marketa irglova tour

‘Once’ Duo Glen Hansard and Marketa Irglova Plan First Tour Together in 11 Years (EXCLUSIVE)

The film’s “Falling Slowly” won the 2007 Academy Award for best original song.

By Jonathan Cohen

Jonathan Cohen

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Glen Hansard and Marketa Irglova will re-team in early 2022 for their first tour together in nearly 11 years, Variety can exclusively reveal. The performances will take place next March to coincide with the 15th anniversary of the movie “ Once ,” which starred the duo and featured their original music. The film’s “Falling Slowly” won the 2007 Academy Award for best original song; a hit Broadway musical adaptation later won eight Tony Awards, including best musical, in 2012.

Following the release of the film version of “Once,” Hansard and Irglova recorded and toured as The Swell Season, but have only made a handful of onstage appearances together in the past decade. The upcoming shows will feature material from both “Once” and The Swell Season, as well as the pair’s respective solo careers.

The tour comes at a time when “Once” remains a cultural touchstone, having been referenced in a recent Christmas-themed episode of Apple TV+’s “ Ted Lasso .” “That these songs still resonate and have been carried forward through the years is a songwriter’s dream,” Irglova tells Variety . “Realizing there is a new audience who have never seen us perform these songs live is even more of a blessing.”

“Although Marketa and I have stayed in contact and Marketa has guested on my records, and made a few of her own, it’s been a long time since we both revisited these songs together,” adds Hansard. “The words and music have gone on to have their own lives on musical stages around the world. They don’t need us anymore, which is wonderful! But we’ll call them back in to join us for this run of dates in March. It’ll be wonderful to sing them together again.”

Irglova’s recent releases include three lengthy singles, including “Among the Living,” a new short film for which was recently shot in and around her home in Iceland. She is preparing a new solo album for release at some point in 2022.

As previously reported , Hansard collaborated with Pearl Jam’s Eddie Vedder and Cat Power on the soundtrack to Sean Penn’s film “ Flag Day ,” and is a member of Vedder’s new solo band The Earthlings, who made their live debut in late September at Vedder’s Ohana festival in southern California. Expect new music from Hansard in 2022 as well.

Here are Marketa Irglova and Glen Hansard’s 2022 tour dates:

March 11: Minneapolis (State Theater) March 12: Chicago (Cadillac Palace Theatre) March 14: Philadelphia (Kimmel Cultural Campus) March 15: Boston (Emerson Theatre) March 17: New York (Beacon Theatre March 18: Washington, D.C. (The Anthem)

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Markéta Irglová and Glen Hansard to Bring Reunion Tour to Boch Center Wang Theatre in August

Tickets go on sale Friday, January 20.

Markéta Irglová and Glen Hansard will - once again - be reuniting in celebration of the 15th (and counting) anniversary of their film Once. The duo reconvened for the first time in ten years last March 2022 for a limited number of sold-out shows. The pair will be performing at the Boch Center Wang Theatre on August 11, 2023. Tickets go on sale Friday, January 20 at BochCenter.org .

Irglová and Hansard came to prominence starring in the 2007 film Once and winning the Academy Award for Best Original Song with their composition "Falling Slowly" in 2008. A year later they released the critically acclaimed album Strict Joy before branching out into solo careers. The two remained in regular contact over the years making appearances on each other's records or on stages randomly whenever paths would cross. The shows in 2022 were extension of their never ending bond and friendship.

In 2012, Once, The Musical debuted and went on to be nominated for eleven Tonys, winning eight including Best Musical. It ran for three years on Broadway and is currently still in production as a touring musical. Over the course of the last decade, Once, in all its iterations, has become a modern classic and a cultural touchstone being referenced in everything from The Simpsons to Ted Lasso. The fan base created by this modern masterpiece looms large in the minds and hearts of many.

Irglová and Hansard have been incredibly busy in the last year and outside of their upcoming tour, each have a number of projects in the works, as well not ruling out the possibility of new music together.

Irglová is sharing the aptly titled new single, "H A P P Y" today, which also may serve as the theme song to fans anxiously awaiting more shows since last year. She will also participate as a contestant in the Czech national selection for Eurovision 2023. Her performance airs January 30th on Czech television and the official YouTube channel of Eurovision Song Contest .

Irglová recently released her third full length record LILA to much critical acclaim. Recorded with producer Sturla Mio Thorisson at their Icelandic studio, LILA reflects on Irglová's journey from her " Girl in a Movie " status to wife, mother and artist. A new full length album from Irglová is planned for later this year. Hansard released the single " Take Heart " this past October which featured Irglová and was written after spending time with Ukrainian refugees in Ireland. Earlier in '22 he toured as part of Eddie Vedder 's Earthlings band and was featured on the Flag Day soundtrack with Vedder and Cat Power. Hansard is close to completing a new record and he's hoping to have out before the end of the year.

