First Published December 2020
A BRIDGE FROM IRELAND TO THE WORLD
It’s a rare privilege indeed to have the honour of interviewing someone who you know – without even the slightest shadow of a doubt – has already written themselves into the cultural and artistic history of your country. And make no mistake about it, Galway woman EÍMEAR NOONE, one of the world’s most esteemed, respected, and phenomenally talented conductors and composers, has done just that. And in no small way, either.
Eímear is many things, all of them fuelled by a fierce passion, a soul that has the deep, instinctual wisdom of many lifetimes, and a creative spirit that is in constant, poetic motion. In time, when her name graces the pages of histories of Ireland, it won’t be reserved simply to the sections on culture, art, music, or entertainment, although none of those will truly be complete without acknowledging her impact on and legacy in all of those areas.
Eímear Noone is a trailblazer. A pioneer. A leader. A teacher. A superhero who walks among us, as one of us, but as an inspiration to all of us. She is, as I pointed out when Part 1 of our chat was published back at the beginning of November, a real-life Wonder Woman. Her gift to Irish society as a whole, but especially to young girls and women of all ages, will be deep and lasting. It will, I’m sure, provide the spark that ignites passions and the self-belief and faith that weaves a fearlessness to be worn as armour around the heart for dreamers to come who will either whisper to themselves or scream at the top of their lungs: “Eímear Noone did it! So I can, too!”
Perhaps the most brilliant of all the many brilliant things about Eímear Noone, however, is that she carries this destiny as if it were but a feather upon her shoulder.
Never, for a moment, believe that ridiculous myth so often rehashed that just because someone might possess a fantastic talent in some particular area, that it gives them free-license to be rude, or disrespectful, or ignorant, or arrogant in any other areas of their life. It does not. Anyone with some great talent but who is also all or any of those other things, is just an nasty human being with their talent being perhaps their one redeeming feature.
Eímear, however, from the village of Kilconnell in the land of the Tribes, perfectly balances the brilliance of her musical gifts with a generosity of spirit and a humanity so wonderful that it slays forever the myth referred to above. We’re all flawed in our own ways, but those who possess a capacity for genius that carries within it the force of a supernova, can also be human beings whose capacity to bring light, laughter, love, and kindness to others is potentially endless. And this we know in large part because Eímear Noone walks the earth, among us, and as one of us, while inspiring each of us to be more, be better, be authentic.
Today, Part 2 of our chat begins by taking us back to 2011, when Eímear put together a St. Patrick’s Day concert in L.A. called This Is Ireland. Given the monumental amount of work that goes into putting on any ‘live’ event, I’m sure this is something she wouldn’t have done without a genuine love of her country. But Eímear has also spoken about how at the start of her career, she “couldn’t even get a chance to screw up in Ireland.” And remarkably – and somewhat disturbingly – how one lecturer in Trinity College even referred to her once as, ‘Little Miss No-One.’ If Eímear was beginning her career in Ireland today, I wondered if she thought the country had grown up enough to love her back in a far more positive way than back then? And also, did she think she would be afforded those chances – to even screw up – today?
