Johnny Osbourne

Saturday 5 October 2019 | TICKETS

The Mystery Lights

Saturday 5 October 2019 | TICKETS

Jay Electronica

Thursday 12 September 2019 | TICKETS

Hypnotic Brass Ensemble

Sunday 25 August 2019 | TICKETS

The Souljazz Orchestra

Thursday 17 October 2019 | TICKETS

Aug 22

Presented by GLUG Dublin

Glug Dublin #08 - Storytellers

6:30PM
to
10:00PM

General Admission

Book Now

From the fantastical narratives of illustrator Giovana Medeiros, to the personal creative stories brought to us by Tom Cunningham of Opacity podcast and the structure stories build within the products and services content designer Grace Hughes creates to the clear voices and narritives custom type designer Max Phillips creates to help brands tell their stories!

THE LINE UP

Giovana Medeiros . Illustration

Giovana is a freelance illustrator, born in Brazil, and based in Lisbon. She graduated in Fashion Design at her hometown and worked designing prints for textiles for a few years. After graduating in college, she moved to Dublin, where she studied Illustration at BCFE , and has been working as a freelance Illustrator ever since. Her work is inspired by nature, the feminine, kids, fantastical stories and the day-to-day life. Working with flat shapes, bold colours and heavily painterly textures, her illustrations have been applied to a series of different mediums such as books, advertising, magazines, textiles, games, greeting cards. Some of her past clients include Chronicle Books, Harper & Collins, Cottage Press, Zara, Oxford University Press, Auzou Editions, Hallmark, American Greetings, Bloomsbury. In her free time she creates auto-biographical comics, drinks coffee and travels.

Max Phillips (Signal Foundry)

Max Phillips is proprietor of the Dublin-based Signal Type Foundry & Drawing Office, which specializes in type design, lettering, and branding. A former novelist and toy designer, he now makes useful, attractive things for clients like An Post, Bewley’s, CBS, Christie’s, Citi, FAO Schwarz, and Trinity College Dublin, and collaborates with studios and agencies in Ireland and abroad. His work has been recognised by the Type Directors Club of New York, Communication Arts, Graphis, the ISTD, the 100 Archive, and ICAD.

Grace Hughes (Fjord)

Grace is Senior Content Designer for Fjord at The Dock, Accenture’s R&D hub. She works in that beautiful, messy intersection of people, language and technology. She has a background in the Humanities, Journalism, and more recently content strategy and creation. She also lectures in copy and content at the Technological University for Dublin. She’s passionate about a human-centred approach to language, and the role of content at the heart of the design process. At The Dock, she’s leading a growing team exploring new areas like conversational design, and the impact of emerging technology on language and behaviour.

Tom Cunningham (Opacity Podcast)

Tom is a Senior Product Designer, Dad and co-host of the ‘Opacity’ podcast, which aims to demystify career paths and show the human side of working in design.

Stories help us make sense of complex and abstract concepts. The stories of others can inspire us to action and guide us through the fuzzy haze of our careers and life in general.

In Tom’s talk he will share insights from the inspiring people he’s met throughout his career and through conversations over the mic.

Glug Dublin #08 - Storytellers
Aug 23

Harvest - A Tribute to Neil Young

8:00PM
to
11:00PM

General Admission

Book Now

Harvest, Ireland’s premier Neil Young tribute band, will host two very special shows at the Sugar Club in Dublin on Fri 23rd & Sat 24th August 2019.

Harvest will be performing Neil Young’s classic albums “After The Gold Rush” and “Harvest” in their entirety, followed by a selection of greatest hits and favourites.

Arguably Young’s most popular records, “Gold Rush” and “Harvest” contain the gems “Heart Of Gold”, “Old Man”, “The Needle And The Damage Done”, “Only Love Can Break Your Heart” and the rocking “Southern Man”.

Fans will get to hear songs that Neil Young himself has rarely played - “There’s A World”, “Alabama”, “Cripple Creek Ferry” and “Till The Morning Comes”.

The band will perform “After The Gold Rush” on Fri 23rd August and “Harvest” on Sat 24th.

Each performance will be followed by a selection of greatest hits and fan favourites, a lottery of classics songs such as “Helpless”, “Ohio”, “Harvest Moon”, “Like A Hurricane”, “Cortez The Killer”, “Down By The River” & “Rockin’ In The Free World”, to mention but a few.

