Maria Doyle Kennedy

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Fire On The Roof of Eden. 
 A mammoth project – at 72 minutes – the album was fuelled by lockdown limbo and is full to bursting of nearly every genre, from folk, to the alt-pop of 'And The Wind Just Cries', to the bluegrass-tinged 'Purple Girl', to good old fashioned rock n' roll. Vocorder even makes an appearance on 'Little Siren'. But Fire On The Roof of Eden somehow never feels forced, rushed or haphazard, despite the sprawling territory it covers. 
 Doyle Kennedy maintains that the process was anything but smooth, though perhaps that's what makes it great – an entire year of lost time is somehow gained back in the Kennedys' timeless new album, where moments of freneticism are placated by haunting strings, tweeting birds, or a cat's plaintive mewing. 
 Full of mystic escapism and wanderlust, there's a stunning French offering called 'L'Amour C'est Nous', and a Spanish-inspired interlude titled 'Jerez', which recalls the time the two musicians spent living in Spain. 
 Some moments she's ethereal, her vibrant, husky voice spilling over a waterfall of a melody. And others ('Keeps On Spinning' comes to mind), she winks out phrases like, "I suppose I could set aside a day or two, have my evil way with you" – full of cheek. 
 Whether she's exploring several iterations of herself through a new frame – or because she's an actor and can't help but try on new faces – the effect of the whole thing is utterly intoxicating. 
 Tanis Smither