
Jools Holland set for a Sligo return in June 2026
This special all-seated Knocknarea Arena ATU Sligo concert takes place outside of Sligo Live's usual festival period, on Saturday 6th June 2026. Tickets are €67.50 + €3 s.c.
At the age of 15, Jools Holland was introduced to Glenn Tilbrook and Chris Difford he joined Squeeze, followed by Gilson Lavis shortly afterwards.
Gilson, (who still drums with Jools), had already played with, among others, B.B. King, Chuck Berry, and Max Wall.
Up The Junction and Cool For Cats gave Squeeze meteoric success and their popularity rapidly extended to America, where their tour included performances at New York's Madison Square Garden.
In 1987, Jools formed The Jools Holland Big Band – comprising himself and Gilson Lavis.
This has gradually metamorphosed into the current 19-piece Jools Holland and His Rhythm & Blues Orchestra, which consists of pianist, organist, drummer, three female vocals, guitar, bass guitar, two tenor saxophones, two alto saxophones, baritone saxophone, three trumpets, and three trombones.
Jools' career as a television presenter has run parallel to his musical career.
Between 1988 and 1990, Jools performed in and co-hosted (with David Sanborn) two seasons of an acclaimed music performance programme, Night Music, on NBC.
After presenting two series of Juke Box Jury in 1989 and then 26 shows of The Happening in 1990, Jools was asked in 1992 to host a new music programme for BBC2, which combined his talent and experience as a musician with his skills as a TV presenter.
ADVERTISEMENT
Learn more
This was Later... with Jools Holland. The show has reawakened the innovative spirit of The Tube and has just completed its 65thseries, whilst Jools' Annual Hootenanny will celebrate its 32nd year.
Jools' special guest, Andrew Roachford, is one of the UK's most compelling and enduring rock & soul artists, ever since his hit Cuddly Toy (a mainstay of radio airplay for over three decades) topped the UK charts in 1988.
He also spent time as a member of supergroup, Mike + the Mechanics, who enjoyed a string of charting singles.
Roachford has released 10 studio albums and several greatest hits collections, been sought-after as a songwriter by the likes of Michael Jackson, Joss Stone and Chaka Khan, and consistently toured on his own and with contemporaries including Terence Trent D'Arby and The Christians. In 2019, Andrew received an MBE for Services to Music.
Jools Holland & His Rhythm & Blues Orchestra Tickets are €67.50 plus fees and are available Friday June 13 2025, online at Sligolive.ie and in person or by phone (071) 916 1518 from the Hawk's Well box office and from TicketMaster.ie.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Irish Independent
4 days ago
- Irish Independent
AI powered Sligo tourism initiative nominated for eGovernment Award
Visit Sligo's Ideas Engine has been shortlisted for a prestigious eGovernment Award, recognising the county's pioneering approach to digital tourism promotion. Developed by Sligo County Council in collaboration with ATU Sligo tourism students, the Ideas Engine is an AI-powered platform designed to spark creativity, inspire itineraries, and promote all corners of County Sligo to a national, and international audience. This exciting project is further building on the many new initiatives undertaken by the Tourism unit in the Council in recent times in the promotion of Sligo as a must-visit tourist destination. The nomination highlights Sligo's commitment to leading the way in digital transformation within the public sector. Through projects like the Ideas Engine, overhaul of and ongoing promotional campaigns on social media platforms, Visit Sligo. lead out under the auspices of the Council, continues to champion digital approaches that support the Sligo Destination and Experience Development Plan. As part of its ongoing digital strategy, Visit Sligo has significantly amplified its online presence, giving festivals and events a powerful platform on social media. From festivals with an international reach like Sligo Live to the culturally rich Remembering the Armada Festival in Grange, each event benefits from tailored digital campaigns that attract both locals and international visitors along the Wild Atlantic Way. Cathaoirleach Cllr Donal Gilroy, welcomed the news: "This recognition for the Ideas Engine shows what can happen when innovation, local talent and a love for Sligo come together. Our county is bursting with energy, creativity and world-class festivals — there's never been a better time to visit. I encourage everyone to come to Sligo this year and experience one of our many unforgettable events for themselves." The Ideas Engine is available on the Visit Sligo website at and continues to evolve as a cornerstone of the county's smart tourism strategy.