Tickets are available at the Boch Center Box Office, www.bochcenter.org , by calling (800) 982-ARTS (2787) and via Ticketmaster. The Wang Theatre is located at 270 Tremont Street in Boston, MA

About the Boch Center

The Boch Center is one of the nation's leading nonprofit performing arts institutions and a guardian of the historic Wang and Shubert Theatres. As New England's largest cultural venue, the Boch Center is home to theater, classical and popular music, dance, comedy, opera, Broadway musicals, family entertainment, and more.

Located in Boston's historic Theater District, the Boch Center also offers a diverse mix of educational, cultural and community outreach initiatives, including the City Spotlights Leadership Program and the Folk Americana Roots Hall of Fame ; collaborates with artists and local nonprofit arts organizations; preserves historic venues; and acts as a champion for Greater Boston's arts and cultural community. Learn more at bochcenter.org .

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Whenever two worlds collide, it is always for a reason. Their trajectories must have changed one more time; their orbits must have mingled because the force of gravity decided so. Or they have simply met because they wanted to. Or because they wanted to live nights like this. When Marketa Irglova enters the stage, her frailty makes her gait even more careful, her hands cautiously measure the space around her, while her eyes are set on her piano and a little stool. But as soon as the first notes of “Falling Slowly” spread in the small, respectfully silent venue, we venture in a world of her own. It is only when Glen Hansard smiles and takes his place right next to her, that her music opens to a wider spectrum, that the poison of our routines leaves the space surrounding us.

“We are Glen Hansard and Marketa Irglova, and we will play and sing for you tonight,” the Irish songwriter murmurs, trying to break the flow of applauses and cheers that salutes the couple at the end of the first song. And these will be his only words tonight. There is a strange atmosphere in the air: it is so graceful that one often finds themselves breathing it in attempting not to break this precarious balance. There is no album to promote, so everybody knows the songs word by word. “If You Want Me,” “When Your Mind’s Made Up” and “You Ain’t Goin’ Anywhere” constitute the perfect soundtrack to this state of things in such a way that we are left wondering whether the tense atmosphere had an influence on tonight’s slower, more intimate rendition of these songs or, vice versa, this music can only develop in similarly restrained contexts. You can call it folk, slowcore or even post-rock, but when “Drown Out” fades into the silence at the end, what is left is a fragile vibration that reverberates in everybody’s chests. The gig ends when Glen Hansard stands up and shyly smiles while muttering a “goodnight.” Marketa Irglova waits a few instants before returning to her usual feeble self. She walks away and we can’t intimately decide whether the silhouette we see standing against the bright white lights of the stage is as delicate as she seems to be. We may never know the answer, but it doesn’t really matter.

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Once Duo Glen Hansard and Marketa Irglova Returning to the Road

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Once clearly wasn’t enough for the return to the live stage of Glen Hansard and Marketa Irglova. Following a short run of 2022 performances, their first in nearly 11 years, the musical duo behind the Oscar-winning film and Tony-winning Broadway smash Once has announced a more extensive summer tour in bigger venues. The outing kicks off Aug. 8 at Nashville’s Ryman Auditorium and wraps Aug. 27 at the Orpheum in Los Angeles ( click here for ticket information).

Hansard tells SPIN that the previous tour could have gone on longer but that he prioritized being at home with his pregnant partner Maire Saaritsa, who gave birth to the couple’s son Christy in October. “I wouldn’t change it for the world,” he says of the abbreviated outing. “Marketa and I hadn’t played together for so long before that, and we just enjoyed it so much. Season is the right word. It seems like a good season to give it another go and put the old songs back up on the stage. Singing with her is kind of incomparable. There’s a musicality and a shorthand there that I can’t say I have with anyone else.”

More from Spin:

Marketa Irglova Channels ‘Unconditional Love’ on First LP in Eight Years

Eddie Vedder Debuts New Song, Covers Fugazi, Pink Floyd, Neil Young at Ohana Fest

Eddie Vedder Announces Summer European Tour With Glen Hansard

Hansard admits it is “absolutely incredible” that the music from Once and the duo’s work as the Swell Season continues to resonate so strongly with audiences. “There was such a lovely demand on the last tour, which was really surprising and very heartwarming,” he says. “To see these bigger rooms get booked, it was like, wow, okay! Far out! Our spirits will rise to the challenge. It’s a great thing.”

Prior to the 2022 shows, “we had one day of rehearsal in Chicago before we started, but a lot more of the more important side of what Mar and I do is in the moment,” Hansard says. “Marketa’s incredible gift is that she has an absolute natural ability to shadow me. She can follow me so much better than I can follow her. There’s almost an instinctual thing. I sing songs more or less the same way, but there could be a different rhythm in the line. Marketa is incredible at listening to me sing and instinctively landing exactly where I would land. When it comes to her songs, I do need to rehearse them more, because her turn of phrase is so different from mine. She seems to understand mine and hers, but I really only understand mine. For that reason, I need to rehearse to learn her songs. But when it comes to me singing, there’s nobody I’d go onstage with quicker without rehearsing than her.”

