Ian: GazeFest is now in its fourth year, how did the idea originally come about, and what gap did you feel it filled in the Irish music scene when you launched it?
Michael: The idea was born while I was bored working from home, sat at my kitchen table and I was thinking of new things to do for the year in terms of promotions. I’m always trying to push forward and evolve, explore new ideas and give audiences access to new music. I was in Virgins at the time, and now in Silk, so I’ve a real love of shoegaze and there was such an explosion of shoegaze or gaze-influenced bands in Ireland at the time, so I wanted to shine a light on the scene and the talent our country is creating. Then the idea grew from let’s make it an all dayer, to let’s do two dates, one in Dublin and one in Belfast. By lunch time I’d venues booked and all the bands confirmed. It was all very spontaneous and exciting. I’m not sure it filled a gap, or at least I didn’t think of it like that, but I think it helped provide a centre point for that scene here and maybe opened up an opportunity for young people to experience it. It means a lot to me now and from speaking to people and bands at the shows over the last four years it means a lot to them as well, which is a very special feeling for me.
Ian: Looking back at the first edition compared to GazeFest 2026, what’s the biggest sign of growth or evolution that stands out to you?
Michael: The first year was all very much like let’s throw it at the wall and see if it sticks. I’ve been promoting shows for a long time now but until that point hadn’t really done anything of that scale. I was lucky in that it seemed to be something people had a desire for. I’ve had one year sell out in Belfast, and been really close the other two. Last year in Dublin the crowd was the biggest I’ve seen at any of my Dublin dates which was incredibly exciting. The two big markers for me are that people travel to the festival, every year I’ve a strong Scottish contingent travel over and I’ve had people from Germany, Italy and Australia all make the trip, which is mind blowing! The other, is that bands actively try to play the fest now, it’s got a little bit of a rep which is cool. This has allowed me to bring over bigger bands from the UK, last year I had Whitelands for their first ever Irish shows and this year I’ve got Deary which is incredible. I just get to book all my favourite bands!
Ian: Over the past three years, what have been the biggest lessons you’ve learned, whether from logistical challenges, programming decisions, or unexpected mistakes?
Michael: I do this all myself, I book it, I do the art, I stage manage, I manage the day, I also play every time (twice last year) so it’s a lot of work. The most stressful part is ticket sales, there’s obviously a substantial cost to running the festival so I’m always refreshing emails to check if they’re selling. I’m slowly learning to just trust that the gaze will deliver and it’ll all work out fine! I’ve been lucky in that everyone I work with has been really great and are all on the same page, so the bands make it run seamlessly and the crowds always make the days feel really special.
Ian: As someone running it through Old Crows Promotions, how has organising GazeFest shaped you personally as a promoter?
Michael: The main thing I take away from GazeFest every year is the feeling in the room. I run a lot of shows and for whatever reason GazeFest just cultivates this feeling. It’s 14+ but the crowd is split across all age groups, some parents are bringing their kids to their first show, some kids come with their all friends and it’s their first show, all the bands are all doing it because they love that genre, the crowd are there because that music resonates with them. Everyone is so respectful and it is very much a safe space. I think that all contributes to whatever happens on the day and in that room. There is a little bit of magic there. Sometimes, being a promoter is kind of a thankless job, so those little moments make all the stress and worry and sleepless nights all worthwhile.
Ian: This year both nights are headlined by dream-pop royalty, Deary! What made them the right choice to lead GazeFest 2026?
Michael: I’m so excited to have Deary for this year’s GazeFest! I’ve been such a fan of the band since they released their first single ‘Fairground’ back in 2023! I really loved their last EP ‘Aurelia’, I remember when they announced it I was kinda annoyed cause I had thought of that as a title and then they got there first! So last year I had Whitelands which was a huge deal for me, and I brought Slow Crush over for some shows, which was insane. So, I was looking around at who I’d want to bring over from the UK and Deary were top of that list, I was just lucky they said yes! They’re so innovative and really push the genre forward, their song writing is so sharp and I think from what I’ve heard of the forthcoming new record this will be another big step forward. Again, I’m just booking all my favourite bands, so I get to play with them and let the good people of Ireland go see them!
Ian: The 2026 line-up features a strong mix of artists including Silk, Sunstinger, Skyless, Touzai, Resplandor, Cable Boy, Midnight Housework and Ilisium. What was your approach to curating this year’s balance between local talent and international acts?
