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Press Articles ........................................................................................................ 20th February 2014 SLIGO WEEKENDER Download interview with Sligo Weekender by clicking the link: Kieran Goss interview with Sligo Weekender, RETURN TO TOP ........................................................................................................

29th & 30th August 2011 SCHWÄBISCHE ZEITUNG Download a two part interview with Kieran by clicking the links: Part 1 / Part 2 RETURN TO TOP ........................................................................................................

They’ve turned it up to within an inch of its life. That’s a balancing act, and as you get older, you get to do it better.

So I think I’ve learned to talk less during my shows, because it can distract from the songs.” PEOPLE WHO AREN’T on intimate listening terms with songwriters such as Leonard Cohen have a tendency to consign his work to a dustbin labelled “depression city”.

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“For me, I keep writing until I know, in some instinctive way, that I have nothing to write about today,” he says candidly.He’s not in hot pursuit of the lightning hit or the instantly hummable three-minute wonder. Das kennenlernen französisch Maybe that’s what comes from maintaining a career for two decades and making eight albums.Kieran Goss’s eighth album isn’t quite as shiny and happy as his early writing, or indeed as his affable on-stage persona. Having lost both his mother and sister-in-law to cancer, as well as supporting his wife through her own recovery from breast cancer, Goss has taken a pummelling in his private life.Still, there are artistic riches to be found in adversity, and Goss isn’t the first songwriter to discover that.

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The depth of the songwriting demands repeated listening, and return visits are amply rewarded, with layers revealing themselves slowly over time.Goss is more than comfortable with such patient appreciation.The truth is that great art is often the product of personal crisis.John Martyn’s classic album, mightn’t have seen the light of day were it not for the personal grief he experienced (Martyn composed the title track in response to the suicide of fellow musician Nick Drake).I’ve been on the edges of commercial success and I’ve seen the fickleness of it and how transient it is.

Of course, we all love our little bits of fame and recognition, but you also have to recognise that what it’s about is the work, and the quality of the work.” “I genuinely do believe that part of that package is that the tide comes in and the tide goes out.

“I would like to think that really good performing is about being yourself, but you also have to know that it’s an amplified version of yourself.

You’re turning up the colour on things that are genuine, because you are entertaining people who’ve come out and paid good money to see you.” “What loses me, though, is when I go to see an international artist and it’s like a West End show. When I go to a show, I need to feel that I’ve really got some genuine communication with that person.

At some point, I think every artist fears that they’ve done what they’re going to do, and that there’s nothing more.

But you know, we all need time out.” “You don’t stop being a writer. If you don’t allow that in your life, then you’re allowing your ego, your sense of what the world expects of you, to dictate the terms for you as an artist.

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