The upcoming shows will likely feature a string section plus a couple of other musicians to allow Hansard and Irglova “to have the breadth of musicianship to take it in every direction we want. We also don’t want to make this just a nostalgia trip. There will be a lot of nostalgia in it, but let’s sing our new music. Let’s hear where we’re both at. We’ve already written a couple of songs we could do together that would be new. It’s important that the thing keeps on living and evolving, rather than it just being about one moment in our past.”

To that end, Hansard is nearly finished with his next solo album, which he hopes will be released in October. “Records are funny things. They do just show themselves to you at some point,” says Hansard, who worked on the material with longtime producer David Odlum. “When Maire was pregnant, I had some songs, and I’d gone and done a couple of sessions. But once Christy came, I just knew I needed to get that record done so I could clear space for the songs I’d write in this new place that I’m in, which is being a dad. But I’m really happy with how it’s gone.”

To help get new songs such as “St John,” “All Rise,” and “Down on Our Knees” into shape, Hansard played impromptu gigs to a couple dozen people in the corner of his local Dublin bar the Strawberry Hall on five consecutive Tuesdays in November.

“We didn’t tell anyone about it, but by the end of it, the word had spread,” he says. “It really, really helped me put the new songs into focus. The only thing I asked the audience was, don’t post any of this. And they didn’t, thankfully. What you had each week was about 30 people sitting there listening to us basically doing a live rehearsal. It created this atmosphere where the songs were able to come alive. Even though we weren’t performing to an expectant audience, or even our audience, we were still performing. I was even letting myself play tiny fragments. I’d play one verse and maybe a bit of a chorus, and then stop and go into the next thing. A song will form itself based on the fact that you just took a risk and played it. You know when you say to someone, play us a new idea? People usually play a full song. I challenged myself to play the two lines I had and just stop, or keep going and see what other two lines happen, you know?”

If all goes to plan, Hansard will be able to rejoin his bandmates in Eddie Vedder’s Earthlings project in September at the Pearl Jam frontman’s annual Ohana festival in Dana Point, Calif., after skipping the 2022 edition ahead of his son’s birth.

“It killed me to not do that tour, but Eddie was the guy, of all the people, going, no, no, no. You’re in exactly the right place. You can’t come. I’m not letting you come!” Hansard says of longtime friend Vedder. “He’s been so dear with Christy. We’ve gotten so many lovely gifts, including a thousand Pearl Jam baby clothes. We keep getting these boxes from Seattle with updated sizes.”

As for Irglova, she is back today with a new single, “Happy,” which she says is about “being present and feeling joyful without forming an attachment to how long the feeling may last. It is about a connection with others, without needing to analyze or name it, hoping only that the joy can be shared. It is about celebrating that joy and that connection — the here and now — with song and dance, being together, and feeling elevated.”

Irglova is planning to release a new album this year as well as compete on behalf of the Czech Republic in the upcoming Eurovision Song Contest on Jan. 30. “She’s always loved that Eurovision world or the stage musical world,” Hansard says proudly. “In a way, all the things that happened with Once going onstage was really answering a deep wish of hers. She’s manifested all of that stuff, so, good on her. She’s made for that. She loves it. There’s someone who follows their heart. Things just seem to happen for her in that way when she puts her mind to it.”

Glen Hansard and Marketa Irglova’s tour dates:

Aug. 8: Nashville (Ryman Auditorium) Aug. 9: Atlanta (Symphony Hall) Aug. 11: Boston (Wang Theater) Aug. 12: New York (Radio City Music Hall) Aug. 14: Durham. N.C. (Performing Arts Center) Aug. 15: Washington, D.C. (the Anthem) Aug. 17: Grand Rapids, Mich. (Meijer Garden) Aug. 18: Chicago (Salt Shed) Aug. 20: Denver (Levitt Pavillion) Aug. 21: Salt Lake City (Red Butte) Aug. 23: Seattle (Chateau Ste. Michelle) Aug. 24: Portland, Ore. (Schnitzer Concert Hall) Aug. 26: San Francisco (the Masonic) Aug. 27: Los Angeles (the Orpheum)

To see our running list of the top 100 greatest rock stars of all time, click here .

The post Eddie Vedder Announces Summer European Tour With Glen Hansard appeared first on SPIN .

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Markéta Irglová and Glen Hansard Reunite for Tour Celebrating 15th Anniversary of Once

Marking the duo's first shows together in more than a decade

Markéta Irglová and Glen Hansard are reuniting in 2022 for their first shows together in more than a decade. Taking place next March, the tour commemorates the 15th anniversary of their breakout film, Once .

Back in 2007, Irglová and Hansard crossed over in the US thanks to their co-starring roles in the Irish musical drama Once , which featured the duo’s original music and netted them an Oscar in 2008 for Best Original Song with “Falling Slowly.” In 2012,  Once: The Musical debuted on Broadway and won eight Tony Awards.

After the release of  Once , Irglová and Hansard would go on to make more music together as The Swell Season before each going solo. The upcoming shows will feature material from both Once and The Swell Season, as well as music from their respective solo careers. Check out the full schedule below. Tickets go on sale to the general public at 10:00 a.m. local time on Friday, November 12th at Ticketmaster .