Irish Times
29-07-2025
- Irish Times
George Houston: ‘Parts of rural Ireland can still do better with how they welcome queer children to the world'
George Houston is discussing his death. Not in the physical sense, but the young musician has been undergoing a rebirth of sorts in recent times. 'I don't know if you know about numerology or anything, but there's this thing with your birth year,' he says. 'Each year you have a tarot card prescribed to you, and last year, while I was recording the album, was my death year. 'This year I'm on a different card, and it's all change ... When the album was finished, it was like this big breath out. Now I can start thinking about new things. It feels like a new era.' Despite being only 24, Houston, who is from Burt, Co Donegal, has already released three albums since launching his career in 2020 with the wry folk-pop single Boo Fucking Hoo. READ MORE He's correct about it being a new era for him, though. His latest album, TODC, which, in a reference to his interest in tarot and numerology, stands for The Original Death Card, also marks him out as a talent to watch. He treads a line somewhere between the droll melancholia of Jens Lekman, the country-folk quiver of Orville Peck, the lyrical wit of John Grant and the tender alt-indie stylings of Sufjan Stevens. That spark has been noted by the likes of Paul Weller , who asked Houston to support him on his US tour last year, and Jools Holland , who recently invited him to play on his Later ... show on the BBC. Houston is a thoughtful conversationalist (despite apologising for being 'blabbery' when we talk) and a discerning lyricist. He loved growing up in the countryside with 'a big garden and plenty of fresh air from a very lovely family background'. His music-loving parents encouraged Houston and his two siblings to learn an instrument from an early age; seeing David Bowie in the film Labyrinth proved a pivotal moment: a convergence of his two loves, music and film (something he is exploring by making music videos for every song on TODC). 'But there's parts of growing up in rural Ireland that you become very aware that you're not so welcome, like growing up in Catholic schools,' he says. 'I love my background and I love where I'm from, but there are parts of rural Ireland that can still do better with how they welcome queer children to the world. Because I know too many [gay] people that will never come out, and will get married and have a wife and children. It's two very grim alternatives, so I'm incredibly lucky that I had this cocoon of community around me.' There's something very traumatic about growing up and loving all of that, and knowing that they hate you back — Houston on the Catholic Church On TODC he uses tarot as a framework to examine other topics that loom large in his life and his songwriting, most notably sexuality and the Catholic Church . The title track has lyrics such as 'I'm thanking God for all the work that I've done, to love those faults he's installed' over a jaunty indie-pop melody. The snarling Drag Queen, an album standout, lays waste to the church with the refrain 'The feeling is mutual, and the feeling is hate'. 'I wanted to write songs about queer love, and femininity, and different things that I've experienced in my life,' he says. 'I'm definitely out of my comfort zone, and I am being a lot more vulnerable in this album. 'I do reference religion a lot in these songs. I was raised going to Mass every Sunday, and I do have an affection for the Catholic Church; I think there are lovely cultural traditions within it, and I visit churches everywhere I go, because I think they're beautiful, calming spaces. 'But there's something very traumatic about growing up and loving all of that, and knowing that they hate you back. And then, on top of that, the things that you love and [the person] that you are is likened to being a 'sinner' and being told you're going to hell forever.' He shakes his head, sighing. 'So yeah, there's lots of trauma to unpack there.' Houston, who is bisexual, says he never felt the need to come out publicly, 'because I have that kind of security blanket of also being straight', he says. 'That is a ridiculous thing, but it's true. I never wanted to come out in secondary school, because I didn't owe the homophobes in the school any of myself, and I didn't want to give them any satisfaction of knowing more about me. 'I'm very anti the term 'the closet', because I'm a strong believer that that is a myth, and the closets are built up around children when they grow up by not educating them about who they could be, or about the different kinds of relationships and identities in the world. 'So I never did come out. I just showed up one day with my boyfriend to my parents' house, but they already knew.' He shrugs. 'It wasn't that I didn't want to come out, but at the same time I wasn't keeping anything a secret. I just wanted it to be normal, if that makes sense.' It was an earlier song of Houston's, In Aeternum Vive, from his 2023 album, Vehicular Suicide, that caught Paul Weller's ear. As well as inviting him on tour – Houston's dad drove him across North America to play such iconic venues as the Fillmore, in San Francisco, where he recorded a live version of his album track Jesus Freaks – Weller offered Houston the use of his Black Barn Studios to record the album. The singer recorded 10 tracks there over five days last August; the subsequent autumn tour with Weller was intense but an enormous learning experience. 'Some shows were more chatty, and people had a drink, and you just played into that. And some shows you could hear a pin drop and it was really lovely,' says Houston. 'I remember the Lincoln Theatre in Washington – the audience were very engaged. Then there was this theatre in Minneapolis that [was synonymous with] Prince, and every one of my idols played that stage. That was a real pinch-me moment.' George Houston: 'I'm probably a people-pleaser at heart' Weller, he says, was a great musician to tour with. 