Glen Hansard / Josh O’Keefe – live gallery and review from Trinity Summer Series, Trinity College Dublin 01.07.2026

A Night of Rock, Friendship, Storytelling, Folk, Rebel Songs and Pure Joy

For reasons unknown, I’ve somehow never managed to catch an official Glen Hansard, The Frames, or any of his many other musical projects
live until now.

I’ve stood in the crowd and been in the Photo pit for many of the legendary “The Busk” charity gigs outside the Gaiety Theatre over the years, where Glen, his bandmates and an ever-changing cast of special guests come together for a great cause. The spirit of those nights was immediately present at Trinity, with a sign requesting a €10 donation to Dublin Simon Community from anyone attending on guest tickets. It perfectly set the tone for what was to come, a concert built as much on community as it was on music.

The evening began with a superb support set from Josh O’Keefe. Dubbed “The Folk Troubadour”, he effortlessly blended folk songs, rebel songs and engaging storytelling, delighting the Trinity crowd basking in the warm summer sunshine. No stranger to prestigious stages including the Newport Folk Festival in 2025 he delivered an honest, heartfelt performance that felt like a celebration of how far he has come. He even managed to give a quick plug for his Dublin solo show on 20 March 2027.

A beautiful two-song duet with Cora Carpenter slowed the pace midway through his set before O’Keefe returned to driving rhythms and harmonica. As the final harmonica notes faded into the evening air, the audience was more than ready for Glen Hansard to take the stage.

And take the stage he did.

Opening with “Revelate,” followed by “Don’t Settle” and “Say It to Me Now,” Glen wasted absolutely no time. It was an opening trio that immediately had the Trinity audience singing along. In a lovely touch, the names of songs from the setlist appeared on the photographers’ wristbands instead of the usual generic passes. Even better, once the opening songs were over, photographers were allowed to continue shooting from within the crowd rather than being ushered away after the traditional three-song limit. It’s something that rarely happens and made it possible to capture far more natural interactions between Glen, the audience and the many guests joining him throughout the evening.

One particularly memorable moment came when someone in the audience fainted. Without missing a beat, the band kept the music flowing while Glen made sure the fan was alright before joking, “Ah sure, we’ll sing you back up!” It was a small moment, but one that perfectly summed up his warmth and genuine concern for the people in front of him.

The evening never felt like a standard concert. It felt more like an extended gathering of friends. Glen’s now almost legendary “The Busk” house band, complete with flute and uilleann pipes, brought a rich traditional Irish flavour to many of the arrangements. “Slow Aire,” beautifully performed by Séamus, the same piece he played at Shane MacGowan’s funeral provided one of the evening’s most moving instrumental moments.

The setlist effortlessly moved between Glen’s solo work, The Frames, The Swell Season, traditional Irish songs and heartfelt tributes. There were wonderful performances of “Gold” and “Something Right” in honour of Interference, a stirring version of “Heyday” remembering Mic Christopher, and a beautifully understated “Carrickfergus.” Somehow, despite spanning so many different musical worlds, the set never felt disjointed.

One of the night’s highlights came when Stephen James Smith took to the stage to perform his poem “Dublin.” Before beginning, he smiled and told the audience that he had just spotted the ghost of Pat Ingoldsby watching over the crowd, a lovely tribute that drew warm applause.

Throughout the evening Glen constantly acknowledged familiar faces in the audience, greeting old friends and sharing stories between songs. He joked early on that there wouldn’t be much chatting because they had so many songs to fit in from all of his different musical projects. Even so, the storytelling never disappeared; it simply became part of the music.

The pacing of the setlist was superb. Whether it was the raw power of “Drunk With Power,” the emotion of “Didn’t He Ramble,” the timeless beauty of “Falling Slowly” (apologies to the person whose iPhone video I accidentally blocked while taking photographs!) or the singalong energy of “When Your Mind’s Made Up,” every song seemed to arrive at exactly the right moment.

The night closed in unforgettable fashion. Glen invited a lifelong friend from Ballymun onto the stage for a rousing rendition of “The Auld Triangle.” By then, the entire audience had become part of the performance, with thousands of voices singing in unison across Trinity College. It was one of those rare concert moments that gives you goosebumps.

The sound throughout the evening was exceptional, allowing every element from the loudest rock songs to the quietest acoustic passages to breathe. Combined with the beautiful surroundings of Trinity College on a warm summer evening, it created the perfect setting for a concert that celebrated friendship, storytelling, generosity and Irish music in all its forms.

After finally seeing Glen Hansard live, one question remains: why did I wait so long?

Josh O’Keefe photos:

Glen Hansard photos & set-list:

Set-list:
Revelate
Don’t Settle
Say It to Me Now
Gold
Didn’t He Ramble
This Gift
Her Mercy
Gloria
Great Weight
Foggy Dew
I’m a Man You Don’t Meet Everyday
Something Right
Slow Aire (played by Séamus, who played it at Shane MacGowan’s funeral)
Fitzcarraldo
Down on Our Knees
Drunk With Power
Falling Slowly
When Your Mind’s Made Up
Carrickfergus
Dublin (Stephen James Smith performed this poem and seen the ghost of Pat
Ingoldsby in crowd)
Heyday
The Auld Triangle

Photos & words – Wayne Polley @hawkeye_polley_photography