Tonight's show has been postponed due to illness. We are working on a rescheduled date and hope to announce that asap.
No further action is needed on your part and we will be in touch with ticketholders asap with the rescheduled date.
Unfortunately, my health has got even worse overnight. I thought one night's rest might do I the trick, but it looks like it's going to take more than that. So, it breaks my heart to do, but I’m going to have to reschedule the gig in Cork tonight. So sorry. I’ll be back as soon as I can.
Newton Faulkner’s latest chapter in his career is his most authentic yet. He is finally relishing in being exactly who he wants to be. A natural born artist, he has belonged in the room from day one. He has also adapted to a constantly changing musical landscape; from his debut to his 2009 sophomore effort Rebuilt by Humans, his second UK
#1 album Write It on Your Skin, Studio Zoo and beyond, Faulkner has never rested on his laurels and always strived for more.
However, that door he first entered - where control over his own music, the highs and lows of fame and critical categorisation all came at a cost - is now a remnant of the past. The door he walks through now is the one that was made for him.
This is not just a re-introduction. It is a fresh start.
His eighth album Octopus blooms with joy. It’s been more than five years in the making, and is the longest gap Faulkner’s had between records, giving him the space and time to unpack the full scope of his artistry. It bears all the hallmarks of an artist entering a new era. This is most apparent in the album’s visceral lead single ‘Alright, Alright, Alright’. Loud, energetic, fierce… all words you wouldn’t usually associate with Faulkner – but now you should. Interestingly, the track is harnessed not by guitar, but by a Hofner Violin Bass fizzing with distortion. Rather than his trusted acoustic guitar, it was this instrument which unlocked a different approach to songwriting for Faulkner across the album. Like rotating parts of a Rubik’s cube, new possibilities opened with every turn.
From ‘Tic Tac Toe’ written with Dan Smith (The Noisettes) opening his sound to funk and R&B for the first time, to the soul tinged ‘Sprit Meets the Bone’ – which includes the dazzling piano hands of multi-talented, musical virtuoso, Reuben James – and the shapeshifting ‘Never Enough’, pushing the boundaries of his craftsmanship was paramount for Faulkner. It’s also imbued with a collaborative pulse. ‘Hunting Season’ highlights this best, with American singer-songwriter Lissie and Serra Petale (guitarist of indie cult favourites Los Bitchos) stepping in to provide Lissie’s distinctly powerful vocals and Serra’s sun-stricken guitars and Latin inspired grooves, culminating in one of the album’s stand out moments.
But amongst the brazen new soundscapes, there’s also the necessary tender moments that bind everything together. The acapella album closer ‘Gratitude’ written as a thank you from Faulkner to all of those who have stuck with him over the last two decades. Not only a fitting conclusion, but one of Faulkner’s proudest moments on the album.
Free from the shackles of limitation, Octopus shows a side to Faulkner that’s more open than ever before. It’s a reminder of the inherent joy and freedom that comes with making art of any form. For Faulkner, he believes that his latest work is reminiscent of his debut record, written from an entirely new lens. He feels more of a thrill making music now than ever before – beyond that, it’s the best time he’s ever had making music in his life. There’s no doubt that it has rekindled his creative fire, and 2025 deserves to be the year that he is recognised for the bonafide artist that he has always been.
Above all, perhaps it is now that he can say he truly knows himself best.
