Interview with Christine Deady

Christine Deady is a  singer songwriter and proud and lucky mother of two wonderful children from West Cork. Christine has been invited to tour with the legendary Paul Brady, played support for Cathy Davey, Mick Flannery, The Frames and Marketta Irglova.
Her most creative project is her children and she is currently enjoying a life of cherishing them alongside a glut of hens and two donkeys in Clonakilty, West Cork.

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0:00
Welcome everyone. This is Aideen from confidence and singing and my guest today is Christine Deady. How are you? I am really good. Aideen Thank you so much for having me. Oh, no, thank you for joining us. It’s gonna be a really fun conversation. I’m really, really looking forward to it. Let me introduce you a little bit for any listeners who don’t already know here are okay. Christine Deady is a singer songwriter from West Cork, and lucky mother of two wonderful children, wife to climate scientist Paul Dean, and proud owner of three chickens. Christine has been invited to tour with the legendary Paul Brady played support for Cathy Davey, Mick Flannery, The Frames and Marketta Irglova. And Christine along with Enda O’Reilly, won the Christie Hennessy songwriting competition in 2012, with at the song Follow the Water. Her most creative project at the moment is her children. And she’s enjoying a life of cherishing them alongside the hens and two donkeys in her wonderful home in clonakilty in West Cork, that sounds idyllic. How are you guys getting on at the moment in West Cork?

1:08
Yeah, really good. I think, with small children, I sort of feel like lockdown, I kind of feel like we’ve been in lockdown for five years anyway. Because when you have kids, you know, your, your world is a little bit smaller. And, and so I feel very lucky that during this time that my kids are the age they are and that that’s what I’m doing. You know, I have my, you know, tour dates haven’t been interrupted, or, like so many of my friends. And so if we’re really lucky, we live in essentially, we live in Paradise, you know, because we’re, we’re living in nature. And so yeah, it’s, you know, there’s less to complain about, I think.

1:50
And that’s really it sounds like really beautiful. But tell me a little bit about how that’s been for you as a singer songwriter, because it sounds like your focus completely shifted when you had kids. Yeah,

2:04
yeah, it did. And you know, Aideen, I think I knew it would. Because when I was recording my album, my husband, well, I think we weren’t married then. so my partner at the time, Paul used to keep saying to me, you know, get this baby first. And then we’ll start thinking about babies, so I knew. I knew I was broody. And I knew I was broody, for an album first. And I think there is a similarity between like wanting to create something, I think it’s not singular. It’s not like, it’s just music. It’s just procreation. It’s just making your home beautiful. I think creativity is creativity. And, and I knew that I would be consumed by whatever I did. And when I did my album in 2013, I was completely consumed by that. Like, it was all I could think about all I could see I was tunnel visioned. And it seems that it was very true. It’s the exact same with children. I’m completely tunnel visioned. It is a you know, it is my entire present. You know, it is what I’m doing every day. And it sort of feels like, you know, I have two identities, you know, and but actually, last year, it was so nice. I sing with this other group, this Starling Song Project. And it’s a harmony group. And we did this kind of an online gig. And my son had watched it at home with my husband, he’d seen it on, my husband put it on the telly. And when I came home, my my son was still awake. And he’s five years old. And he just he nearly knocked me over with the hug. But I think it was so shocking to him, that mommy has this other identity. And that was a shock to me, too. I was like, God, yeah, I do have this whole other side that I’m sort of not showing to my kids yet. You know, they don’t see us. And there’s less room for it, for sure. But I think from what I know, from friends who are still very, very active musicians, and there’s just like everything, it’s just timing. At some stage, my kids will need me less. And I will probably weep and mourn over that and then look for something else to feel that and maybe return to music and songwriting then

4:36
that’s perfect. I mean, there’s a lot of kind of surrender in, in that, you know, it’s like this it, this is where I’m at. I think sounds like you’ve you’re very accepting of your decision to to focus on them and you understand the value of that to them. And then the cherishing of, of this phase.

