On a rainy, cold evening by the seafront, a young crowd brimming with anticipation entered Brighton’s Chalk for Newdad’s first full performance in the city since last year’s Psych Fest. Once inside, the atmosphere was friendly and welcoming, with a mix of all ages forming the audience by the time the headline set had begun. Before that, though, Cork-based group Cardinals opened proceedings for a double bill of Irish indie.
Cardinals took the stage with quiet confidence, sunglasses on, cool and composed, before launching into a heavy opener, “Twist and Turn.” Their sound immediately recalled the raw intensity of Ireland’s new wave, think Gurriers or early Fontaines D.C., but with their own distinctive edge. Frontman Euan Manning led the charge with brooding poise, while brother Finn shifted seamlessly from tambourine to his trademark accordion on “St Agnes.” The unusual pairing of accordion and guitar gave their noise-driven indie a striking texture, grounded by Aaron Hurley’s deep, pedal-fuelled bass and Darragh Manning’s taut drumming.
What truly set Cardinals apart, though, was how they balanced ferocity with melody. “Roseland” opened with a haunting accordion refrain before erupting into a wall of dark, distorted guitars and strobe-lit chaos. A mid-set shout of “Free Palestine” drew loud cheers before the back-to-back punch of “Burning of Cork” and “Big Empty Heart” stole the show, a blistering double hit of menace and emotion that showcased their growing mastery of tone and tension.
They closed with “If I Could Make You Care,” a slow-burning finale that built from near-silence, frustratingly interrupted by chatter at the back, into a cathartic crescendo where guitar and accordion collided beautifully. By the end, it was clear: Cardinals are far more than an opening act. With performances like this, their ascent to headline status feels not just inevitable, but deserved.
Opening with “Other Side,” NewDad frontwoman Julie Dawson took the stage alone, her voice floating over a sparse backing track before the rest of the band joined in. What began as a tender moment soon bloomed into a full-bodied, guitar-led surge. Each track pulsed with deep basslines and rhythmic guitar layers anchored by Dawson’s emotive vocals. From the first song, the packed crowd was hooked, heads bobbing, smiles flashing, and their energy didn’t waver for a second.
Guitarist Sean O’Dowd bounded across the stage during ‘Entertainer’, feeding off the audience’s enthusiasm. Dawson, equally engaged, took centre stage during ‘Sickly Sweet’, stepping down to the barrierless front row to sing hand-in-hand with fans. It was one of the night’s most striking moments, intimate and electric.
NewDad’s sound live was heavier and darker than their recordings, yet still carried that hazy, melancholic glow that defines them. Tracks like ‘Everything I Wanted’ showcased Dawson’s ethereal vocals against slow, shimmering guitars and resonant percussion from drummer Fiachra Parslow, whose washes of cymbals perfectly matched the set’s dreamy undercurrent.
The night’s setlist leaned heavily on their new album Altar; eleven of the fifteen tracks were fresh material, yet longtime fans were rewarded with a few early gems. ‘Blue’ arrived in a flood of (naturally) blue light, with the crowd shouting every word back, a nostalgic nod to the band’s beginnings before Altar’s more refined direction.
After a brief exit, NewDad returned for a triumphant encore, closing with their breakout hit ‘Angel’ and the moody ‘Roobosh’. By the end, it was clear that the Galway band had reached a new level, confident, connected, and commanding, both in sound and spirit.
The flourishing scene of Irish indie is not slowing down. While groups like Fontaines D.C. hold the spotlight now, the rapid ascent of bands such as Newdad and Cardinals suggests they are easily poised to break into mainstream stardom. The sheer volume of competition emerging from Ireland is remarkable, yet the momentum is undeniable. With Newdad already selling out major venues, like the 2,300-capacity room on their recent UK tour, it’s less a question of if these bands will be celebrated globally, and more a certainty that their artistry is only going to grow in prominence.
Images: Ava Mansthorpe