Don’t miss these passionate renditions of two of Neil Young’s best loved records, by Ireland’s finest Neil Young tribute, at the Sugar Club in Dublin on Fri 23rd and Sat 24th August 2019.

If you like Neil Young, you will love Harvest.

Harvest - A Tribute to Neil Young
Aug 24

Harvest - A Tribute to Neil Young Saturday 24th Aug

8:00PM
to
11:00PM

General Admission
€20 – €35

Book Now

Harvest, Ireland’s premier Neil Young tribute band, will host two very special shows at the Sugar Club in Dublin on Fri 23rd & Sat 24th August 2019.

Harvest will be performing Neil Young’s classic albums “After The Gold Rush” and “Harvest” in their entirety, followed by a selection of greatest hits and favourites.

Arguably Young’s most popular records, “Gold Rush” and “Harvest” contain the gems “Heart Of Gold”, “Old Man”, “The Needle And The Damage Done”, “Only Love Can Break Your Heart” and the rocking “Southern Man”.

Fans will get to hear songs that Neil Young himself has rarely played - “There’s A World”, “Alabama”, “Cripple Creek Ferry” and “Till The Morning Comes”.

The band will perform “After The Gold Rush” on Fri 23rd August and “Harvest” on Sat 24th.

Each performance will be followed by a selection of greatest hits and fan favourites, a lottery of classics songs such as “Helpless”, “Ohio”, “Harvest Moon”, “Like A Hurricane”, “Cortez The Killer”, “Down By The River” & “Rockin’ In The Free World”, to mention but a few.

Don’t miss these passionate renditions of two of Neil Young’s best loved records, by Ireland’s finest Neil Young tribute, at the Sugar Club in Dublin on Fri 23rd and Sat 24th August 2019.

If you like Neil Young, you will love Harvest.

Harvest - A Tribute to Neil Young Saturday 24th Aug
Aug 25

Presented by ChoiceCuts

Hypnotic Brass Ensemble

7:30PM
to
11:00PM

General Admission

Book Now Play on Spotify

Fresh from performing with Macy Gray, Black Star, Gorillaz and a string of sold-out shows around the globe…A Very special preview showcase of the forthcoming album “Bad Boys of Jazz”

Hypnotic is an eight-piece, Chicago-based brass ensemble consisting of eight sons of the jazz trumpeter Phil Cohran. With only horns and a drum set, “Hypnotic” has travelled the world. Their musical style ranges from hip-hop to jazz to funk and rock, including calypso and gypsy music. They call their eclectic blend of sound “now music”, or “Hypnotic”. Reared in the teachings of music since they were children, they grew up on the stage playing as the “Phil Cohran Youth Ensemble”.

Hypnotic Brass Ensemble
Aug 30

Rocketman

7:30PM
to
10:30PM

General Admission

Book Now

Doors 7:30pm

Movie Starts 8:15pm

Running Time 2 hours

Serving delicious pizzas, popcorn, cheeseboards and more
selected wines
delicious cocktails and craft beers
with table service and full bar

It’s going to be a long, long time before a rock biopic manages to capture the highs and lows of an artist’s life like Rocketman.

ROCKETMAN is an epic musical fantasy about the incredible human story of Elton John’s breakthrough years. The film follows the fantastical journey of transformation from shy piano prodigy Reginald Dwight into international superstar Elton John. This inspirational story—set to Elton John’s most beloved songs and performed by star Taron Egerton—tells the universally relatable story of how a small-town boy became one of the most iconic figures in pop culture. ROCKETMAN also stars Jamie Bell as Elton’s longtime lyricist and writing partner Bernie Taupin, Richard Madden as Elton’s first manager, John Reid, and Bryce Dallas Howard as Elton’s mother Sheila Farebrother.

Rocketman
Aug 30

Stop Making Sense Late Night Screening

10:30PM
to
2:30AM

General Admission

Book Now

Doors 1030pm

Movie Starts 1130pm
Running Time 100 mins
80s music before and after….

Director Jonathan Demme captures the frantic energy and artsy groove of Talking Heads in this concert movie shot at the Hollywood Pantages Theatre in 1983. The band’s frontman, David Byrne, first appears on an empty stage, armed with only an acoustic guitar, and is gradually joined by bassist Tina Weymouth, drummer Chris Frantz, keyboardist Jerry Harrison and a cadre of backup singers as they perform the band’s hits, culminating in an iconic performance featuring Byrne in an enormous suit.

