Northern Stars

By Joe Kavanagh

As I mentioned last week, despite its brief existence the Northern Assembly has already begun exploring what measures are necessary to ensure the existence of a vibrant and viable music industry in Northern Ireland. In contrast to the rhetoric and hot air that passes as serious debate among politicians down south, policy-makers in the north have already made serious moves at trying to create the type of infrastructure that would allow their domestic music scene to flourish.

Unlike politicians down south, whose apathy to the concerns of artists and musicians alike borders on the spectacular, northern lawmakers comprehend that the arts are an integral part of society and culture.

Indeed, throughout history, the most successful societies have been characterized by an explosion in the arts.

After a long process of consultation, which included seeking the opinions artists like Snow Patrol, Ash and other northern music aficionados such as Radio One deejay, Colin Murray, the Northern Assembly is now committed to assisting one of the last great undeveloped Irish resources.

Although there have certainly been a few fantastic acts in recent times, not since the days of the Undertones and Stiff Little Fingers has the north enjoyed anything like the "scene" that is now developing in the province and political leaders are dedicated to ensuring that this talented group will have a least a puncher's chance of developing into something special, and viable.

The confluence of events even moved the BBC to recently announce: "There has never been a better time to be a musician in Northern Ireland... it seems that the northern Irish music scene, which has lain dormant for so long, is finally ready to step up and be recognized at an international level."

Leading that charge - in an international sense - are the likes of the aforementioned Snow Patrol, Ash and producer David Holmes, all of whom have enjoyed international stardom and vast critical acclaim.

In contrast to the likes of U2, who seem genuinely dedicated to doing absolutely nothing to help Irish bands, all three of these acts are determined to use their status to assist those coming along behind them.

Thanks to their resolve to help others and an inate sense of camaraderie with other northern musicians, it appears that the musical legacy of the north is secure. Behind these global names lies a coterie of superb acts capable of turning the northern music scene into something of global repute.

Acts like Duke Special, Oppenheimer, Fighting With Wire and Cashier No. 9 have all enjoyed generous praise from critics in recent months, and all four have been tipped at various times as "the next northern act likely to break through."

The release last week of the Jane Bradfords' self-titled debut album now adds another name to this list of promising contenders.

Like many of the best bands, the Jane Bradfords were essentially a happy accident, born after someone approached Belfast deejay/multi-instrumentalist, Deci Gallen, to enquire if he and his band would be interested in taking the support slot with Canadian band, The Russian Futurists.

As Gallen later recalled: "I explained that I didn't have a band, so they basically told me I had two weeks to get one. So that's exactly what I did."

While everyone's input is welcomed, Gallen was and remains the band's main songwriter, taking his cue from artists as diverse as Bob Dylan, Billie Halliday and the Velvet Underground.

In his own words: "I write and record like a solo artist would - playing everything, but I love the idea that we are a band. When we're onstage the music takes on new life and the other guys in the band are essential to the Jane Bradfords. They aren't session musicians! So yeah, we are a band!"

Within months they began making waves on the local scene with the release of their debut effort, Hide From The Cold EP.

The fusion of pop, rock and electronics was enough to engage the ear of BBC DJ, Huw Stevens, who declared the band to be his "God of the Pod", as one of the best unsigned acts in the UK and Ireland.

While such praise came as a pleasant surprise, the release also delivered a bona fide bolt out of the blue, when a radio DJ, based in the Gulf state of Qatar, downloaded the track and began featuring it on his show.

Amazingly, requests began pouring in for the track and short time later the song even made it to the number one slot in the Qatar music charts, which it held for two weeks, beating out stiff competition from the likes of Arctic Monkeys, Muse, Killers and Lost Prophets.

This achievement would distinguish them as one of only three northern Irish acts to ever secure a number one hit abroad; the others being Snow Patrol and - yikes -Dana.

Their momentum carried over into 2007, as the band were invited to record a live session for BBC Radio 1, in the legendary Maidendale studios, made famous as the home of the Peel Sessions.

The band also began gigging relentlessly, building up a solid following and a reputation as one of the north's most exciting live acts.

Their burgeoning reputation was enough to secure them opening slots with such names as CSS, LCD Soundsystem, Cold War Kids and Peter, Bjorn and John, all the while building their following as they entered the studio to begin work on their debut, only taking time out to record a superb cover version of Radiohead's track, Airbag, for a tribute to Radiohead by northern bands titled: Oh Yeah Computer.

Two weeks ago the Jane Bradfords released their self-titled debut on their own label, which comprehensively installed them in the upper echelons of the north's music scene.

From opener, The Pace That Kills, through all 12 tracks, the album is a heady mixture of mood, imagination and hooks that was markedly described by one journalist as "possibly the most commercial band that I've never been able to classify."

Eclectic without a hint of pretension, the album has stacks of crossover potential with a sound that borrows - but never steals - from bands like the Cure, New Order, Pulp and even the very best of 80s indie, while still retaining its own contemporary flavor.

In fact, the album has an uncanny knack of being able to meld the best elements of a host of different genres into something distinctly commercial which should be enough to attract the attention of overseas labels. With the correct backing and a dash or two of luck, it would be hard to bet against the Jane Bradfords continuing their long climb into the public consciousness. Like most of the successful acts from this part of Ireland , you can be sure that they will leave the ladder in place for the compatriots that follow behind them.