5:04
Yeah. And I think like, it’s such great advice that was given to me a long time ago, which was, like, be where you are like, and really be where you are, like, even if it’s shitty, like just be in it, you know, it’s going to pass, you know, and, and it was actually always one thing I did before ever, every time before I go on stage, I would always, like even find a secret place to going to sometimes be a bathroom, some two sides of the backstage, wherever it was, I would find a place to kind of say like, a small little prayer to myself. And my prayer was always like, to just be in myself to be in my music, to be in the room, because it’s so easy to be in your head and to be in the thinking about the plan, or, you know, to be heady. And I think it’s such such a gift in life to actually just to be in it, to really be in it, to be in your life, you know, whatever that is, in your day, you know, in the moment,

6:13
it’s great advice. And for you. Did that help with nerves when you were performing? or?

6:22
Yeah, absolutely, absolutely. It helps with nerves. And because I think it brings you into the room. And, you know, instead of kind of how I used to think I used to try to picture like how the gig would go as a way of kind of combating nerves. And I don’t, yeah, and then I felt like any, any time it would be anything other than that picture, it would throw me. So I found it was much better to actually just to be spontaneous, you know, like, you can actually just be in the room. And if you can come in, come on to the stage and meet the audience where they are. And if something funny or silly is happening, or there’s a noise, to actually acknowledge it. And instead of being like, no, this is what I’m doing this how it’s going to go. Like, the gift really, is actually to be in the world with other people and to invite them into your world, like through your songs. But you can’t just expect to invite anybody in, if you’re also not open as well and be like, Oh, yeah, it’s, I can hear the rain, and it’s pounding outside with rain tonight, I hope you can hear me and yeah, you know, like, just those really small gestures of, you know, slowly coming into a room. And I think it really helps like with, you know, a lot of people would say, like, it takes three songs to get in to the gig. And then after third song, you kind of start to settle. But I feel like you can do things to bring you in a lot earlier. And they’re all just presence things, like being just being Yeah, bringing yourself into the room, acknowledging the people and making it eye contact, you know, the scary stuff that you tend to avoid when you’re nervous or heady, you know?

8:15
Yeah. And did that, was that something that you learned? Just through experience? What like, how nervous were you when you first started? Tell us a little bit about your journey with your singing and your songwriting? Where did it start in childhood? What What was your experience?

8:33
And so, um, my I come from, I come from a really big family and my, my siblings are quite musical. And when my, when my brothers were teenagers, I think I was maybe 13. And they were kind of three and five years older than me. And they used to jam out in this hairdresser’s salon in Skibbereen. And one time I joined them. And you know, I think I was just casually just passing through on the way somewhere. And my brother Brian said, oh, I started singing. I don’t know, I usually wouldn’t do that. But I started singing over what they were playing. And my brother Brian said, oh, pick up the mic. And then I picked up the mic. And I was so shocked by what was coming out of the speakers, because I thought the speakers were broken. And I was like, I was pointing at the mic going, what’s wrong? What’s wrong with this? And he was like, what do you want? What is it? What do you mean? And I was like, like, what there’s something wrong with this. And then, you know, after a while, he was like, sorry my nickname is Daisy, he was like Daisy, that’s your voice. And I was like,

9:48
that’s not my voice. And he was like, No, no, that’s your voice. That’s actually what you sound like so and then he like went on to explain to me that my voice that I’ve heard In my head, which was the only voice I’d ever heard my whole life, the voice that I hear from the experience of being in my body is not the voice that other people hear. And he said, Dais go home and record yourself on a tape recorder and just listen back to your voice get used to the sound of your voice. And I was like, that’s not my voice. And I went home when he did that. And I actually cried. I cried, because it was so shocking to me the sound, the sound was so unfamiliar, and so strange, and so not what I thought, My voice sounded like, it was so strange, it was almost alien, like, you know. And that’s how I got used to my voice. And I kind of I grew up in foster care as well. And one thing I found was, what I ended up really doing was I ended up using the guitar as a way of voicing. So what I would, I would sort of use it to, like, basically, sort of, I suppose in some ways, a way of like, expressing my grief, I had so much grief. And it was a way I used to sing what I was feeling. So I just had some simple chords, and I would often just just sing my heart and you know, literally sing my heart out. And, and I would listen back. And I would cry to what I said, but it was like, it was a medicine. It wasn’t like, you know, I wasn’t, it was it was so reaffirming, it was like, I was hearing somebody sing to me how I felt, I mean, like, in no undisputed way, like in the most honest with the most honest integrity, like, you know, I was, and of course, I would just die if anybody ever heard that. It was so personal, like, you know, and, and I think that’s how I made friends with my voice. Yeah, just feeling the luxury of being sang to and being spoken to. But speaking to myself, and maybe that was a good lesson, as well for later on in music is that nobody’s ever alone, like, you know, if you, if you, if you speak from your heart, you’re going to be speaking to somebody else’s heart, you know, so speak from your heart and sing from your heart. That’s beautiful. And I’ve been known actually, when, like,