The overwelming impression throughout “Stop Making Sense” is of enormous energy, of life being lived at a joyous high. And it’s not the frenetic, jangled-nerves energy of a rock band that’s wired; it’s the high spirits and good health we associate with artists like Bruce Springsteen. There are a lot of reasons to see concert films, but the only ones that usually get mentioned are the music and the cinematography. This time the actual physical impact of the film is just as exhilarating: Watching the Talking Heads in concert is a little like rock ‘n’ roll crossed with “Jane Fonda’s Workout.” The movie was shot during two live performances of the Talking Heads, a New York rock band that centers on the remarkable talent of its lead singer, David Byrne. Like David Bowie, his stage presence shows the influence of mime, and some of his best effects in “Stop Making Sense” are achieved with outsize costumes and hand-held lights that create shadow plays on the screen behind him.

Given all the showmanship that will develop later during the film, the opening sequences are a low key, almost anti-concert throwaway. Byrne walks on a bare stage with a ghetto-blaster in his hand, puts it down on the stage, turns it on and sings along with “Psycho Killer.” Eventually he is joined onstage by Tina Weymouth on bass. Then stagehands wander out from the wings and begin to assemble a platform for drummer Chris Frantz. Gear is moved into place. Electrical cables are attached. The backup singers, Edna Holt and Lynn Mabry, appear. And the concert inexorably picks up tempo.

The music of the Talking Heads draws from many sources, in addition to traditional rock ‘n’ roll. You can hear the echoes, in Byrne’s voice, of one of his heroes, country singer Hank Williams. In the music itself, there are elements of reggae and of gospel, especially in the driving repetitions of single phrases that end some of the songs. What is particularly delightful is that the Talking Heads are musical: For people who have passed over that invisible divide into the age group when rock sounds like noise, the Heads will sound like music.

The film is good to look at. The director is Jonathan Demme (“Melvin and Howard”), making his first concert film, and essentially using the visuals of the Talking Heads rather than creating his own. Instead of the standard phony cutaways to the audience (phony because, nine times out of ten, the audience members are not actually reacting to the moment in the music that we’re hearing), Demme keeps his cameras trained on the stage. And when Byrne and company use the stage-level lights to create a shadow play behind them, the result is surprisingly more effective than you might imagine: It’s a live show with elements of “Metropolis.”

But the film’s peak moments come through Byrne’s simple physical presence. He jogs in place with his sidemen; he runs around the stage; he seems so happy to be alive and making music. Like Springsteen and Prince, he serves as a reminder of how sour and weary and strung-out many rock bands have become. Starting with Mick Jagger, rock concerts have become, for the performers, as much sporting events as musical and theatrical performances. STOP MAKING SENSE understands that with great exuberance.

Stop Making Sense Late Night Screening
Aug 31

Bohemian Rhapsody 31st Aug

1:00AM
to
1:00AM

General Admission

Book Now

BOHEMIAN RHAPSODY

Directed by Bryan Singer | 134 min | 2018 | United Kingdom

Screening: 20:15HS

—————————————————-
Bohemian Rhapsody is a movie based on the true story of Queen’s journey from the start of the rock band to their now-legendary 1985 performance at the Live Aid concert in Wembley Stadium. The story chronicles lead singer Freddie Mercury’s tempestuous journey from an outcast immigrant struggling to find his place in a rejecting society to his becoming a beloved and world-famous artist.


—————————————————-

All tickets include gourmet popcorn for the audience, and we’ll be serving up tasty thin-based pizzas from our kitchen and cocktails and drinks from the fully stocked bar!
Come and lounge on our plush velvet couches to get a luxury standard of a movie night.

Bohemian Rhapsody 31st Aug
Aug 31

Prince - Sign O’ The Times

10:30PM
to
2:30AM

General Admission

Book Now

Doors 1030pm

Movie Starts 1130pm
Followed by 80s Hits

A concert film with theatrical staging, featuring live performances by Prince and his band.

In front of a crowd at the Rotterdam Music Hall, Prince and his band perform 13 numbers, 11 of which are from his double album, “Sign ‘o’ the Times,” and all but “Now’s the Time” are his compositions. This is high energy stuff, with neon signs flashing above the stage, suggesting the honky-tonk district of a big city. Between a few of the numbers, there are vignettes of street life. Three women - Shiela E, Boni Boyer, and Cat - provide rhythmic, vocal, and physical pyrotechnics. Sheena Easton appears in a film within a film, her rock video “U Got the Look.” In constant motion, never far from center stage, is Prince, Minnesota’s charismatic pixy.