Irglová has shared three “longform” singles in the past two years: “Mother,” “Quintessence,” and “Among the Living.” She just released a short film for the latter track on Friday, filmed in and around her home in Iceland, and has a new full length album planned for 2022.

Hansard most recently contributed to the soundtrack for Sean Penn’s drama film Flag Day . He also performed as part of Eddie Vedder’s new band The Earthlings at the 2021 Ohana Festival, and is preparing new music for next year.

Marketa Irglová and Glen Hansard 2022 Tour Dates: 03/11 – Minneapolis, MN @ State Theater 03/12 – Chicago, IL @ Cadillac Palace Theatre 03/14 – Philadelphia, PA @ Kimmel Cultural Campus 03/15 – Boston, MA @ Emerson Theatre 03/17 – New York, NY @ Beacon Theatre 03/18 – Washington DC @ The Anthem

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The Swell Season: Glen Hansard & Marketa Irglova at Radio City Music Hall

Radio city music hall, new york city, new york.

The Swell Season: Glen Hansard & Marketa Irglova are known so well for their iconic film from 2007 – ONCE, after it catapulted them into the folk rock spotlight, fans from across the world come to see their stunning and memorable live performances…when they can! Ten years out of he game has made them ever more sought after and after a small series of live acts last year, they have announced a limited number more for summer 2023.

The swell season will come to Radio City Music Hall on Saturday 12th August 2023, as the duo take to the stage you can expect the performance of your dreams, an experience NOT to be missed by the avid fan…with a small number of dates these are bound to be gone in a flash! Get your tickets for your entry in august now simply by clicking on the 'GET TICKETS' button just above…but hurry!

The swell season are adored globally by fans of the beloved folk rock genre, with many awards and billboard hits under their belts, the duo descended on a decade long break but returned to stages across the US only last year for a super successful and limited tour for hungry fans. For summer 2023 Markéta Irglová and Glen Hansard have announced another extremely limited tour for the US this August with fans across the internet voicing their excitement and the media hyping up these set to be HUGE performances….If you're a fan then you'll be lucky to get your hands on some of these hard to come by tickets!

The Swell Season had huge success after the release of their 2007 film ONCE. The film gained an Oscar for best song, and followed with a successful docufilm THE SWELL SEASON was released 3 years later. Fans of the double act will know hits like "When Your Mind's Made Up," "Falling Slowly" and "Into the Mystic" you can expect a whole selection of enchanting songs, the hits you've been waiting to see busted out live in-front of a roaring arena, Glen and Marketa do no disappoint…August is expected to be huge for folk rock fans across the US!

To witness the pair in an iconic much anticipated live show on Saturday 12th August 2023 at the renowned Radio City Music Hall, New York, NY, all you need to do is click on the 'GET TICKETS' link to go straight to the booking form, as mentioned this is expected to be a prompt sell out so don't miss this special opportunity!

The Swell Season: Glen Hansard & Marketa Irglova

Radio city music hall.

• | The Swell Season: Glen Hansard & Marketa Irglova

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All That Was East Is West Of Me Now

Glen’s first new album in 4 years is out now on anti records., buy the digital album here and the cd/lp here..

Stream at your preferred service + check out the videos below. The Feast of St. John + There’s No Mountain were both directed by Myles O’Reilly and filmed on location in and around Lucca, Italy. Find upcoming tour dates here !

Fall Headline Tour

Mar 18, 2024

Aug 24 – Denver, CO – Paramount Theatre Aug 28 – Chicago, IL – The Salt Shed Sept 01 – Cleveland, OH – Agora Theatre Sept 06 – New York, NY – The Beacon Sept 11 – Glenside, PA – Keswick Theatre Sept 14 – Portland, ME – State Theatre Sept 18 – Washington, DC – 9:30 Club Sept 20 – Atlanta, GA – Tabernacle Sept 23 – Austin, TX – The Paramount Theatre Sept 24 – Austin, TX – The Paramount Theatre Oct 1 – Los Angeles, CA – The Wiltern

CBS Saturday Mornings

Mar 17, 2024

Glen had a chat with & performed 3 songs for CBS Mornings Saturday Sessions this past weekend. Here is “The Feast Of St. John” and you can see “Bearing Witness” and “There’s No Mountain” also on their YouTube channel.

Pearl Jam Tour

Feb 14, 2024

Aug 22- Washington Grizzly Stadium, Missoula, MT Aug 26- Ruoff Music Center, Indianapolis, IN Aug 29- Wrigley Field, Chicago, IL Aug 31- Wrigley Field, Chicago, IL Sept 3- Madison Square Garden, New York, NY Sept 4- Madison Square Garden, New York, NY Sept 7- Wells Fargo Center, Philadelphia, PA Sept 9- Wells Fargo Center, Philadelphia, PA Sept 12- CFG Bank Arena, Baltimore, MD Sept 15- Fenway Park, Boston, MA Sept 17- Fenway Park, Boston, MA

More Europe Summer Gigs

Dec 18, 2023

Jimmy Kimmel Live

Oct 4, 2023

There’s No Mountain

Sep 19, 2023

There’s No Mountain is the second song from Glen’s forthcoming album ‘All That Was East Of Me Is West Of Me Now’ due out October 20th. Hear the song & pre-order the album here .