12:41
I remember one point, I was in some bad kind of mood or something. And I actually rang my phone number and left myself a voice message should you know, go and do this, you know, it’s sometimes like that, we need to hear our own voice. And here it just listening, rather than saying something to ourselves in our head. So there’s something there’s something interesting there. But it is very difficult for new or beginner singers to start listening to that. Because not everybody’s gonna sound like in pitch or sound good when you start recording ourselves. So I always say to students, don’t record yourself until you can you can be compassionate to your where you’re at. Yeah, that’s,

13:33
that’s very true. And I think as well like, because you have an internal, like version of your own voice. It is often, you often associated with another like, I think I thought I sounded like Mariah Carey. And, and I think I had a version of what I thought a good singer was and so maybe that was just, you know, Mariah Carey was what I equal to, like, well, that’s what a good singer is. And so, like back again, I suppose to begin where you are. And like, if you don’t, if you don’t have Mariah Carey’s range, then just sing in the most comfortable range that you have. And I remember, Ray la Montagne saying that it took him up quite a while to realize that singing wasn’t meant to hurt. And that when he was singing, he was actually like, hurting his throat and he thought that was okay. He was like, it took him a while to realize that’s not natural. And, and so like just singing with whatever tone whatever. Whatever key is comfortable, not exactly what the key that the song is in. But you know, what’s my key? Like, how can I sing this well? How can I sing it so that somebody else hears the message, not all the flaws and not all the you know, the exciting parts of the song, but actually the message? And I think if you think about the message, it automatically makes you sing in the right key, because there’s integrity there immediately. It’s like, Okay, how can I deliver this and you automatically you’re going to deliver it to the best of your ability, which will be with what you have.

15:19
I’d love that. I actually do say that to students quite a lot about the message, because I work a lot with beginners. And when someone sings imperfectly, or whatever, but they do it from the heart, all sins are forgiven, you know, you could have someone in floods of tears from what you’re singing. And it’s I’ve had some amazing students that have kind of taken that to heart and brought their heart to a song. And the the feeling from doing that is for the singer as much as for the listener, it’s absolutely profound. and beautiful. Yeah, that’s really good advice. Yeah. And, you know, I think sometimes people who don’t normally sing they have this, that they really don’t know how to start a song. And so if anybody listening has trouble, you know, kind of starting a song, obviously, try and learn it and try to know the words or whatever. But the first step is to guess, like, your note, there’s no button that we press, that’s the right button the way on a piano, you know, you find the middle C or whatever, and you press that one is the right note. We can see anything that’s going to help us to find that note, you have to actually do it. And then you get some feedback, you’ll feel whether it’s right or not. But my philosophy that I teach my students is that good singing is just good guessing. Yeah, I think you have to just go for it. And the more you’ve gone for it, the better you get at guessing.

16:52
Yeah, that’s so just try. Just try. Yeah, yeah. I didn’t know actually, because I was doing this interview, I just picked up my guitar this evening, for the first time in a while. And I usually, so I just automatically started playing this song. And then I realized, Oh, I usually sing this, at least, I think, I think at a tone up, but I just started singing it where it was, and I just something just clicked and I realized, oh my god, this the key I should be singing this song in. And again, it’s like the, the difference between, you know, I was thinking why? why did why have I always sang it in this key? And I thought, oh, is because it sounds nicer, it’s higher, it’s kind of the chorus comes in and you know, with there’s a big jump in the chorus. And that comes in really high. And then I thought, oh, but when I sing it like this, the message is, it’s more about the message than the melody. And I think that’s a choice you you do make. And you know, by the feeling of it, when I think when I sang that particular song in a higher key. I felt like it sounded nice. But when I actually sing it in the lower key, I feel like it’s heard. And my experience is different. I’m, I’m, I’m listening to what’s happening in the sound, because I’m experiencing it more myself.

