, bilingual lyrics and a lot of groove holding the whole thing together.
Most importantly, they’re a proper live band. Loose when they need to be, tight when it matters, and well capable of getting a room moving.
Once they’re finished, Mathuna takes over the decks and we dispense with the live instruments for the remainder of the evening.
GrooveLine live → Mathuna late.
Saturday night sorted.
Tradition, stretched a little wider.
Eoghan Ó Ceannabháin is a Dublin singer, songwriter and multi-instrumentalist with his roots firmly in sean-nós. You might know him from Skipper’s Alley, Jiggy or Aon Teanga: Un Chengey.
Ultan O’Brien comes from Clare and moves between traditional Irish music, improvisation and composition on fiddle and viola. His list of collaborators stretches from Slow Moving Clouds and Cuar to Martin Green of Lau, Ruth Goller and Nic Gareiss.
Together, they’re something else.
Their album Solas an Lae won Best Folk Album at the RTÉ Radio 1 Folk Awards, bringing voice, fiddle, viola, flute and drone together in a way that can go from pin-drop quiet to properly powerful without much warning.
Two strong musical voices, doing plenty with the old forms.
Songs about place, people and the slightly messy business of being Irish.
Kean Kavanagh was born in Texas, raised in Portlaoise and helped build Soft Boy Records into one of the most influential labels and collectives in Irish music. Producer, songwriter and A&R first; frontman very much now.
His debut album The County Star pulls together worn-in Americana, Irish folk and indie rock, with songs full of small-town characters, memory and place. The world around the record is just as considered — including a three-part film series directed by Kojaque and starring the late Peter McGann as Pa “The Hips” Campion.
Before that came Wrestling Music, Dog Person, work with Everything Is Recorded, and plenty of time spent helping shape records for other people. Sharp writing, strange little details, very good tunes.
Opening the night is SAOL, the new project from Zoë Gough, formerly of Dreaming of Jupiter. It’s a more personal turn, digging into Irish identity, housing, discrimination, mental health and sexuality, while pulling from folklore, history and the landscape around us.
Two guitars. Fifteen years of chemistry. Plenty of messing about.
Paahto & The Bull is the guitar-duo project of Patrick “Paahto” Cummins and John Francis Flynn.
They’ve been playing together for the guts of fifteen years, and this project feels like the most direct version of that relationship — two guitars, two very distinctive players, and a sound that doesn’t need much dressing up.
It could easily have been banjo and guitar. They went with two guitars instead. That decision probably tells you a fair bit about the pair of them.
Signed to Claddagh Records in late 2025, they’re releasing their debut album through 2026.
This is what they play. This is how they play it. Good enough for us.
Techno in the Barn. Properly done.
Sunil Sharpe is one of the most important figures in Irish electronic music — DJ, producer, label owner and the driving force behind Give Us The Night.
He’s played Berghain, Tresor, Fabric and plenty more besides, built a reputation for fast, physical, technically ridiculous sets, and spent years fighting for better clubs, licensing and late-night culture back home.
Which makes bringing him to one of the few places regularly running club nights in Clare feel fairly apt.
Opening is Hardware — the live electronic project from Limerick producers Brawni and Chaz Moloney. Machines, improvisation, no fixed set, and plenty of room for things to go wherever the night takes them.
Hardware live. Sunil late. Perhaps bring earplugs.
Live techno first. Then John gets the records out.
Zkellies is the live project from Andy Connolly, Dan Walsh and Killian Barton — three people who’ve been knocking around Ireland’s underground for a long time under various names.
The setup is properly physical: two drummers, live electronics, no sequencers, no backing tracks, no click. Everything gets built and pushed around in real time, so it has the repetition and drive of techno but still feels like a band could veer off course at any second.
After that, mynameisJohn takes over.
John Lillis has been DJing, collecting records and connecting dots for more than 20 years, from Electric Picnic and Body & Soul to NTS and Dublin Digital Radio. Trad, hip-hop, jazz, funk, soul, house, oddball electronics — if it works in the room, it’s fair game.
Zkellies live. John afterwards. Nice and loose.
A dry-stone wall, but make it a record.
Trá Pháidín are a collective of musicians spread between Conamara, Cork, Kerry, Offaly, Sligo and Waterford, making music that starts in Irish tradition and keeps wandering.
Their new album Cloch ’s Claí — out through World of Echo — is built around the idea of the dry-stone wall. Ten tracks, ten stones, with each arrangement shifting slightly every time they play. The record is one version of it; the next gig will be another.
Musically, it moves through Irish traditional improvisation and ornamentation before veering into krautrock, free jazz, post-rock, minimalism and drone. Lyrically, it takes a satirical look at Ireland’s relationship with Gaeilge and the Gaeltacht — housing, tokenism, gentry politics and ribbon development all get a look in, with An Béal Bocht running through the whole thing.
Opening the night is Limerick harper Niamh O’Brien hailing from Kildimo, whose debut album Ag Iompar Fuaime sits somewhere between traditional music and sound art, folding harp, field recordings, voices, birds, wind farms and found sound into the mix.
Trad music with a few stones moved around.
Psych rock that knows when to stretch out and when to hit hard.
The Altered Hours have been at it since 2010, building a sound that moves between garage rock, psychedelia, shoegaze, driving rhythms and slower, more hypnotic stretches.
They’ve released across labels including A Recordings, Penske, Art For Blind and Pizza Pizza Records, with records made everywhere from Anton Newcombe’s Berlin studio to the Funkhaus, and a live history that runs from DIY basements to churches and proper club rooms.
Along the way they’ve toured across Ireland, the UK and Europe, supported The Brian Jonestown Massacre, The Pop Group and Fontaines DC, and shared stages with members of Spacemen 3.
Their 2025 album, produced by Julie McLarnon, strips things back to the core of what they do best — distortion-soaked guitars, strong melodies and the kind of chemistry that only comes from years of playing together.
Big sound, small room. Should be a good one.