The Frames . Official Site The Swell Season . Official Site Order In The Sound . Fan Archive

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Markéta Irglová: ‘Glen Hansard always treated me as an equal, but I didn’t see myself that way’

The academy award winning musician, best known as one half of the swell season alongside glen hansard, is on the cusp of releasing her third solo album, lila.

Marketa Irglova. Phototgraph:PR

Markéta Irglová has had a hell of a decade. In the last 10 years or so, the Czech-born musician has moved to Iceland, got married, had three babies, attained dual citizenship, built a studio and established her solo career. Was there something else? Oh yes: she’s also written a musical, and last year, she even managed to squeeze in a bid to represent Iceland in the Eurovision Song Contest. If she wasn’t so damned nice, Irglová might be the type of perennial overachiever you couldn’t help but envy.

When we speak, the friendly, articulate 34-year-old — who of course, came to prominence as a then-unknown alongside Glen Hansard in John Carney’s world-beating Once in 2006 — is in her hometown of Valašské Meziříčí in Czech Republic, visiting family for the summer. In the background, the sounds of her three children laughing and shouting tussle with the rumble of distant farm machinery.

Irglová, best known as one half of The Swell Season alongside Hansard, is on the cusp of releasing her third solo album, LILA. The follow-up to 2014′s Muna follows an unplanned eight-year hiatus, after which “the children had got a little bit bigger and I found that I had more time to just sit at the piano and write.” Her time away from performing also allowed her to expand her musical repertoire in other ways, strengthening her voice by singing in a choir and writing music for film and theatre, as well as writing over 20 songs for that aforementioned musical (that has yet to go into production). Spending time in the studio with her husband, producer Sturla “Mio” Thorisson (aka the reason she originally moved to Iceland) also expanded her knowledge and allowed her to experiment with different technology.

Working on LILA with Thorisson in their own studio for the first time played a major role in how the album panned out. If the photos online are anything to go by, Masterkey — situated in the town of Seltjarnarnes, 5km outside of Reykjavik — must be one of the most idyllic settings for a recording space in Europe. Having their own space meant that the songs were allowed to percolate and unfurl in their own time.

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“A lot of the time, we ended up working after the kids went to bed; we would go up to the studio — because we live in the same building — and just continue working,” she says. “And the mood in the evening and in the middle of the night is totally different from during the day. So we really took our time, and we could say ‘Okay, now it’s ready. Now this song feels whole, and finished.’ So it was a huge, huge plus.”

Family life also had an inadvertent impact on the album’s themes, too — although not in the way you might expect. Several of the songs were influenced by Irglova’s newfound love of TV; she mentions shows like Bridgerton. The Witcher, Normal People and Altered Carbon’as unlikely sources of inspiration, providing stories and characters to get lost in.

Other songs, like Know Yourself, feature the voices of her eight-year-old daughter Mia and her two sons (six and four, as well as her sister Zuzana. With husband Mio on production, ‘ILA is very much a family affair. The pair fell in love when Irglová travelled to Iceland to work on her 2011 debut Anar (the full story can be read on her website ), and Thorisson has produced all of her solo work to date. She has become much better and more confident about communicating her desires in the studio, she says, and the pair share a solid working relationship with “no ego involved”.

Irglová has clearly thrown herself into her new life in Iceland wholeheartedly (she is now fluent in Icelandic, too), but says that it has proved somewhat difficult to fully integrate into the local music community, as it often is for foreign musicians. Last year, however, she wanted to mark her 10th year in the country in a meaningful way by entering Söngvakeppnin, the contest that selects the Icelandic Eurovision entry. The desire to impress her kids was also a motivating factor, she adds, laughing.

“I know my songs aren’t really Eurovision-style, so I know that it wouldn’t win,” she admits. “But I just wanted to do something locally in Iceland, that I could sort of design from beginning to end. The whole act was my own production, so it was really great to have the freedom to do that and be happy with the result. It was a very interesting experience, and because I’m not a competitive person, it’s actually really easy for me to take part in something like that and being okay with it not being all about winning. It was a lot of fun.”

Irglová's easy-going nature and willingness to follow her gut has led her to interesting places. Although she is continuing to strike out as a solo artist, she has no issue with perennially being regarded as “the girl from Once’” or “one half of The Swell Season”, proudly describing it as “literally the reason where I am today.”

Earlier this year, she and Hansard resurrected The Swell Season for a number of live dates to mark the 15th anniversary of Once, and she reveals that the prospect of their long-awaited third album (their last was 2009′s Strict Joy) was discussed.

“We love being on stage together,” she says. “Glen said a funny thing; he turned to me at one point and said ‘Y’know, I’d forgotten how nice it is to sing with you.’ I said ‘Well, I didn’t!’,” she laughs, mock-offended. “But I had subconsciously always been waiting for the time that he wanted to do some shows again — so when I got the phone call about the idea of a tour, I was super-excited about it. And it was beautiful, it was like no time had passed.