18:22
Yes, really, really good advice. And I think recording two different versions of a song, one is slightly higher, one slightly lower can tell you a lot. Because I work a lot with groups. I’d often say to the other students, which one do you think and there’s usually a consensus. Oh, my God, yeah, that one, because they’re feeling something from the song. And so that’s, it’s really good. And, you know, for people who don’t know what a key is, or anything like that, it doesn’t matter. Like it’s just sing it higher or seeing it lower. But experiment with it, you know, and and that will help you feel around for where it should be because there is no right answer. It’s just, you figure it out as you go.

19:05
Yeah, and other people will help you figure it out, too. You know, like, like, for a very, very long time. I never knew what key I was singing in. But I always had fantastic musicians around me. And you know, you can sing something, and they’ll figure out the key for you, you know, so, you know, it starts with you. If you’re delivering the message, it starts, it begins with you. And so you, you do what you can do best and everybody will be better for it around you, rather than trying to, I mean, like it’s sort of life advice rather than trying to fit in. And like, you know, to come at it with like, this is the best I can do. This is this is how I can present this the best way that the message comes across and so whatever key that’s in, let’s do that. And then somebody will say that’s a D minor, like cool, great D minor sounds great.

19:57
And I think a lot of people who do singing in school And they do a lot of maybe choral stuff or musicals, they’re very, you know, this key is set in stone, like you either fit or you don’t fit in. And it can be very discouraging if you’ve got a lower voice, or if you haven’t expanded your range or haven’t practiced a lot, you have a limited more limited range of notes that you have access to. And if you like, a lot of people, that’s where the hang ups come in, from young age, because they didn’t actually fit in with what the teacher decided the best key was.

20:36
Yeah, that’s absolutely true. So many people get turned off music by as a single approach to it, you know, just being very singular. And, and I think I, you know, I like singing is it’s such a human instrument, that even every day, it’s different, you know, like, I, like, you know, I, I sing in a few different singing groups. And sometimes I’d noticed, actually, I automatically go to Alto, but sometimes the tenor line really, just, you know, maybe it’s like 10 o’clock in the morning, and it just really suits me. And I just, you know, it just took me a while to realize, Oh, yeah, I can just move to tenor, I can just move to tenor for this song, like, you know, and to allow yourself the freedom of doing that, that like, you have a human instrument. It’s not, you don’t just string it and tune it every morning. You can improve the tuning by doing various exercises and such but it’s like your humanity is in your voice. It’s such a beautiful expression of, you know, how you’re feeling, who you are, what’s going on in your moment, at that very moment, that day. And just, yeah, allow yourself to have that, you know.

21:52
Yeah. Beautiful. Tell us a little bit about that first album, so you’d been gigging a little bit beforehand. And I know you’ve had some amazing opportunities to open up for for some amazing acts. Tell us a little bit about, you know, how, how, was it important for you to have an album of music? Why did you decide to do that then? And was there any mental blocks that you had to overcome in order to do that?

22:27
And I had previously tried recording an album a couple of times, and just things kept happening in my life that were just railroading me from it, you know, just, I think. I think, you know, timing is so, so, so important. And what actually eventually happened with that, I went back, so, I I’ve been getting for years and years, I did loads and like, I was gigging maybe five and six nights a week at one stage for maybe two years, all around Ireland.

