Made in Ireland

Áine Mangaoang is Postdoctoral Research Fellow at the Department of Musicology, University of Oslo. John O'Flynn is Associate Professor of Music at Dublin City University.Lonán Ó Briain is Associate Professor of Music at the University of Nottingham.

"There can be little doubt that Ireland is an enduring and prolific presence in the world of popular music. The editors of this book are to be congratulated on drawing together a quality cast of contributors, whose expertise in various aspects of Irish popular music serves to produce a rich and compelling exploration of the significance and legacy of Irish popular music artists in both local and global contexts."— Andy Bennett (Griffith University), author of Popular Music and Youth Culture: Music, Identity and Place"Made in Ireland is the most comprehensive and wide-ranging study of popular music (broadly understood) in Ireland currently available. The contributors come from a variety of disciplines and offer a number of illuminating perspectives that should make this book of interest to readers in popular music studies more broadly."— Timothy D. Taylor (UCLA), author of Global Pop: World Music, World Markets"This unique volume addresses a number of lacunae in Irish Music Studies in a way that broadens and deepens the field immeasurably. Extending far beyond the jigs and reels of pub sessions or performances at rural song circles, Made in Ireland is both urgent and immediate in its examination of Ireland’s direct engagement with rock, hip hop, country, punk, and other popular genres. Underlying these sounds is a pulse of identity, rebellion, and connection to place and scene that no other current book explores."— Sean Williams (Evergreen State College), author of Focus: Irish Traditional Music"Made in Ireland: Studies in Popular Music is a very welcome addition to the growing body of criticism now available on popular music and Ireland. ... For any student (or scholar) interested in the general topic of popular music and Ireland it would be difficult to find a better survey or starting point for further exploration. ... As a reader for undergraduate or graduate studies, I cannot recommend it highly enough."— Méabh Ní Fhuartháin (National University of Ireland), Ethnomusicology Ireland

• List of Illustrations; Series Foreword; Acknowledgements; Preface; Introduction: Popular Music in Ireland: Mapping the Field; Part I: Music Industries and Historiographies; 1. A History of Irish Record Labels from the 1920s to 2019; 2. Broadcasting Rock: The Fanning Sessions as a Gateway to New Music; 3. Don’t Believe A Word?: Memoirs of Irish Rock Musicians; 4. Raging Mother Ireland: Faith, Fury and Feminism in the Body, Voice and Songs of Sinéad O’Connor; 5. "Missing from the Record": Zrazy and Women's Music in Ireland; 6. "Alternative Ulster": The First Wave of Punk in Northern Ireland (1976-1983); Part 2: Roots and Routes; 7. Irish Lady Sings the Blues: History, Identity and Ottilie Patterson; 8. The Politics of Sound: Modernity and Post-Colonial Identity in Irish-language Popular Song; 9. Communal Voices: The Songs of Tom a’tSeoighe and Ciarán Ó Fátharta; 10. Popular Music as a Weapon: Irish Rebel Songs and the Onset of the Northern Ireland Troubles; 11. "…Practically Rock Stars Now": Changing Relations Between Traditional and Popular Music in a Post-Revival Tradition; 12. "Other Voices" in Media Representations of Irish Popular Music; Part 3: Scenes and Networks; 13. Assembling the Underground: Scale, Value and Visibility in Dublin’s DIY Music Scene; 14. Parochial Capital and the Cork Music Scene; 15. Death of a Local Scene? Music in Dublin in the Digital Age; 16. Fit for Consumption?: Fanzines and Fan Communication in Irish DIY Music Scenes; 17. Hip Hop Interpellation: Rethinking Autochthony and Appropriation in Irish Rap; Coda 18. Making Spaces, Saving Places: Modern Irish Popular Music and the Green Turn; Afterword 19. Songs of Love: A conversation with Neil Hannon (The Divine Comedy); A Selected Bibliography on Irish Popular Music; Notes on Contributors; Index