Michael: This year was the first year I opened the festival up for applications which was new and I took a few bands from that process. I’d over 80 applications to play which was absolutely insane, from bands from all over the UK, EU, America, Philippines and even Japan! I don’t really know how to get my head around the fact that the festival has that kind of reach. The festival started as a way to shine a light on local talent but then I thought it was important to bring shoegaze bands here that people might not otherwise have a way to see. It’s very much a consideration when looking at line ups, I want to balance a number of things; I want to make sure that there are Belfast and Dublin bands on the line up, I want to ensure that the line ups are made of a diverse range of musicians, of different ages, from different backgrounds, genders, race and sexuality. Music was always meant to be inclusive, so that’s important to me. This year Resplandor are coming from Netherlands, which is another step in expanding the festival, which is incredibly exciting. Honestly If I could I’d run it over two weeks and put everyone on!
Ian: Was there a particular act on this year’s bill that felt like a ‘pinch-me’ booking moment for you?
Michael: Deary for sure! Old Crows has always just been me, there’s no ‘team’, and I’ve just figured this out myself by persevering and learning what I can from every little interaction and every show. No one has ever sat me down and shown me what to do or how to do it. So, booking a band like Deary always spawn’s a little ‘I can’t believe this is happening’ moment. Then I have to click back in and be like OK so what’s next, lets go! I don’t think that’ll ever go away.
Ian: GazeFest 2026 kicks off on August 28th in Dublin at the iconic The Grand Social with a four-band showcase featuring Deary, Silk, Sunstinger and Skyless. What atmosphere are you hoping to create for that opening night?
Michael: Opening night always has this electricity to it, there’s a buzz. I’m running round making sure everyone has what they need, bands are meeting each other for the first time or reconnecting. And in reality I’m probably super stressed and freaking out wondering if people will show up and then doors open and then it just takes on a life of it’s own. I’ve lots of friends now in Dublin so it’s always great to catch up over the merch stall. I get to play and I get to watch some incredible bands. In terms of trying to create an atmosphere I just try and make everyone comfortable and the night runs smooth. Beyond that, there’s something else takes over and I can’t qualify what it is, but it’s palpable.
Ian: The main event is a 14+ all-dayer on August 29th at Belfast’s Oh Yeah Music Centre. What inspired the decision to make the Belfast date an all-ages show, and how important is it to you that younger fans can access shoegaze in a live setting?
Michael: When I was growing up there was this punk venue in Belfast called Giros(or the Warzone), it was all ages, BYOB, ran by real punks, like not just fashion, built around that specific set of values. Every weekend there would be bands and we would go regardless of who was playing. I saw it as an education, seeing all these incredible bands who would come up from Dublin, or touring bands from EU or America. All that instilled an outlook, values and attitude in me which put me on a path that I’m still on today. That was such a vital resource for me. I feel a responsibility to try and create opportunities for young people to experience local music, to play those shows, see how it works, see you can be successful in a band. Because without those opportunities how will they ever know that they can do it too. Like playing a room of 300 people is just as important as playing the 3Arena or the SSE Arena, if not more so. You don’t need to Jimmy Page, you can be Henry Rollins. Maybe I’m showing my age with those references! So I think its vital young people see and hear local music and I do feel like if you’re participating in your scene there is almost an inherent responsibility to help perpetuate and promote it and remember what you were lacking when you were growing up. What did you want to see? Then go make that happen.
Ian: How do the Dublin and Belfast shows differ in identity, is one more intimate and the other more expansive in scope?
Michael: The main difference is the 14+ approach in Belfast, having that more diverse crowd definitely brings a different energy. Belfast has a queue of people before doors open, which again is absolutely insane to me, and ‘the kids’ tend to go off for the bands, they dance and jump around. Whereas in Dublin, the 18+ crowd tends to be attentive and focused but there’s not that kind of energy. I would love to run a 14+ show in Dublin but the cost is prohibitive. It’s something I’m still looking in to!
Ian: If you could go back and give first year organiser Michael one piece of advice before launching GazeFest, what would it be?
Michael: Don’t pick the same weekend Electric Picnic is on. I think the first year it was on a different weekend but ever since then….
Ian: With four years now under your belt, where do you see GazeFest heading next — bigger venues, or staying intentionally grassroots?
Michael: I enjoy building relationships with people and places, so bar the first year which was in Workman’s, every year has been Grand Social and Oh Yeah Centre. Kieron in Grand Social has been really supportive, and I’ve gotten to know him over the years, same as Dee, Ryan, Jon and the team in Oh Yeah. I love those venues, and the people there are all great, those relationships matter to me and the places matter to me as you can build a scene around them. I’d prefer to sell out those venues, keep bringing big bands over, maintain the intimacy and keep those relationships. It all comes back to having that feeling in those rooms.
Words – Ian Mc Donnell @mcgigmusic