23:03
And were you singing mainly covers at that point. Were you singing your own music? Yeah,

23:09
so I actually I never did, I never did cover gigs. I just I always went out with originals. And I you know, maybe it was the timing I found was so good. At the time, there was loads of singer songwriter, the singer songwriter scene was really, really strong. And I could drive from Dublin to Wexford, or Dublin to Kilkenny and to West Cork, where I live now to Debarras and there would be an amazing setup and amazing audience, people who really wanted to listen to live original music. And it was, it was just a pleasure and a joy to do that. And, and after, so I think maybe I didn’t… and I think this happens so often with songwriters and singers, particularly if your instrument is your voice, sometimes, you know, because there is no accolade there is no “Oh, you’ve gotten to level six or level seven” or “now you can definitely sing” You know, because that doesn’t really exist. Like it would in, say, you know, piano were something that might give you confidence. You know, I think I had it like a, maybe I had like a semi crisis in confidence or something that was even though I’ve been getting a lot of external validation. There was something in me that was like, oh no, like, I don’t, I can’t read music or I can’t you know, so I went and I went back to college and I studied music in 2012. And that was very it was sort of the opposite of what I’d been doing. I’d been doing so much. I just been following my… like I would I would usually write songs by going for walks. And the more alone I was, the more melody arrived, and I would just put it on my phone, just record it. And then when I’d go home, I just try to figure out some simple guitar to it. And then the song would just emerge, you know. And then when I went to college, I kind of wanted to understand, oh, well, you know, how to build on chords. And maybe, you know, I did piano as well, when I was in college. And just to understand music, I felt like I needed to, I needed to have that understanding. And then because that year was so intensely theory, like it was very theoretical, that when I finished college, what I did was I gave up my phone for three months, I just didn’t have a phone for three months. And I felt kind of burnt out really, by the theory side, maybe it wasn’t really my natural place to be in, to be like, just really thinking about music like this, you know, and to be doing assignments on musical theory. And it was more mathematical to me than it was you know, about musical music, in a way, I don’t feel like I understand music any better. In fact, I feel like what it did to me is validate oh, I’m musical, I just don’t, I just don’t, you know, my brain doesn’t work in a “writing it down sort of way”. But I’m musical, what I’m doing is musical, you know, and, and that’s summer when I gave up my phone, I think because I felt like my head was just, like, I just had too much in my head. And a whole load of songs came to me, it was the most creative summer I’d ever spent. I just, I was just waking up singing and waking up writing. And then I just kept a journal next to my bed. And I just write anything that came into my mind. And, and so I think it may be that that chorus had a delayed effect on my, I kind of went at it quite confidently. And but I sort of felt like I needed to forget it and step away from it, in order to tune back into my creative self again, like, and the emotion of songwriting. And I feel like when you write a song, you don’t write about something mediocre, you don’t write about, like, that’s why there’s so many love songs, you don’t write, like write about sort of liking somebody, it’s you know, you have to be compelled, you have to want to, you have to love them to do it, or you have to hate them to write that song or, you know, it has to be it’s like a compelling emotion that begins first, and then it’s just channeled through this song or this, this voice or this instrument. And, yeah, I found the album. Yeah, I wrote so many songs that it took a lot of shortlisting to get it down to 12 tracks. And it was a pleasure.

28:04
That’s wonderful. And I think I can identify with what you’re saying about, you know, studying music and feeling like it nearly sucks your life out. Because it can be. I mean, I studied psychology as well. And I remember one reason I teach now is because I love the psychology of of how you learn and what the blocks are for people to start singing and to see themselves as singers as adults. And one of the things that, that I have an interest in is that left and right brain integration because we say “play” music, and playing is really the key word. Because when we play, we integrate both sides of our brain. But most of the time in a college situation, we’re being directed to use more of the left side of the brain, which is connected to the right side of our bodies. And that’s our more logical side. And I know for me, I got to a certain point with my college course and was like, I just don’t want to do it. And I got really discouraged after my course as well. But it took me a few years to come back to music again because I studied jazz music and I was kind of coming back to finding my own my own voice again because yeah, certain styles of singing bring you to certain type of voice so people who do a lot of choir, choral stuff or a lot of musicals, they use a certain voice for that and what would you say to someone like that that’s trying to to find that authentic part of their voice after after moulding themselves a bit to fit in? Yeah.