“One thing that did change,” she says, was her confidence in her own ability. “When we’re on a stage together now, for the first time I perceived us as equals,” she nods. “Glen had always treated me as an equal on stage; he always trusted me a lot and gave me a lot of credit for our collaboration, and he always spoke about me in a way that I didn’t see myself. But throughout the years, when I had to become a little bit more independent, musically, I did grow an inner strength and trust in myself. So now, when we join each other on stage, I feel like that, too: ‘Okay, now we’re equals and we’re both bringing something to the table which makes this more than each of us are on our own.’”

Irglová still speaks with a sweet sense of wonderment about the whole “winning an Oscar” thing for their song Falling Slowly; in fact, that feeling of openness and possibility that she experienced at the Kodak Theatre that night in February 2008 — four days shy of her 20th birthday — ties in with the themes that she explores on LILA.

“My heart felt so open,” she says, as a tractor loudly rumbles past and she rejoins her family in her parents’ garden. “In that moment, I just felt connected to every single being in the world; it was just the most magnificent thing. It’s like something I’d only read about in books, or heard people talk about when they’re high on drugs. But there I was, totally sober, and I felt this: and it changed everything for me. Because it made me realise that there is a state that is accessible to us; it’s just about breaking down the barriers, in a way. So these songs are about that: expressing that we all go through the same things, and that love is at the core of most things. Or the lack of love. But it’s always about love. It’s all any of us want, ever.”

LILA is released on Masterkey Recordings on August 19th. marketairglova.com

Lauren Murphy

Lauren Murphy is a freelance journalist and broadcaster. She writes about music and the arts for The Irish Times

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MARKÉTA IRGLOVÁ ‘S FOLLOW-UP ALBUM TO ANAR

At the door, I was greeted by a most lovely presence. A woman who, though busy talking on the phone, gestured for me to come in. I entered, pleasantly surprised at the beauty of this space, having expected a bar or something of the kind. All the more was I taken by this petite lady, who hung up the phone and introduced herself to me as Zora. She thanked me for coming in, and looked at me with these beautiful dark eyes, that made me feel as if I was meeting an old friend. Perhaps a faint memory from another lifetime darted across my mind, or perhaps I caught a glimpse of the future. One way or another, Zora was to become a lifelong friend and mentor to me.

It was a beautiful night of lovely music and people, tea-drinking and admiring the art that hung on the walls of this small candlelit space which made one feel warm and cozy.

It was on this night, that I was introduced to Aida Shahghasemi, a young woman and a kindred spirit in whom I found a sister and a musical companion. We were introduced to one another by our host, Zora, who felt we should meet, as we were both musicians who could and did make a connection.

While viewing the art exhibited in a section of this space, I was struck by their uniqueness and stunning beauty. They were accredited to an artists named Nahid Hagigat, a Brooklyn based woman from Iran. They appealed to me for their strong images of vibrant colors set against a gold leaf background, sealed with a golden dust that sparkled upon the contact with rays of light that fell upon them.

There was one in particular though, that caught my attention, as it portrayed a pomegranate which was at the time something of a symbol for me that kept reappearing at every step of the way, as if to reassure and reaffirm, that all was well and I was on the right path.

I inquired about purchasing this piece and at the end of the night, ended up bringing it home with me to my Bleecker street apartment. I hung it up by my bed and kept marveling at it’s beauty day and night, until finally it occurred to me that I was looking at what was meant to be the cover of a record I was preparing at the time ( ANAR ). I contacted Nahid and we agreed to meet at Zora space, where I got to ask her permission and she kindly consented. This was also a beginning of another friendship and collaboration.

I would meet Nahid on regular basis and converse with her over persian tea and biscuits. During one such visit, I brought forward an idea of commissioning her to paint two more pieces for the trilogy of records I knew then I would create over the course of the coming years. One of them you know as the bird on the cover of MUNA, the other one is yet to be revealed in due time. I am honored to know this woman and artist and to have her work be the visual representation of my music.

And so it is that I met this trinity of spectacular women, Zohreh Shayesteh ( Zora ), Aida Shahghasemi and Nahid Hagigat, who served as my anchor and support system during my time in New York.

I ended up moving in with Zohreh and her husband Nersi, who welcomed me into their family as a daughter and my time with these lovely people was somewhat of a golden period in my life, filled with kinship, magic, delicious food and laughter. I wrote all the songs that now form MUNA in this peaceful but lively sanctuary.

Aida and I would meet and play music together, catch up on stories of things we missed in one another’s life, take walks, share recipes and later make ANAR and MUNA. Zohreh came to Iceland with us as a film-maker to capture the making of the record, which can be viewed here. Aida is joining me on tour as well as channeling her creativity in all sorts of endeavors, and Nahid is creating more beautiful pieces to share with the world. I feel blessed to have them in my life, and should you ever make their acquaintance, good for you 🙂

Love, Marketa

[/toggle] [toggle title=”My Friend Mary Reynolds” state=”closed”]

After this encounter, Mary and I became very good friends. I grew inspired by her work as she grew inspired by mine, until an idea was born to combine them. Being a garden designer, Mary’s work would entail drawing up her designs on big sheets of paper, which I found to be works of art in themselves. Her sketches of trees, mounds, rocks and spirals drawn in the finest of lines were something I could look at for hours and be happy to frame and put on my walls.