Prince - Sign O’ The Times
Sep 07

Amazing Grace- Aretha Franklin Movie

8:00PM
to
11:00PM

General Admission

Book Now

We were overwhelmed with requests to show this time capsule of perfection with none other than the Queen of Soul Aretha Franklin.

So, here is the vibe
Doors 8pm
Soul / Gospel to warm up
Serving Charcuterie/Cheeseboards
Fine wines
Delicious Cocktails
Movie Starts 9pm

and to follow
we have a Soul Party with some of Dublin’s favourite Djs and crews

Singer Aretha Franklin performs gospel songs at the New Temple Missionary Baptist Church in Los Angeles in 1972.

“Amazing Grace” is a filmed record of the two nights, in January 1972, during which Franklin recorded the gospel performances that became the celebrated live double album “Amazing Grace.” It remains not only the best-selling gospel record of all time, but the best-selling album of Franklin’s 50-year career. She was then at the height of her stardom, with 20 albums and 11 number-one singles (all the iconic hits: “Respect,” “Chain of Fools,” “Think,” etc.) under her belt, and she wanted to do a record that honored the formative gospel roots of her youth.

Warner Bros. hired director Sydney Pollack to film the sessions (this was the early-’70s heyday of the grainy verité concert film), and in “Amazing Grace” we see Pollack wandering around the church, directing the action and at one point holding the camera. But the project wound up getting shelved. There was a severe technical glitch (much of the sound was out of sync with the images), and later, when attempts were made to solve that issue, Franklin herself repeatedly blocked attempts to release the movie. It’s not clear why, but now that it’s been lovingly restored and assembled (the sound is clear as a bell, and in perfect sync), “Amazing Grace” can stand as an essential filmed record of what is undoubtedly one of the greatest gospel performances you’ll ever see.

Visually, the movie isn’t much to speak of. The church, a plain and rather dilapidated place, looks at once dingy and overbright, and during the first night it’s only half-full, creating the atmosphere of a filmed rehearsal. But Aretha herself is incandescent. And the movie, while as neutrally shot as a news-magazine segment (there’s about a minute of split screen, and there should have been a lot more of it), has a structure that quietly builds. Franklin was 29 when “Amazing Grace” was recorded, and in her silky flowing outfits and light blue eye shadow and a set of earrings that look like bejeweled clusters of tiny snowballs, she’s a magnetic paradox: a diva tucking in her ego in front of the lord. She almost never speaks between songs, but her contact with those who’ve gathered to be in the audience is, if anything, even more direct. She’s got her mind on higher things.

One can speculate that Mick Jagger dropped by because he was still finishing up the recording of “Exile on Main St.,” an album as dunked in the raw majesty of gospel as any in rock history. Another telling figure who appears is Franklin’s father, the Baptist minister C.L. Franklin, whom she toured with as a child gospel singer. He’s dapper and aristocratic, like Billy Dee Williams as a churchly power player. In the few minutes they’re at the front of the church together, we can see how Aretha gained strength from him — at one point, he lovingly wipes the sweat from her face — and, at the same time, how she felt the need to win r-e-s-p-e-c-t from a world of men who felt as entitled as he looks. Apart from Aretha, the most memorable characters in the movie remain those whose names we don’t know: the praise dancers who get up out of the audience, jubilant and possessed, to shake like volcanic vessels, and the occasional sparkly-silver-vested member of the Southern California Community Choir, who will literally pop up, with a spontaneity that’s at once touching and comic, when the spirit moves them.

Franklin’s collaborator in the concerts was the Reverend James Cleveland, the gospel legend who did as much as anyone to popularize the form beyond the black church (he won four Grammys). He’s burly, deeply playful, and affectionate, and he has great stories. So does Franklin’s father, who tells one about how he was picking up clothes at the cleaners, and the woman who worked there asked him if Aretha, whom she had seen on TV the night before, was ever going to go back to the church. The minister replied, “She never left the church.”

Watching “Amazing Grace,” we see how profoundly true that is. Not just because Franklin sings praise to Jesus with the full flower of her virtuosity, but because there’s such a remarkable continuity between the religious fervor she expresses here and the “secular” fervor of her pop and R&B songs. Most of the numbers in “Amazing Grace” are hymns or traditionals, like the lilting “What a Friend We Have in Jesus” or the meditative “Precious Memories,” and a few are reconfigured versions of great pop numbers of the spirit, like Carole King’s “You’ve Got a Friend” or Marvin Gaye’s “Wholy Holy.” But the sound is never pious or autumnal. It’s majestic and soaring and athrob with rhythm.