29:47
And I think it takes time. I think time it’s not something that happens overnight. And I think the main thing would just be to notice to keep keep track of like, because I know sometimes I used to be, my experience of singing would be exhausted. Like, and that’s not, that’s not sustainable. If after a gig, you’re actually exhausted from the act of singing, can something is not right. And so yeah, I’d say just really take take note of what’s bringing you.. what feeds you in it, you know, because I feel like sometimes if you’re, if you’re doing something that emulates somebody, somebody else, it’s nice for a while. And but after a while it gets, it gets a bit dulling, like, you know, because it’s, I feel like there’s something else that always wants to emerge. And when once you tap into that, I think sometimes it’s only a glimpse, we’re like, like, I know that when I start writing a song, I could have seven minutes, just a recording of seven minutes of stuff. But it’ll be like 30 seconds, or 10 seconds of “I love that’. And when I’m listening to it, I remember how I felt when I sang that. And then I know, I know, I know, I’m onto something with this, and then I zoned in on that part. And then I make the song out of those 10 seconds, or 20 seconds, or even a line, it could be a three second line or phrasing. And then the song becomes around that, like, that’s the foundation, that’s the root. So find your, whatever your whatever the thing is that like brings you into it, whether it’s whether it’s the type of music you’re singing, or how you feel when you’re singing it, or what you’re singing about, find that thing that makes you want to do more of it, like makes you nearly want to wake up in the middle of the night and do it… that it’s natural that it’s, like nearly pouring out of you. Because I think everybody has it. It’s just like, it’s just an expression, like the voice is just one of the many ways of expressing ourselves. And we’re such expressive creatures. It’s just, it’s so natural for us to sing and shout and coo and make noises and, like, look at a child they’re just constant, they’re half singing and speaking all the time.

32:25
That’s wonderful. Do you see any musical ability in your own kids now?

32:33
For my son, and I was like, looking out for it. I was you know, is he musical? And I sort of decided that he was more scientific, that he taken after his dad. But it’s funny, because now he’s five. And I can see when we’re driving, he’s trying to drum out the beat, in the song. And he’s trying to tap it out. And he gets really subconscious. But hilariously, my daughter who is, she’s 21 months old, she’s going to be two in a couple of months, she is incredibly musical. And that that was a big shock to me to see it so early because I think I when i was watching my son, I thought like oh, maybe it just doesn’t emerge for a while. But with her was very, very early. Like she taps out rhythm, she notices she like she’s instantly drawn. Like if even if I just started singing in the kitchen, she’s instantly, she’ll instantly just come in. And she’ll repeat melody, if I sing something, I’ll just hear her repeating it. Or even on the radio, if she hears something, she’ll actually emulate it. And I just think that’s incredible how young that comes in.

33:47
That’s beautiful. And but I think that there’s different ways, different kinds of minds that will work within music. And that, especially I think, when but when your son was so excited for you, you know, that kind of shows and a type of interest and the research does show that it doesn’t matter if you’re good at it early on. Or if you just work at it over time. That musicians end up in the same place of excellence or, you know, they’re they end up being good at us so long as they stick with it. And that can be a combination of the natural kind of early ability but also that interest like if he’s interested in the drumming, then and he does that. Yeah, is like he could you know, do more who knows because life is so interesting how it takes us different places.

34:39
Yeah, and I think recently, but so I was kind of looking at studying, I was looking into studying acupuncture. And and I was having a chat with a friend who’s a Steiner teacher. And she was talking about the Steiner approach and that, you know, let’s say we go to school and we kind of learn, we kind of think like, even if you’re if you have a singular interest if you’re very, very good at maths, but you also have to be good at English, you have to be good at art and you have to be good geography and history and language and, and she was saying like the Steiner approach, and I’m paraphrasing her, is like, you know, find that that interest and just open up that world, you know, and I had this thought, which is, I was thinking, Oh, okay, this course, you know, it’s really, it’s really intense. And am I, you know, am I smart enough to do it? Am I got enough time to do it? You know, can I dedicate myself to it? And I know, then I realized, you know, it’s not about, it’s never about, are you smart enough, you’re always smart enough, it’s about am I interested enough. And if you’re interested enough, in anything, you will do well, in it. If there’s that seed, it takes so little watering for it to flourish. And we’re like, that, we take so less like, you know, I see my kids the slightest bit of encouragement, and they’re like, just so open, you know, and, and I’ve noticed in myself, I’m just the same, like, you know, my husband often will say to me, “Dais, I’d love to hear you sing”, and then I’ll just, you know, reluctantly take out the guitar as I haven’t done in a while. And then once they start, like oh I love this, you know, so it’s the starting starting anything just seems so arduous and such a big deal. And then you do it, and the feeling emerges, and you remember, oh, you have a feeling that makes you go back, you know?