“Well, I’m excited to do some things at home soon. We just released a film called Two By Two: Overboard!, and we recorded the score here in Dublin, and it was just an absolute blast to do it here at home. There were players in the orchestra that I haven’t seen since music college, ya know. It was just way too much fun. It was a massive, massive dose of positivity, and I loved every second of it. And I do have some concerts coming up here that I’m excited about, but I can’t really speak about because they’re a moving target at this point [laughs]. But I see a lot of wonderful green-shoots [in Ireland]. I see a lot of old attitudes being dropped. They’re just not appropriate in 2020. And the other thing is, I’ve been very frank about these things because I feel like the younger ones coming up behind me, by me being vocal about it…it’s not a weirdness or a bitterness or anything like that. I look back on these things with a kind of curiosity at this point, because they almost feel like they’re something out of a movie. I’ve been vocal about how inappropriate those things are. When I told my brother about that lecturer saying, ‘Well if it isn’t Little Miss No-One’, my brother goes, ‘Well No-One’s perfect!’ [laughs]. And I was thinking well why weren’t you there?! [laughs]. So I can joke about it. Everything like that, I’ve always turned it into a joke or a gag, because it’s so ridiculous. I’d be initially stung by it, but then I’d go, well hang on a sec. This is just mental! So I’m vocal about it purley so that the ones coming up behind me, when they find slings and arrows coming their way, they know they can say that’s inappropriate. Or just that it’s irrelevant! I was told that I didn’t have a chance at a career because of my gender. And someone from The Irish Times asked me that recently, what would I say to a young woman who was told that today. And I said, actually, you can’t tell that to a young Irish woman today! Because there are already a few of us out there doing it. So it’s no longer relevant [to say something like that]. And that’s wonderful, where something like that is no longer relevant, or has no basis in fact. It never did have any basis in fact. Those are energy-drains to me, those kinds of things. They drain a creative person’s energy. And that’s not helpful to anybody. That’s not helpful to the audience. You want a young artist putting their energy into creating beautiful things for the audience. By draining their creative energy, that’s just a complete waste of energy on every level.”
Eímear continued, “Now I have to say there are certain things that I love that are happening in Ireland right now. I absolutely love that the National Concert Hall has a female conductor’s program, which I’m very proud to be a part of. They have a wonderful colleague of mine, Alice Farnham, they brought her in to set up the program. I’m thrilled about that. And also, I have to say IMRO does amazing work, and Screen-Skills Ireland in terms of preparing people to work in films and video games. We have some amazing groups of people doing wonderfully positive work here. And I’m getting to know more about that since we came home. We came home for a year so that I could do all my European tours, but also to work on that Irish animated film, Two By Two: Overboard! I became reacquainted with the industry here, especially in the world of animation in Ireland. It’s just stunning what people are coming out with, the level that they’re creating at. I feel like the attitudes in the music world are changing. I feel like we need a bigger platform to get the work of female Irish singer/songwriters out there onto the world stage. I feel like that’s an area that needs a big kick in the pants. Because you’re no longer competing in Ireland, you’re competing with the whole world. When I’m in L.A., I see my colleagues from Finland and Iceland and they have such a massive presence for their population size. But they definitely work together to build together a bridge from home to the world for their artists, in a very consolidated way, and a very targeted way. It’s absolutely amazing, the kind of penetration they have in both arts and entertainment. I feel like we have more of that in the film industry, than we do in the music industry at large. And that’s not the fault of the music industry, it’s that the music industry as a whole has been taking a massive hit since the early 2000s, so it’s a smaller industry in general for us to play in.”
