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RTÉ News
26-05-2025
- Entertainment
- RTÉ News
Why it's time to tune into Ireland's female musicians
We present an extract from Why Not Her? A Manifesto for Culture Change, the new book by Linda Coogan Byrne. Through a combination of hard-hitting data, personal testimony, and case studies by activist, PR specialist, and gender equity champion Linda Coogan Byrne, Why Not Her? offers a bold and unflinching examination of the systemic inequalities within the music industry — and far beyond. Most Irish female artists' experiences of music industry and radio support are vastly different from those of their male counterparts — artists like Dermot Kennedy, Hozier, Moncrieff, Robert Grace, Gavin James, The Script, Cian Ducrot, Amble, Kingfisher, Kneecap, Snow Patrol, and Picture This, to name but a few. The list of "breakthrough" Irish male acts feels endless — bolstered by consistent, heavy radio rotation, festival bookings, and widespread media backing. But for Irish women in music, the path has been steeper, quieter, and relentlessly overlooked. Too often, the only route to real success has meant working ten times harder — or leaving Ireland altogether. Artists like CMAT, Orla Gartland, RuthAnne, Bambi Thug, Biig Piig, Áine Tyrrell, Wallis Bird, and Wyvern Lingo have all pursued their careers abroad — in the UK, Berlin, Australia, and beyond — where access, airplay, and opportunities are far more abundant for women and gender-diverse artists who continue to be overlooked in Ireland. Even The Cranberries — now icons of Irish music — famously broke America before being fully embraced at home. It's a pattern that continues today: for many Irish women, meaningful recognition only arrives once they've made noise elsewhere. One notable exception in recent years has been Jazzy, whose breakout came through a collaboration with two male producers — Belters Only. That track, Make Me Feel Good, became a viral and chart-topping hit, making her the first Irish female artist to reach Number 1 on Spotify's Top 50 Ireland chart, and the first Irish woman to top the Irish Singles Chart in over 14 years. She then carved her own path with Giving Me, which made her the first Irish female solo artist in over two decades to hit Number 1 on the Irish Singles Chart. She carved her own way once the door was opened — and this is what happens when women are given a chance. Watch: Bambi Thug performs on The Late Late Show The team and I in the Why Not Her? collective conducted a 20-year analysis of the Irish Singles Chart — and the results lay it bare: For every female act that reaches the chart, 4.6 male acts do the same. Male acts have seven entries for every single entry by a female act. For each week a female act spends on the chart, a male act spends 11.5 weeks. 71.1% of Top 10 singles over the past two decades were released by Irish male artists and bands. The scale of exclusion is staggering. Women, and especially women of colour, have been absent from mainstream success. Between 2010 and 2020, not a single Irish woman reached the top rank. The system isn't about talent — it's about access. Then came Irish Women in Harmony — 47 women joining forces to record a powerful rendition of Dreams by The Cranberries. Their voices didn't just break a decade-long drought; they raised vital funds for Safe Ireland, supporting women and children experiencing domestic abuse. The single went on to reach Number 15 on the Official Irish Singles Chart and Number 1 on the Official Irish Homegrown Chart — a chart dedicated to highlighting the most popular songs by Irish artists across streaming, downloads, and sales. This feat marked the first time a female act topped the Homegrown Chart and the first time in over a decade that an Irish female act had broken into the Top 20 of the Official Irish Singles Chart. Watch: Irish Women In Harmony perform on The Late Late Show It took nearly 50 women coming together to reclaim a space that male artists often occupy alone. Even imagining that contrast should tell you everything. Needless to say, the system isn't broken — it was built this way. And it's long past time to change it. This isn't a coincidence. It's a pattern. Male artists dominate radio playlists and festival stages, leaving women to fight for scraps — or feeling isolated if they are among the tiny percentage of female headliners. And airplay, which is the lifeblood of chart success, is gate-kept in a way that excludes them. Even when women write about resilience, adversity, and triumph, their voices don't get the same platform or visibility. Airplay Isn't merit-based. It's access-based This is about visibility — but it's also about infrastructure. Most Irish women are still releasing music independently, without the label support or financial investment their male counterparts more often receive. Take Orla Gartland, for example — an Irish female artist now based in London. Entirely independent, she recently won Best Song Musically and Lyrically at the Ivor Novello Awards — by herself. No label machine. No major-budget backing. Just talent, work, and vision. Her win proves what we already know: when women are given space to flourish, they deliver excellence on their own terms. Listen: Orla Gartland talks to Oliver Callan And yet, she has received just over 600 total radio plays across her entire catalogue in Ireland so far this year. Her peer? Take Gavin James — one of many male artists regularly championed on Irish radio. He has received over 8,000 plays in the same time period. The contrast is staggering. The system isn't about talent — it's about access. Yet even those with major label backing still don't find their way into heavy rotation playlists — rendering the age-old excuses radio executives continue to use both indefensible and absurd. As laid out in Why Not Her?, here's what they've actually said when confronted: "Men make better music than women." "We don't have the budget to be diverse." "We don't make the rules." "Women just moan." "She's too old and long in the tooth to be making music." "You need to be careful and stop stepping on people's toes in radio." "We actually had some women on a special Friday night show back in February." "It's the label's fault, not ours." "People prefer to listen to male acts; they request them on air!" These aren't thoughtful critiques. They're lazy deflections — sexist, patronising, and structurally embedded. They insult not only the intelligence and talent of Irish women artists, but the audience as well. When Irish radio producers say, "We just play what people want," they ignore a fundamental truth: taste is shaped by exposure — and exposure is controlled. You can't love what you're not hearing. Why Not Her? Why Not Now? Because the next generation is not only watching. They are listening. And they are coming.
Irish Daily Mirror
15-05-2025
- Entertainment
- Irish Daily Mirror
Heartbreak for Ireland as EMMY dumped out of Eurovision semi-final
There was Eurovision heartbreak for Ireland tonight as EMMY was dumped out of the competition at the semi-final stage in Switzerland. The Norwegian singer, 24, failed to follow in last year's act Bambi Thug's footsteps, who brought Ireland to the final for the first time since 2018. The 10 countries that got through tonight were Lithuania, Israel, Armenia, Denmark, Austria, Luxembourg, Finland, Latvia, Malta and Greece. It wasn't looking positive for Ireland just hours before last night's show, as the bookies bet the country had just a 1% chance of taking the title. Sweden's entry Bara Bada Bastu by KAJ is the favourite, with bookies believing they have 42% shot of winning. However, EMMY's performance of Laika Party was praised by many for being energetic and strong. She stormed the stage in a silver short space suit as colourful dog-themed images were sprawled across screens. The singer was backed by her brother Erlend on keyboard and several dancers as they told an upbeat story of the Soviet space dog Laika. Supporters waved the tricolour flag at the St Jakobshalle stadium in Basel for the performance, as the crowd went wild. Spotted in the audience was former Eurovision stars Jedward, who were photographed taking selfies in the audience. Israel was one of the last acts of the night, with singer Yuval Raphael performing New Day Will Rise. Earlier on Thursday, the country's rehearsal was disrupted by pro-Palestine protestors. Six people stormed the performance as they waved Palestinian flags and blew whistles. A spokesperson for Swiss broadcaster SRG SSR said security personnel quickly escorted them out of the hall. Despite protests, Israel made it through to the final, and were announced as the second act through at last night's semi-final. The country might also have a chance of taking the crown, with bookmakers placing Israel as their fifth favourite to win out of all the acts. EMMY received some criticism when she was chosen as Ireland's entry, as she doesn't have any connection to the country. However, Laika Party was co-written by Co Westmeath musician Larissa Tormey. Speaking before her performance on Thursday, EMMY said: 'I would say this is like, it's a European Song Contest. I don't think it's about me. It's about the song. And the song is partly Irish because of the songwriter. 