If the blues is the formal and spiritual foundation of rock ‘n’ roll, it’s the joy of gospel that gave rock its roll. That’s what you hear in “Amazing Grace.” The movie reveals how the fundamental distinction between “rock ‘n’ roll” and “rhythm and blues” was not only racist at its core, but a way for the consumer culture to slice the God out of music that was invented as a way to talk to God. In “Amazing Grace,” Aretha Franklin transcends the blues by saying a little prayer — or singing one — for all of us.
Popular on Variety

Amazing Grace- Aretha Franklin Movie
Sep 08

Lady Barbalade & The Newfangled Four

7:30PM
to
9:30PM

General Admission

Book Now

Reigning queens of Irish Barbershop, Lady Barbalade are celebrating their Irish Association of Barbershop Singers Gold Medal year by partnering with world-famous quartet, The Newfangled Four to bring their exciting brand of Barbershop singing around the country this September. The Newfangled Four, America’s comedy sweethearts, are currently ranked 6th in the world. These young men hail from California, and with their brilliant comedy combined with their sublime voices, they are one of the best loved barbershop groups in the world.

The flagship event of their 5-date tour will feature Irish Association of Barbershop Singers Female Chorus Champions 2018, Blingmasters. This sparkling group of ladies dedicate their time to fabulous dresses and even more fabulous singing. Formed in 2018 by Rebecca Gilbert of Lady Barbalade, the ladies of Blingmasters sing, dance and entertain and are sure to bring a smile to any audience, young or old.

We are also delighted to feature the multi-award-winning 4 In A Bar. One of Ireland’s best loved vocal acts, these gents sing everything from current chart toppers, to old Irish melodies, and much more. With many songs arranged for them by their own Eoin Conway, these gents are a treat not to miss.

Come along and enjoy a wonderful evening of song, dance and laughs. We look forward to seeing you there!

www.blingmasters.ie

www.newfangledfour.com

www.4inabar.com

Lady Barbalade & The Newfangled Four
Sep 11

Presented by Music Network

Tara Breen, Laoise Kelly, Josephine Marsh & Nell Ní Chróinín

7:30PM
to
9:30PM

General Admission

Book Now

Tara Breen, fiddle

Laoise Kelly, harp

Josephine Marsh, accordion

Nell Ní Chróinín, voice

Music Network brings together four leading traditional musicians to pool their considerable talents, and the results are even greater than the sum of the parts. Tara Breen, Laoise Kelly, Josephine Marsh and Nell Ní Chróinín have been setting the bar high as performers, both at home and around the globe.

Name-checking Danú, Kate Bush, The Chieftains and Christy Moore amongst their collaborators, and with Presidents Obama, Clinton, Higgins and the Queen as audience members, these artists have a quiet authority that comes with true mastery and understanding of their music and heritage. Dedicated and passionate, theyll lead audiences through a programme of traditional tunes and songs, and for good measure, into a new Music Network commission by Josephine, a gifted tunesmith. This is a warm and intimate conversation of equals, one on which listeners are privileged to eavesdrop

Tara Breen, Laoise Kelly, Josephine Marsh & Nell Ní Chróinín
Sep 12

Presented by ChoiceCuts

Jay Electronica

8:00PM
to
11:00PM

General Admission - on sale Thursday 11 April

Book Now

Tickets go on sale Thursday 10am April 11th

From floating in the Dead Sea or better yet touching the Sphinx, standing on Mount Everest, praying with the Monks in India or traveling illegally into Mexico, all manifested not because of what he could pay or because of who he is but because he was seeking the answer to the most critical question that has been asked for centuries by Alchemist, Artist, Magi, Sages and Wizards “ What is truth?” The answer he found “ The truth is the best of what is in me, the best in us all”.

One of the most talked-about rappers of 2008, Jay Electronica built his reputation via the Internet and word of mouth, without so much as a single commercial release to his credit. Born Je’Ri Allah in 1976, he grew up in the Magnolia projects of New Orleans, where he lived until age 19. In the years that followed, he lived a nomadic lifestyle, moving back and forth between Atlanta, New York, Detroit, and Baltimore, among other cities. He adopted the Jay Electronica alias while living in Baltimore circa 2000. While in Detroit, he befriended associates of J Dilla, working closely with engineer Mike “Chav” Chavarria and collaborating with producer Denaun Porter (aka Mr. Porter). As a rapper, he distributed his recordings via the Internet, primarily his MySpace page. Among these Internet-circulated recordings, a few stood out and helped create a buzz: “Act 1,” an epic homemade rap over Jon Brion’s score for the film Eternal Sunshine of the Spotless Mind; “Bitches and Drugs,” a J Dilla production; “Extra Extra,” a Madlib production; and the StyleWars EP. The word of mouth didn’t hurt, either, as Erykah Badu, Just Blaze, Nas, and others spoke highly of Jay Electronica in the media. Moreover, Badu reportedly made him the first signee of her Control FreaQ Records label.