36:38
Absolutely. That’s so important. And it’s lovely that your husband enjoys hearing you singing my husband, when he’s can’t sleep would ask me to sing, and it puts him to sleep. So my audience kind of disappears. But it’s still it’s still of complement isn’t it. We’re going to be finishing up in a few minutes, Christina, it’s been an absolute pleasure to talk to you. And the conversations been so interesting. I’m sure our listeners are, are going to feel that, that hopefulness to try something and to go to you know, to record themselves. There’s lots of really nice nuggets and tips that you’ve given throughout your conversation. I think there’s more in it than we might realize, you know, having come to the end of it, you’re like, what did we even talk about, but I felt at the time, like loads of things were coming up, that would be really useful to somebody who’s starting off or who wants to sing or wants to songwrite. And I think recording yourself was one of the biggest ones I thought, yeah, that really helped Christine and, you know, I should do more of it. And I always feel I can improve, you know, I maybe I hear my faults when I record myself more. But it also, you know, if it’s for songwriting, or even talking or, you know, you can learn something. So if people can do it without being critical, too much of themselves, I think it can be really useful.

38:04
Yeah. Even as an act of, of, of compassion, like, you know, just to listen to to listen to ourselves and to allow ourselves to be as we are, you know, because later on you can do recording and can sound so different, you know, it’s, it’s so. We’re so changeable, and our voice is so changeable. They’re reflective of how we’re feeling. Which is just a snapshot. Yeah, exactly. And that’s what’s so amazing about live music is like, it’s the moment you’re just experiencing a moment. And the next time you see that person or that band live, it’s a different moment. You know, it’s a different experience every time.

38:44
Yeah, beautiful. So would you like to tell our audience how they can get access to your album?

38:53
Yeah. So I’m on Bandcamp under Christine Deady, “d e a d y” Yeah, I think you can order physical albums and downloaded a digital album there as well. That’s it really I have some stuff in YouTube. And yeah, that is it.

39:15
great. So everybody, definitely subscribe. I’m sure Christine’s going to go through another really intense phase of creativity when she gets her chance. If the experience after your college is anything to go by. As soon as you get some time to yourself, something’s going to happen. So definitely look Christina up and have listened to her music. We’re going to play one of your songs now. So would you like to tell everybody a little bit about the song what the inspiration was? Yeah.

39:47
And it it’s nice actually considering what we’ve been talking about that I chose peace. It’s actually not on the album. It was a song that I recorded for the flood relief here in West Cork to raise money for the flood relief back in 2010. But the song is actually probably a good example for me and a reminder for me of singing from the heart. And I wrote it just about the acceptance of relationships that aren’t how you wish they could be. And just the compassion for that and, and feeling love for people who aren’t in your life, but whom you love. And coming to peace with it. And when I was recording it, I was so, there was a few times where when I was recording it, I was disconnected to it because I felt like, Oh, I can’t sing this emotionally because it’s just going to come across terribly. And the person who was recording me said, No, sing it, sing it, how you wrote us. And now I actually love to listen to it because I feel like it’s, it’s pure, you know, it’s it’s true to its sentiment. And it was sang true to it’s sentiment and played true to it’s sentiment. So I’m actually very proud of that that particular sound Peace.

41:11
I love. I love the song. So I’m sure everyone’s going to really enjoy it. So thank you, everybody, for listening. Thank you, Christine, for joining us today. Christine Deady, look her up on Bandcamp and download some of her songs because they are beautiful. And hopefully sometime in the future. We’ll see you doing a little bit of gigging or recording again, and we’ll have our eye out for you. Thank you and maybe tune in next week. I’ll be back. Yeah, you never know. And so that’s it for today. Thank you everybody. Is there anything else that you wanted to say to our listeners before we finish? No, that’s great. Hi, everybody. Sing, sing, sing, sing. Beautiful. Thank you so much, everyone. See you soon. Bye. Bye.