Eric Bell is the guitarist who convinced Phil Lynott and Brian Downey to join him in a band. Then he invented the name of the group: Thin Lizzy. That was December 1969, when he brought his character as a Belfast artist to the emerging Dublin scene, causing great things to happen.
He was eager to explore the limits of the electric guitar, just like Jimi Hendrix and Jeff Beck. And while Eric loved his blues and jazz, he was also at home in the Dublin trad clubs. So, Thin Lizzy had a lyrical, Celtic spirit that became a template for generations of artists on the island.
He played on the first three Lizzy albums, peaking with Vagabonds of the Western World in 1973. Earlier that year, the band had scored a UK hit single with ‘Whiskey in the Jar’, their version of the ancient folk ballad. Eric had realised that he needed to pull off something special with the recording. His solution was to make his guitar sound like the uilleann pipes. He was a fan of the early Chieftains records and that was the prime influence. A magnificent fusion.
Eric Bell, 2024. Photo by Stuart Bailie
He also created the bedrock riff that became ‘The Rocker’, an early example of Thin Lizzy swagger. But Eric was also wary of the showbiz world. It reminded him of his tiresome past on the Irish showband circuit. Therefore, he parted with the band after a stressful show in Belfast, New Year’s Eve, 1973.
Afterwards, he guested with the likes of Noel Redding and Bo Diddley, even performing with Metallica. But much of Eric’s later work has evolved at a quieter pace, away from the headlines. A new box set, Remembering – Anthology 1996-2017, collects five of his albums. Sometimes you hear him rocking out, but often Eric is deep and reflective. He has been faithful to the music. He has endured. “It’s such an honour to be recognised in your own home town. Thank you all.”
Stuart Bailie
Eric Bell will receive his Legend Award at the Ulster Hall on November 13, 2024. He will also perform on the night with a special guest. This is part of the Northern Ireland Music Prize event, produced by the Oh Yeah Music Centre. Eric’s award is supported by PRS for Music.
You might know Susie Blue for the voice, the empathy and the disarming visuals. You suppose that Susie is singing us into a new nation that doesn’t submit to limits and hang-ups. But a further part of the Susie method is that you must not presume. There’s a new song called ‘Worst Side of Me’ that takes us on an alternative tour of the artist. If you want to be close, then you might have to consider the less attractive features. Just like a Nan Goldin picture, you get the messy context ahead of the nice stuff. 
Applause for Deci Gallen and his vaporous but lovely presence as LMINL. Once, he composed as the Jane Bradfords and connoisseurs of synth-swoon may remember ‘Golden Ticket’ with affection. Long story, but he has rejoined us with a new project and an album that is flecked with memory and sighs, like stray light in a derelict room.
Afterwar is a film about street kids in Kosovo, selling peanuts, phonecards and cigarettes in late-night bars. These phantom children work the tables and the last of the dawn trade before taking their bus rides out of Pristina. They return to the rural beyond, to damaged homes and bleak landscapes. Parents are dead, injured or missing. Here it is, the dispossession of war. 
BIIRD is where Tank Girl and Stevie Nicks meet Riverdance, downtown. It’s about exceptional playing and trad music chops, delivered with high self-esteem, style and mischief. The 11 musicians have served their time in back bars, sessions and flash concert halls. The experience has been useful, but this seems like a determined break.
We once saw Lankum at Stendhal when they were called Lynched. Another time, in 2021, we watched DJ Próvaí moonlighting as Losta Plot, unmasked and insecure.
EXMAGICIAN: Sit Tight
Belfast-based composer and musician Conn Thornton has released their third LP Meteorite Season, two and a half years following their sophomore record Tragedy. In the time between records, Thornton’s new music shows that they have proliferated their soundscapes whilst maintaining core themes of the importance of connection as seen in their previous work. Conn’s alternative indie stylings live on but have become part of a wider palette of inspiration boosted by more musical and life experience. 
The Kneecap album is about k-holes, white lines and low times in a Belfast bar. There is laughter and distraction plus messy company. Voices are raised as the pints go down. They talk about pills and politics, cash and romance. Somebody isn’t buying their round. Always the way, right? 
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