'And also, I think it's more about what song and what message the people of a country want to send, rather than who I am as a singer, you know." Arthur Gourounlian - who was a panellist for Ireland's Eurosong Contest - backed EMMY, and said he didn't believe the criticism was fair. He said: 'When people come for people, please take your facts as the girl who has co-written the song is Irish. 'It's not about the person, it's about the song. It's called the Eurovision Song Contest.' EMMY also did a 'deep dive' to represent Ireland, according to Norway's entry Kyle Alessandro. The 19-year-old is the youngest performer in this year's competition, and qualified on Tuesday with his fiery song Lighter. Speaking about EMMY and her keyboardist brother, he said: "I've known them since I was a little kid, and their dancers are also Norwegian this time around. So they're bringing Norwegian-ness to the stage. "But I know that EMMY has also taken a deep dive into the Irish culture." EMMY did not go through in the Norwegian contest after previously competing in 2021, and instead won Ireland's Eurosong 2025 to earn the right to enter for Ireland. Alessandro said he was having a similar experience "because I'm half Spanish, so I represent Norway, but a little bit Spain also because it's my father's homeland". While she didn't make the final, EMMY hopes to continue to perform Laika Party and further her career. She said: 'So first we need to understand that this is actually happening, and then rehearse and plan. And you know, we will definitely try to keep the same vibe but maybe make it bigger, you know. So, yeah, we're really, really excited for these next few months." The Eurovision final will take place on Saturday at the St Jakobshalle stadium in Basel, where 25 countries will battle it out. This will include the 10 victorious countries from tonight, and Tuesday semi-final winners Norway, Albania, Sweden, Iceland, the Netherlands, Poland, San Marino, Estonia, Portugal and Ukraine. The 'big five' were fast-tracked into the final - France, Germany, Italy, Spain and the United Kingdom - but still performed at the semi-finals. Reigning champion Switzerland, as host, was also guaranteed a slot in the final after their act, Nemo, was victorious last year. The Eurovision Song Contest will be broadcast live on RTÉ One on Saturday at 8pm.
The National
28-04-2025
- Entertainment
- The National
Eurovision 'to allow Palestine and Pride flags after ban backlash'
The European Broadcasting Union (EBU) has reportedly loosened restrictions on audience members displaying flags for the 2025 event, which will take place in Basel, Switzerland on May 13. DR, also known as the Danish Broadcasting Corporation, obtained this year's official policy regarding national and political emblems. The Danish site reported that the new EBU policy states that 'political messages should be avoided' – but notes host country Switzerland's 'high value on freedom of expression'. READ MORE: Eurovision viewers report use of 'anti-booing' technology during Israel act As a result, spectators are seemingly permitted to bring all flags into the St Jakobshalle arena – including that of Palestine, which was notably banned from the 2024 contest. Only items displaying symbols that violate Swiss law, such as featuring discriminatory and racist content or promoting known terrorism organisations, will be prohibited. The official policy was that only rainbow pride flags and those of competing countries – including Israel – were permitted for spectators last year, with organisers claiming 'clothes, items or posters that can be used as instruments to be shown on television screens' featuring pro-Palestinian symbolism would also be subject to a potential ban. Whilst guidelines for fans have relaxed some for 2025, performers will face harsher restrictions. Under the new policy, artists are reportedly only permitted to use the official flag of the country they are representing during Eurovision-related events, which will be provided to them by Swiss broadcaster SRG SSR. Artists have also received a blanket ban from displaying 'symbols of solidarity,' meaning performers will not be allowed to hold flags or banners representing Ukraine or Palestine, despite looser restrictions on audience members. Bosses say this is to retain the 'political neutrality' of Eurovision after last year's winner Nemo smuggled the non-binary flag on stage and Irish contestant Bambi Thug wore acrylic nails painted to represent the colours of Palestine. The contest faced calls for a boycott over their decision to allow Israel to compete amidst the ongoing atrocities being committed against Palestinians, meanwhile Russia was outlawed in 2022 following the invasion of Ukraine.