Jay Electronica
Sep 13

Presented by Catfish Blues

The Irish Santana Experience

7:30PM
to
11:00PM

General Admission
€17.50

Book Now

The Irish Santana Experience

The Irish Santana Experience is an exciting 8 piece band that recreate the supernatural sound of Carlos Santana live. Comprised of Irish and South American musicians performing original arrangements of classic tracks like Black Magic Woman, Shes’s Not There, Samba Pa Ti, Oye Como Va and more modern hits such as the Grammy award winning Smooth. Venezuelan guitar maestro Hector Castillo delivers Carlos Santana’s back catalogue with a level of passion and soul reminiscent of one of the world’s best-known guitar greats.A two hour Afro-Latin-blues-rock fusion show including full brass section and Latin percussion not to be missed…

Support from - Chief Keegan

The Irish Santana Experience
Sep 14

Amazing Grace - Aretha Franklin

8:00PM
to
11:00PM

General Admission

Book Now

We were overwhelmed with requests to show this time capsule of perfection with none other than the Queen of Soul Aretha Franklin.

So, here is the vibe
Doors 8pm
Soul / Gospel to warm up
Serving Charcuterie/Cheeseboards
Fine wines
Delicious Cocktails
Movie Starts 9pm

and to follow
we have a Soul Party with some of Dublins favourite Djs and crews

Singer Aretha Franklin performs gospel songs at the New Temple Missionary Baptist Church in Los Angeles in 1972.

“Amazing Grace” is a filmed record of the two nights, in January 1972, during which Franklin recorded the gospel performances that became the celebrated live double album “Amazing Grace.” It remains not only the best-selling gospel record of all time, but the best-selling album of Franklin’s 50-year career. She was then at the height of her stardom, with 20 albums and 11 number-one singles (all the iconic hits: “Respect,” “Chain of Fools,” “Think,” etc.) under her belt, and she wanted to do a record that honored the formative gospel roots of her youth.

Warner Bros. hired director Sydney Pollack to film the sessions (this was the early-’70s heyday of the grainy verité concert film), and in “Amazing Grace” we see Pollack wandering around the church, directing the action and at one point holding the camera. But the project wound up getting shelved. There was a severe technical glitch (much of the sound was out of sync with the images), and later, when attempts were made to solve that issue, Franklin herself repeatedly blocked attempts to release the movie. It’s not clear why, but now that it’s been lovingly restored and assembled (the sound is clear as a bell, and in perfect sync), “Amazing Grace” can stand as an essential filmed record of what is undoubtedly one of the greatest gospel performances you’ll ever see.

Visually, the movie isn’t much to speak of. The church, a plain and rather dilapidated place, looks at once dingy and overbright, and during the first night it’s only half-full, creating the atmosphere of a filmed rehearsal. But Aretha herself is incandescent. And the movie, while as neutrally shot as a news-magazine segment (there’s about a minute of split screen, and there should have been a lot more of it), has a structure that quietly builds. Franklin was 29 when “Amazing Grace” was recorded, and in her silky flowing outfits and light blue eye shadow and a set of earrings that look like bejeweled clusters of tiny snowballs, she’s a magnetic paradox: a diva tucking in her ego in front of the lord. She almost never speaks between songs, but her contact with those who’ve gathered to be in the audience is, if anything, even more direct. She’s got her mind on higher things.

One can speculate that Mick Jagger dropped by because he was still finishing up the recording of “Exile on Main St.,” an album as dunked in the raw majesty of gospel as any in rock history. Another telling figure who appears is Franklin’s father, the Baptist minister C.L. Franklin, whom she toured with as a child gospel singer. He’s dapper and aristocratic, like Billy Dee Williams as a churchly power player. In the few minutes they’re at the front of the church together, we can see how Aretha gained strength from him — at one point, he lovingly wipes the sweat from her face — and, at the same time, how she felt the need to win r-e-s-p-e-c-t from a world of men who felt as entitled as he looks. Apart from Aretha, the most memorable characters in the movie remain those whose names we don’t know: the praise dancers who get up out of the audience, jubilant and possessed, to shake like volcanic vessels, and the occasional sparkly-silver-vested member of the Southern California Community Choir, who will literally pop up, with a spontaneity that’s at once touching and comic, when the spirit moves them.

