When asked the difference between God and Bono, the usually harmless and sycophantic Louis Walsh replied: "God doesn't wander down Grafton Street thinking he's Bono".
Prior to losing all perspective, U2 were able to offer stomping stadium anthems, despite their insistence on using pretentious pseudonyms: David ‘The Edge’ Evans, an obvious example. He’s a lead guitarist, not a superhero.
Thankfully, one band from Ireland (Ballyliffin, Co Denegal to be precise) remembers all that was good about the music U2 produced in their prime. The Plea, made up of brothers Denny and Dermot Doherty, childhood friend Paul Toland on bass and drummer Gerry Strawbridge, might only be releasing their debut on a label better known for dance music, but their sound reaches for Wembley stadium with guitars fully plugged in.
The title A Dreamers Stadium underlines these grand ambitions and gives a clear indication of the thematic and lyrical traits. ‘Staggers Anthem’ mixes the weight of ‘Where The Streets Have No Name’ with drawling vocals akin to Richard Ashcroft. It is a cracking opening, firing an angst ridden passing shot across the bows of tim eand dwindling possibility in the name of nostalgia: "…get drunk with me, lets roam these streets, feel as free as we used to/like we did we did when we were you young/we’ll fall asleep and share one last dream, me and you".
It could so easily sound cliché, yet the Doherty’s instil a rawness which instead ensures this translates into relatable honesty. Years of collapsed record deals and broken promises mean that when Doherty sings "talking through a cigarette of things we haven’t done yet, there’s not much time left, there never was much I guess", he’s speaking as much about the band’s previous frustrations and determination to seize this (possibly final) chance, as any broader context.
This diversity means that the heavier, straight up rock numbers such as ‘I Am The Miracle’ and ‘Praise Be’, can be filled with searing guitars and swagger, whilst ‘Feel it Ticking’ replicates the ethereal, echo filled, stoner vibes which dominated early Verve release ‘All in the Mind’.
WATCH // 'Feel It Ticking'
However, although Potter leaves each track distinctly polished, a creeping over reliance on full blooded, radio friendly choruses emerges. These eventually become overwhelming over the course of the album, disrupting the lyrical focus. ‘Glass Waltz’ is a perfect example, dominated by a killer hook and little else, aside from vague lines about finding freedom. Denny Doherty might claim, "Music has to have a connection, if it comes in right, it can punch you in the face and these songs all have that effect on me. I don’t need a second opinion on that", but a little more direction is necessary if The Plea are to make their demands heard and reach the next level.
Ultimately, A Dreamers Stadium is a promising debut, with some moments of real quality. It roars at you, buys you a Guinness, and not only offers itself as a party animal but also a companion with whom to drown sorrows. If you like your rock brash and engulfing, and take it for what it is, you won’t be disappointed.
I’m buying a ticket to the stadium, just don’t tell the purists.
Worth listening to:
Prior to losing all perspective, U2 were able to offer stomping stadium anthems, despite their insistence on using pretentious pseudonyms: David ‘The Edge’ Evans, an obvious example. He’s a lead guitarist, not a superhero.
Thankfully, one band from Ireland (Ballyliffin, Co Denegal to be precise) remembers all that was good about the music U2 produced in their prime. The Plea, made up of brothers Denny and Dermot Doherty, childhood friend Paul Toland on bass and drummer Gerry Strawbridge, might only be releasing their debut on a label better known for dance music, but their sound reaches for Wembley stadium with guitars fully plugged in.
The title A Dreamers Stadium underlines these grand ambitions and gives a clear indication of the thematic and lyrical traits. ‘Staggers Anthem’ mixes the weight of ‘Where The Streets Have No Name’ with drawling vocals akin to Richard Ashcroft. It is a cracking opening, firing an angst ridden passing shot across the bows of tim eand dwindling possibility in the name of nostalgia: "…get drunk with me, lets roam these streets, feel as free as we used to/like we did we did when we were you young/we’ll fall asleep and share one last dream, me and you".
It could so easily sound cliché, yet the Doherty’s instil a rawness which instead ensures this translates into relatable honesty. Years of collapsed record deals and broken promises mean that when Doherty sings "talking through a cigarette of things we haven’t done yet, there’s not much time left, there never was much I guess", he’s speaking as much about the band’s previous frustrations and determination to seize this (possibly final) chance, as any broader context.
WATCH // 'Staggers Anthem'
The brawling energy turns bitter at times, ‘The Odyssey’ dagger sharp in its analysis of a broken personality: "I hear you lost your mind, small things are hard to find, I hear you turned it round full circle and hit the ground, I hear you lost your friends, old pictures never look the same". Fortunately, the production, led by Chris Potter, who helped The Verve perfect their distinct 90’s shoegaze sound, excellently counterbalances the often dark, melancholic song writing. ‘Chris was able to suggest exactly which guitar pedals to use to re-create the visions in Dermot’s head. He’s got the biggest pedal rack known to humanity, and Dermot was like a kid in a toy shop throughout’ - Denny Doherty
WATCH // 'Feel It Ticking'
However, although Potter leaves each track distinctly polished, a creeping over reliance on full blooded, radio friendly choruses emerges. These eventually become overwhelming over the course of the album, disrupting the lyrical focus. ‘Glass Waltz’ is a perfect example, dominated by a killer hook and little else, aside from vague lines about finding freedom. Denny Doherty might claim, "Music has to have a connection, if it comes in right, it can punch you in the face and these songs all have that effect on me. I don’t need a second opinion on that", but a little more direction is necessary if The Plea are to make their demands heard and reach the next level.
Ultimately, A Dreamers Stadium is a promising debut, with some moments of real quality. It roars at you, buys you a Guinness, and not only offers itself as a party animal but also a companion with whom to drown sorrows. If you like your rock brash and engulfing, and take it for what it is, you won’t be disappointed.
I’m buying a ticket to the stadium, just don’t tell the purists.
Worth listening to:
- 'The Odyssey'
- 'Staggers Anthem'
- 'Feel It Ticking'
- 'Praise Be'





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