'I was very worried about getting in people's way, because I'm, like, 'Oh my gosh. How did I manage to get here?'' He laughs. 'But I think Paul maybe recognised that, and made the effort to come and chat to me, which was very lovely. He's brilliant for lifting up smaller acts. I wish there were more artists like him.' The Weller connection also went some way to landing Houston his appearance on Later … with Jools Holland, where his acoustic, tender telling of the single Lilith (performed in a resplendent glittering costume with black angel wings) was supremely assured. 'I suppose Paul put in a good word for me, which helps big time,' he says, laughing. 'I was just really lucky, and it was really good timing with the album release ... Jools came and said hello, and he made the effort to say he'd listened to the album and stuff ... I was more nervous than I let on, because it's a hard song to sing. It's one of my more high-pitched songs, and a bit more yodelly than I usually go.' He shrugs. 'But it worked.' If there's one thing Houston has learned over the past five years, it's that a sense of humour is imperative, both in navigating the music industry and tackling tough topics in his songwriting. 'I like to describe my music as sad music for people with humour as a defence mechanism,' he says, laughing. 'I'm probably a people-pleaser at heart; I get great joy from making people laugh and talking to people on stage, and I like to see people smile when I'm telling a story through the songs. I would hate it if people went away from a show of mine and were, like, 'How do I describe it?'' 'I want people to feel engaged and know that they were listening to what I was singing.' He breaks into a wry smile. 'A bit of humour helps with that sometimes.' George Houston plays at the Under the Drum festival, in Co Antrim, on Saturday, August 9th, and Balor Arts Centre , in Co Donegal, on Thursday, August 14th; he plays in Galway, Derry, Belfast and Dublin in October


Irish Independent
17-06-2025
- Irish Independent
Festivals running the risk of closing as call goes out for more funding from Fáilte Ireland
And, Cllr Thomas Walsh claimed that Fáilte Ireland were 'asleep at the wheel' as it has only given Sligo County Council a 'paltry €26,000' to run local festivals in the past five years. Cllr Walsh, who is involved with the Ballygawley Music Festival and Sligo Live, said festivals were hanging by a thread. He was speaking amid fears for the independent festival scene, after Sea Sessions in Bundoran announced it isn't going ahead this year, while a liquidator was appointed to the company behind the Wild Roots Festival in Sligo last year and is no more. Meanwhile, Barry O'Neill organiser of the hugely popular Rory Gallagher Festival in Ballyshanon has expressed fears for its future. Cllr Walsh said: 'There was a small bit of support for events over Covid but then inflation kicked in post Covid, and nothing was put in place for live festival events. 'So, costs have skyrocketed, and it is something I have been highlighting for years and the whole events thing is hanging on by a thread. 'This is because of huge increased costs, and I know from Ballygawley Music Festival in July and Sligo Summer Festival who were hoping to run a second weekend on the August Bank Holiday Weekend, but it was not possible because it would cost them an extra €70,000 to run a second weekend. 'Sligo Live and Cairde and our own festival are very successful, but our costs in Ballygawley are up on €120,000 which includes insurance, operational costs, site set up costs, energy costs and the cost of the acts have gone up because of the knock- on effects of the increase in the price of fuel for travel and their insurance has gone up too. 'All of that is passed on to the festivals and the organisers are forced to pass that on to the price of the ticket which is regrettable but necessary,' he said. Cllr Walsh added that nine smaller festivals collapsed in 2024, and the UK has the same problem where 60 folded last year. ADVERTISEMENT He added that another factor impacting was the huge crowds attending headline acts in Croke Park, the Aviva or other major venues. 'These massive artists sell out venues, but they are portraying a false economy because people are saving their money for the big festivals and not supporting the smaller ones.' Cllr Walsh was critical of Fáilte Ireland. 'Its budget from the State last year was €140m and all they give Sligo County Council for events in the county is a mere €26,000. That would not pay for a marquee, insurance etc 'Ballygawley gets €4,000 from Fáilte Ireland for an event that costs €120,000, so it would not cover even the toilet facilities.' 'But they do good work in terms of capital spending and Queen Maeve Square would not be there only for Failte Ireland and Strandhill Surf Centre of Excellence, so they are doing well on the capital side. 'But they are not supporting live is a three night festival and 5,000 people were there last year. Cllr Walsh added that Irish Public Bodies IPB who supply insurance and public liability for all Council offices and State facilities, could open it up to live events and it would take the cost away from the operator. 'I believe the State should take over the insurance via IPB which is their own insurance policy.' 'Fáilte Ireland should be made increase the funding to local authorities and I am talking about events of 500 and over and less than 5,000. '€26,000 is a kick in the teeth for Sligo festivals and €100,000 per local authority would not be out of the way and that is the reality of it. 'It would just get their heads above water and festivals are in survival mode all over the country. Cllr Walsh added that culture and arts were the backbone of our economy. 'There is a huge knock- on benefit for Sligo from all these festivals so they should be supported. 'Fáilte Ireland is the vehicle for tourism, and they talk about supporting visitor attractions and festivals but really they are not supporting festivals. 'Unless there is an injection of cash into these festivals more of them are going to collapse.'