Franklin’s collaborator in the concerts was the Reverend James Cleveland, the gospel legend who did as much as anyone to popularize the form beyond the black church (he won four Grammys). He’s burly, deeply playful, and affectionate, and he has great stories. So does Franklin’s father, who tells one about how he was picking up clothes at the cleaners, and the woman who worked there asked him if Aretha, whom she had seen on TV the night before, was ever going to go back to the church. The minister replied, “She never left the church.”

Watching “Amazing Grace,” we see how profoundly true that is. Not just because Franklin sings praise to Jesus with the full flower of her virtuosity, but because there’s such a remarkable continuity between the religious fervor she expresses here and the “secular” fervor of her pop and R&B songs. Most of the numbers in “Amazing Grace” are hymns or traditionals, like the lilting “What a Friend We Have in Jesus” or the meditative “Precious Memories,” and a few are reconfigured versions of great pop numbers of the spirit, like Carole King’s “You’ve Got a Friend” or Marvin Gaye’s “Wholy Holy.” But the sound is never pious or autumnal. It’s majestic and soaring and athrob with rhythm.

If the blues is the formal and spiritual foundation of rock ‘n’ roll, it’s the joy of gospel that gave rock its roll. That’s what you hear in “Amazing Grace.” The movie reveals how the fundamental distinction between “rock ‘n’ roll” and “rhythm and blues” was not only racist at its core, but a way for the consumer culture to slice the God out of music that was invented as a way to talk to God. In “Amazing Grace,” Aretha Franklin transcends the blues by saying a little prayer — or singing one — for all of us.

Amazing Grace - Aretha Franklin
Sep 18

Pat Silke

7:30PM
to
10:30PM

General Admission

Book Now

Pat Silke - Singer /Songwriter - For One Night Only- Sept 18th 2019.

Pat Silke and his band present a collection of his finest songs from 3 critically acclaimed solo albums. The range, depth and quality of his songs are of the highest calibre. Pat’s song craft and this show reflects a life long passion for excellent songs, superb musicianship and a quality live performance. The show will reference Pat’s musical influences from blues to gospel and from country to rock and Americana.

It promises to be a fantastic night of music - For One Night Only - Don’t Miss it.

Pat Silke
Sep 19

The Atrix

7:30PM
to
10:30PM

General Admission

Book Now

Legendary Dublin New Wave act, The Atrix, release their long awaited anthology, ‘Dublin 1979-1981’, on September 19th. To mark the release, the band will be staging a launch event in Dublin’s Sugar Club that evening.

The Atrix formed in 1978, and came out of the same Dublin theatre/cabaret scene as Jim Sheridan, The Radiators, Neil Jordan, Agnes Bernelle, Peter Sheridan and The Virgin Prunes. The Atrix combined a strong theatrical element to quirky but memorable tunes, the most striking examples being the singles “The Moon Is Puce” and “Treasure on the Wasteland”.

They released its first single “The Moon is Puce” on Seamus O’Neill’s Mulligan label in late 1979 to modest acclaim in its local market. This first single was produced by Philip Chevron, then a member of The Radiators From Space and later of The Pogues. The band signed to Dave Dee’s DoubleDee Records label in 1980 and released the follow-up single “Treasure on the Wasteland” in 1980. It was produced by Midge Ure. They released ‘Procession’, their only album in 1981.

Their single, ‘Treasure on the Wasteland’ appeared on the now legendary ‘Just for Kicks’ compilation album, which also featured, among others, Berlin, DC Nein, Rocky DeValera & The Gravediggers, and, a then virtually unknown, U2.

The bands frontman, John Borrowman, tragically passed away in Copenhagen in 1998.