During one of my visits in her home on the west coast of Ireland I noticed fastened by a magnet to the door of her fridge a drawing clearly made by her hand. One which did not contain a design of a garden, however. Instead, it portrayed figures and other imagery. Upon inquiring about this lovely artwork, she shared with me that it was a kind of a prayer, a way to manifest in the lives of her and her two children that which she longed and wished for. She thought of her wish while making this drawing, all the while invoking it’s presence in place of it’s lack, then putting it in somewhere in their home she would see it often to remind her and keep this image always present in her mind.

This made me think how lovely it would be to have a visual representation of every song on MUNA. To have them as little prayers and invocations of the energy held by the music and the words. For there is no better way to integrate new impressions then to both hear and see them. And so it happened that Mary began drawing these prayers while I worked on writing up the lyrics of the songs. She would send one every week, each one more beautiful than the other, until the collection was complete, and all 11 of them incorporated into the booklet.

If you would like to have your own prayer made by her, I’m sure she would be happy to make you one too 🙂 It does not hurt to ask anyway 🙂 In time, Mary’s drawings from MUNA’s booklet will be available to buy as full-sized prints. Until then, I hope you enjoy them as part of the record 🙂

[/toggle] [toggle title=”A Connection Was Made (How I found my way to Iceland and met Sturla Mio Thorisson)” state=”closed”]

Over the course of the years The Swell Season worked with a few different sound-engineer in charge of the front of house live sound every night of a tour. For the most part there was the lovely Jelle Kuiper from Holland, whom I grew to respect greatly not only in regards to his work but as a kind, and good human being. The touring party of The Swell Season, band and crew, became very close over the years, fused by the adventures and experiences we lived through together, and it is like meeting a brother or a sister when my path crosses with either of theirs from time to time.

Jelle, like most sound-engineers, used to have a few favorite songs to play through the PA system in each venue during his time tweaking the sound before the band was called to check their instruments. One of them was a piece by Hauschka, a German musician and composer, who’s work I grew to love thanks to this introduction. I was very excited to learn one day, that we were passing through his hometown of Dusseldorf that he would be our guest at the show that night. We had a very interesting conversation at the afterparty backstage and a connection was made. We talked about music and discussed what our ambitions were in our composing efforts. We expressed our shared excitement about unexplored territories we wanted to venture into in our music-making, and inspired by our exchange we decided to stay in touch and collaborate some day in the future.

Few years later, I was living in New York, and having written a body of work solid enough to fill a full length album I decided to reach out to Volker (Hauschka being his artist name), to see if he still wanted to collaborate with me. I had an idea of incorporating rhythmical components into this record along with a programming element which he would be the perfect man to help me with. Volker’s forte is an area called ‘prepared piano’, where different objects are attached to or placed upon the strings of a piano to bring out new sounds. In Volker’s case there are also pre-programmed elements triggered by electronic equipment and the combination of the two gives him quite a rich and interesting palette of sounds to work with while playing his beautiful compositions, creating a truly mesmerizing experience for the listener.

On one beautiful sunny day I was walking through a park on my way back home after a meeting with my painter friend Nahid Hagigat. I had just picked up from her the painting I knew would be the artwork for the album I was about to record, MUNA, and fueled by the excitement of things coming together, I called Volker to see how he felt about coming on board of the project. During this phone-call, he recommended a studio in Iceland, called The Greenhouse, where he had just worked on a record with an American violin player Hilary Hahn. He gave me contacts for the main engineer and producer called Valgeir and the manager of the studio, Mio. I had a very good feeling about this, given that I had been looking for a reason to go back to Iceland ever since we played there with The Swell Season in 2010, and this seemed like the perfect one.

Looking into the possibility and likelihood of recording at Greenhouse, I contacted both Valgeir and Mio, introducing myself and asking them to consider working with me on a record I was currently preparing. It was Mio who responded first and his words were warm and friendly, conveying that despite his brother’s busy schedule, they would like to make things work in such a way that the project can go forward and suggested we look at dates to find a window which suited both parties. Eventually we agreed on a ten day window in March 2012.

A few meetings with Valgeir in New York followed, during which we talked about our expectations about the upcoming session. Among other things we agreed he would ask his brother Mio to be the engineer while he himself sat in the producer chair. We also discussed involving local Icelandic musicians besides my musical companions whom I’d be bringing with me from the States. Sadly, Volker’s participation on the record ended up not coming together, but perhaps it simply wasn’t meant to be and his role was just to point me to the right place, for which I am and will always remain grateful.