Eímear had mentioned in her answer to my previous question the people who would be coming up behind her, and that reminded me of something she had said about Oscars producers Stephaine Allain and Lynette Howell-Taylor. She said, “They’re amazing producers and when they’re having their moment in the sun, they’re reaching back to pull somebody else up – like me – and then I have my arm out for someone else, and that’s a chain of events that they’ve set in motion.” One of those for whom Eimear has reached out her arm, bringing her and her work to an even wider audience, is the incredible Irish designer, Claire Garvey. I asked Eímear to tell me about the connection she and Claire share…
“Claire and I met through a photographer friend called Frances Marshall, he specialises in photographing classical musicians. She just felt that we’d hit it off. At the time, I was sort of sick of the black jacket, I wanted to do something better. Especially for video game audiences, half the audience were showing up looking like they were going on stage! And here I was, I just didn’t feel like I was doing enough to meet the support that they were giving me. So I wanted to do something extra. And also I wanted to break out as an artist. I wanted to express who I am on the inside as well. So I met Claire, and we just hit it off instantly. She has a way of getting into my mind that is just a little bit scary [laughs]. So we’ve worked together many times over the last few years, so much so that when I got the call about the Oscars – after letting my mother know – the next person I called was Claire Garvey! I was like, ‘Claire, we’re going to the Oscars!’ [laughs]. I really felt a responsibility to her work that when I was there – because basically what Claire creates is a piece of art – and I really, really felt that I was the stick inside the piece of Claire Garvey art walking on the red-carpet [laughs]. And we had this weird moment, Claire and I. I was talking to a producer friend in L.A., and my friend said, you know what, it has to be gold, you have to wear gold. And I’d never done that before. I don’t think I’ve ever worn anything gold in real-life. But my friend said, ‘No, no, no, it has to be. It’s a symbolic moment…’, and all of this, and she convinced me. And this is the thing that Claire always does with me, she pulls me a little bit more out of my shell all the time. Classical musicians, sometimes it’s hard for us to do that because we feel so much in service to the music. So I called Claire, and I said, ‘Claire, you’re gonna think this is a mad idea, but my friend Juliette said it has to be gold.’ And Claire started laughing on the phone, and she said, ‘I can’t wait to tell my husband!’ She said, ‘I’ve started it on a mannequin in the living-room…and it’s gold!’ So she had already picked that up from the universe, which is typical Claire. I brought my aunt Marian with me for the first fitting, and my aunt just put her hand to her mouth and gasped when she saw it. Claire had outdone herself again. It was just the right person, ya know. Designers were offering me things from all over the world, but this was the right person for this moment. It wasn’t because she was Irish, it wasn’t because she was a female designer. It was because she was the right designer for this exact moment for me. When I tried on her work, I felt like I could embody that moment. I felt strength from it. I felt strong when I was wearing it. And the other thing is that we’re both influenced by Grace O’ Malley. So there was a little bit of that in there as well! [laughs]. Claire is amazing. There’s only one Claire Garvey!”
For Warcraft, Eímear created a piece called Malach, dedicated to her son Aaron, whom she sadly lost in 2012, and she described it as being, “the epic adventure he might have had”, a most beautiful and tender way of explaining Malach and why it came to be. I wondered if her work often presented the kind of space or opportunity to put as much of herself into what she creates as Eímear did with Malach?
“Well, I think, like a lot of creative people, I work through things. Through psychologically and emotional hurdles. I work through it in music. Artists from every discipline do this. Sometimes for me, it’s the only way I can work through it. One of the things that came up recently is for the film that we just did, there’s an end title song. And writing in lockdown, and creating in lockdown, was like trying to create with weights on. It was just so hard. The negativity around this awful pandemic, to any sensitive person it was overwhelming. I found that the end-titles song, the lyrics, all of it – everything pertained to the film and the story of the film – but every single line was about the situation that we were in as well. I’ll give you an example. And I can tell you because the film is out in the UK and it’s out in Germany, we’re waiting for the cinemas to open here. We have the beautiful Sibéal Ní Chasaide singing, and Frank McNamara on piano, and we have a music video to go with it. But the chorus goes, ‘When all around us has come undone/ Our dreams on hold, and our songs unsung/ We can’t go back to what we knew/ But I stand for hope when I stand with you.’ That last line is absolutely 100% inspired by us standing on the doorstep and clapping for our frontline workers. And for us, that was extra hilarious because we were out in the middle of the countryside and the only people who could hear us clapping were the crows in the trees! [laughs]. But we did it anyway. And that’s where that line for the song came from. Even the music video for it, for the big choruses, we couldn’t get a choir together. So I said to Moe Honan, the producer – our fearless leader [laughs] – I said, ‘Listen, why don’t we have everyone who worked on the film be the choir?’ So our choir is all our animators and their families, and our director and our producers. All of us that worked on the film, we all recorded ourselves at home with our families, and our dogs, and our babies, singing the chorus of the song. Because it really is a gift from us to everybody. We all went through the wringer to get it done, because getting locked-down delayed the film by months, of course. Strangely enough, the writers captured the spirit of the zeitgeist, and there’s this unbelievable correlation between the theme of the film and what’s going on right now. It’s incredibly hopeful and uplifting. It’s kind of one of those things where this giant metaphor is unmissable in the film, but it came before the pandemic, and before all of this political turmoil and the stuff that’s going on. The political turmoil in the U.S. of course, I mean. Yeah, that’s my way of working through what’s going on. And I couldn’t believe it took me like two days to write every line of the lyric. It was just so hard to create in that time. But then, I had this song, and every time I played it on the piano, I felt like I was expressing what I was going through, what I couldn’t really find the words to describe or adequately convey what I was thinking. But I worked it out in the song. It’s called ‘Stand For Hope.’ And the theme from the chorus is throughout the movie. When we were writing the score, myself and Craig [Stuart Garfinkle], my husband, I wrote this theme we called ‘The Hope Theme.’ And we didn’t know there was going to be a song at the end, it just came out of the Hope Theme. It was a very organic process. And then we called our beautiful friend Sibéal, who we’ve worked with since she was fifteen. And of course I called Claire…that’s just a hint, that’s all I’m gonna say [laughs]. She gets dragged into everything around here. But you’ll see everything when it comes out.”
One of the things I noticed when preparing for my chat with Eímear was that she says so many things that are worth paying attention to, and giving serious thought to. Again speaking in relation to the Oscars, Eímear had said recently, “Little girls everywhere will see this and say, ‘I think I’ll do that.’ And that’s what we want.” So, I put it to Eímear that she’s obviously aware of how big a role-model she is, and that being so, I asked her how does she carry the weight of that responsibility?
“I think if you’re in the public domain, if you’re out there in public doing what you do, you have to be aware of the repercussions of how you carry yourself. It’s not that I want to be a role-model, or that I’m looking to be a role-model, nothing like that. It’s just about [having] an awareness of how you carry yourself in the public domain. When I was growing up…and I love the expression -which isn’t mine – ‘if you can see it, you can be it.’, and that’s especially poignant for me, because when I was growing up I couldn’t see anyone who looked like me doing what I wanted to do in Ireland, in my home country. And what I didn’t know, was that she had existed! And it wasn’t even that she’d been written out of history, but she hadn’t even been acknowledged in Irish music history in the way that I think she should have been. A woman called Alicia Adélaide Needham. I posted something on Facebook when I was putting together a program of women composers, and one of my brothers teachers from Garbally College in Ballinalsoe, Johnny Johnston, said ‘Don’t forget about Alicia Adélaide Needham’, and much to my shock, I had never heard of her! I thought have I just been completely blinkered, what is this?! So I asked some other composers that I know, and none of them had heard of her either. She was the first woman to conduct at the Royal Albert Hall, and she’s from Dublin. She won a massive international composition competition, that was championed by King George. But if I want to study her work, I have to go to Oxford to get a hold of it. So, all the while that I was growing up, there she was! And when I was told that I didn’t have a chance of a career because I was young, Irish, and female, I could have said well if Alicia Adélaide Needham did it as a suffragette in the early 20th century, why on Earth wouldn’t I do it now? But I couldn’t say that, because I didn’t know she existed. And that really hits me in the heart. So being out there, and being visible, is important purely because I don’t want that to ever happen again to a young Irish girl who has this mad imagination, and this mad dream. Because if you can see it, you can be it. But also, if you’re very visible out there, it takes away the power of the naysayers as well.”
~ The animated movie, TWO BY TWO: OVERBOARD!, from Moetion Films, and featuring Eímear’s song Stand For Hope, is out now. The official music video for Stand For Hope, performed by the magnificent SIBÉAL NÍ CHASAIDE, and showcasing yet another awe-inspiring creation from CLAIRE GARVEY, is also available to enjoy now on YouTube.