The Atrix
Sep 20

Presented by Woweembeem

Woweembeem Arabic & Afro-Brazilian Culture Night 2019

8:00PM
to
2:30AM

General Admission

Book Now Play on Spotify

Workshop, 20:00–21:00

Live music & DJs, 21:00–03:00:

Disco Arabesquo (DJ, Amsterdam)
Yankari (LIVE, Nigeria / Éire)
Farah Elle (LIVE, Libya / Éire)
Moving Still (DJ, Éire / Saudi Arabia)
DJ Kixx (DJ, Lesotho / Éire)
Bernard Batrouni aka Bennie Adam (DJ, Lebanon)
Papa Lou (DJ, Rialto / Éire)

Afro-Brazilian Turban & Headwrap Workshop, 20:00–21:00:

Learn how to tie different models of turbans & head wraps inspired by the Afro-Atlantic diaspora w/ Turbante.se. Founder Thaís Muniz’s project shares her research about the complex history of turbans and head wraps from the Afro-Brazilian culture to the Afro-Atlantic diaspora, from ancient to contemporary times. The Yoruba culture, the Candomblé religion, the Orishas and the Baianas are the starting point to highlight their meanings in different contexts. Discussing aesthetics, politics, art and empowerment, you’ll discover practical ways of tying more than 10 models of head wraps and turbans. Turbante-se is a Brazilian-Portuguese neologism that means ‘Turban Yourself’.

Woweembeem: occasional parties and mixtapes promoting music from Africa, the Middle East, the Caribbean / French West Indies, South America and all corners of the globe. Celebratory sounds to nourish the soul. All nations under a groove.

Listen: woweembeem.com

Woweembeem Arabic & Afro-Brazilian Culture Night 2019
Sep 21

Strictly Handbag

8:00PM
to
2:00AM

General Admission

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Sat Sept 21st 2019 Strictly Handbag returns to celebrate all things SH with family, friends and very special guests!

Strictly Handbag
Oct 02

Presented by Music Network

Bangers and Crash Percussion Group

7:30PM
to
9:30PM

General Admission

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Bangers and Crash Percussion Group

Alex Petcu, percussion

Emma King, percussion

Brian Dungan, percussion

Having a physics background can be a useful thing indeed if you are ace percussionist Alex Petcu. So the required sounds don’t exist on conventional instruments? No problem, you just invent and build what you need. And that’s what audiences can expect when he and fellow percussion adventurers Emma King and Brian Dungan take to the road with their kitbag of the usual suspects of the drum world, along with a fascinating array of metal, wood and string. Three young and energetic virtuosos cook up a menu of new music (a pity Beethoven never wrote for marimba) which will tickle tastebuds and defy expectations.Their appetite for exploring rhythmic influences from around the worldFlamenco, Afro-Cuban, Javanese gamelanis healthy, hearty and irrepressible. Audiences can expect a programme of 20th century works by composers including Philip Glass, Steve Reich and Thierry De Mey, as well as a new Music Network Commission from Alex Petcu. (Please note:no sausages will be harmed in the making of this programme).

Bangers and Crash Percussion Group
Oct 03

Presented by Aiken Promotions

Stephen James Smith with special guest Tony Walsh

8:00PM
to
10:00PM

General Admission

Book Now

Aiken Promotions proudly presents Dublin poet Stephen James Smith live at The Sugar Club with special guest Tony Walsh on 3rd October 2019. Tickets €16.00 inclusive of booking fee, on sale Thursday, 23rd May at 9AM.

Dublin poet Stephen James Smith playwright central to the rise of the vibrant spoken word scene in Ireland today. His poetry videos have amassed over 2.5 million views.

In 2017 he was commissioned by St. Patrick’s festival to write a new poem as a “Celebratory Narrative” of Ireland. The resultant piece ‘My Ireland’ is accompanied by a short film which has been viewed over 300,000 times and was screened at the London film festival.

In 2018 he was commissioned by Dublin stadium sponsor Aviva to write a poem to highlight the recent rugby final between England & Ireland on Paddy’s day. The poem entitled “Bring it Home” chalked up over 750,000 views across the weekend – and Ireland won!

Stephen has performed at high profile events & venues such as Electric Picnic, other voices, The National Concert Hall in Dublin, The Barbican in London, Vicar Street & the London Palladium (alongside Oscar winner Glen Hansard); The Oscar Wilde Awards in Los Angeles, Glastonbury Festival and many more.

His debut collection “Fear Not”, published by Arlen House, was launched in September 2018 in Dublin at Poetry Ireland on Parnell Square.

An evening with Tony Walsh, special guest on the night is a rip-roaring rock and roller-coaster ride from a profoundly inspiring artist at the very top of his game.

“Now a national hero” (The Guardian) having “stunned millions of people” (Huffington Post) with his iconic performance in Manchester in May 2017.