6 months after my first email exchange with the studio, I walked through it’s front door with a sense of excitement to have finally arrived. Upon my arrival I met everyone working in the studio and the independent label called Bedroom Community housed there. I was so surprised by the appearance of the studio’s manager who looked so young, unlike the older brother of Valgeir’s I imagined him to be. I expected only a man with many years of experience could run a studio and manage all it’s affairs, and jumped to a conclusion regarding his age. Mio turned out to be Valgeir’s younger brother, though very much experienced in his field and many others as I found out later- like graphic design, construction building, carpentry and even some aircraft engineering to name but a few. I grew ever more impressed with him over the course of the recording session, as he seemed to possess not only the ability to operate studio equipment with incredible swiftness allowing the flow of creativity to be unobstructed, but also sharp intuition which improved communication between all participants as well as their sense of ease and confidence during performances.

Valgeir and Mio seemed like a great team, working very well together. I observed them from a distance and admired what they seemed to have created together around them-the wonderful studio space filled with lovely people and a warm and friendly atmosphere for the outsiders to enjoy during their stay. They ran a smooth operation, kept their equipment in good shape and the interior tidy and clean. Everyone worked like a team and gathered around a big table for meal times like a family. It seemed truly perfect and I thanked God over and over for bringing me there.

I went into the recording session with a very clear idea of what I wanted to achieve and how I wanted the songs to sound, but both Valgeir and Mio offered wonderful input and directed things into all the right places. I trusted their sense of judgement and took comfort in their suggestions for possible changes as well as their complimenting words of encouragement, for they meant they were paying attention and were invested enough to have an opinion.

Over the course of my ten-day stay, as we all got closer and connections were made, I noticed myself looking to Mio more than anyone else for opinion and help with making my ideas translate to reality. Maybe because his first reaction was always a positive one and no task seemed to overwhelm or inconvenience him. Or perhaps because I felt his heart open to the music and knew he understood it. That he knew just what it needed from him and how he could be of service. His ego was nowhere to be found in the equation. He seemed to leave it at home when he came to work. I recognized this being a true gift of his. One that separated him from most people I know, including myself. It expressed as a magical combination of complete presence, patience and service.

I believe that during the process of co-creation people open their hearts to one another, and their spirits entwine for a time to bring forward what is being conceived. All inspiration comes from the realm of spirit and needs to be collected there and brought into the world of matter where it is rooted and takes on a denser form. From my experience, this is a very magical process and the feelings that spring in one’s heart during it are similar to those of falling in love. The heart is open and cosmic energy flows through it more freely than we usually allow it to. It is this very experience I describe that I love most about what I do. It is the closest I ever get to feeling one with all of creation.

At the end of the session, I was happy with the work we did, but felt the record yet incomplete. The foundation was there and it was strong, but needed building onto. My time with Iceland felt just as unfinished. I longed for more time with the land. To get to experience it outside of the realm of the studio and the intense work of birthing a record. And I longed for more time with Mio. I felt myself developing feelings for him and wanted to better understand them. To find out whether they stemmed from a beautiful illusion brought on by the dance of creation our spirits joined to partake in, or if the roots reached all the way into reality. In a way I hoped that it was a friendship in the making, for a friendship had a bigger chance of lasting a lifetime than any romance that might flare up and burn out as quickly as it came ablaze. But another part of me desired to catch fire, and be consumed by it even if it meant my turning to ashes and dust. There was no feeling of danger, however, only the welcoming call of a familiar entity. Getting closer to Mio felt like coming home, and I longed to know everything there was to know about him, for getting to know him meant getting to know myself.

On top of all that, I received an added reason to stay, which was an opportunity to sing on a record of an Icelandic singer-songwriter Svavar Knutur, who’s music I liked very much.

I postponed my return to New York by a week, but when the week was through, and my plane was taking off, I was not on it. By then I had decided to stay in Iceland indefinitely. Mio and I spent the following year falling deeper in love and finishing our record, which he had taken over as a producer. During this time I wrote a song for him and called it Remember Me. It is the song I’m proudest of so far and enjoy singing the most. I will share the lyrics with you here, for although they carry the most intimate sentiments of my heart and soul, I believe they are universal to the purest of human experiences with love.

REMEMBER ME

I’ve always loved you, and I always will. Deep down I knew I’d find you, If I just stood still, For long enough to feel you, In a state of passing bliss, and All the while praying: “Please, let me hold on to this.” And with that you would fade away, Before I could count to three, A single thought remaining: “Remember me!” Move into me, into my warmth, All that’s good within me, I’m bringing forth… My arms extended to welcome you, and Hold you in a tight embrace the way It’s long been overdue. I can see you standing, Across the void of time. I’m looking up, You’re looking down. I can climb this mountain, If I break all ties, That hold me to the ground and Claim that I may never ever rise, High enough to Collect you unto me. The body’s heavy, but The spirit’s free. I am released from it, When I sleep at night, and Travel to you swiftly Like a comet burning in its flight. If you recognize me, Before I do, Come say hello, I’ll say: “It’s good to see you too!” All that longing, All this time, Can I be yours? Will you be mine? I love you-always have, and I always will-always will.