Start Listening To: Cardinals

Cork city's Cardinals discuss their creative process, influences, and the evolution of their sound in the alternative music scene.

Meet Cardinals, a dynamic five-piece band hailing from Cork City, known for creating music with heartfelt sincerity. In this Q&A, the band shares insights into their creative journey, from writing songs in the back of a Ford Transit van to recording with industry veterans Richie Kennedy and James Smith. They discuss the influence of Cork's vibrant music scene, the thrill of recognition from fellow musicians like Fontaines D.C.'s Grian Chatten, and their unique contribution to the evolution of alternative music. Join us as Cardinals open up about their inspirations, experiences, and what fans can expect from their upcoming releases.

For those unfamiliar with your music, can you tell us who you are, where you’re from and about the music you make?

We’re Cardinals, a 5 piece from Cork city and we make music we care about.

Euan, you mentioned that "Unreal" was written in the back of a Ford Transit van. Can you share more about the songwriting process and how the environment influenced the creation of the song?

I was living in a Ford transit van for a summer. I wrote extensively during that period, I remember it being a very hot summer and just felt I needed to write something bright.

Could you tell us about your experience recording with Richie Kennedy, known for his work with U2 and Interpol? How did working with him shape the sound of "Unreal" and your upcoming music?

It was our first time stepping into a recording studio to record a handful of songs, and Richie was a great start. Himself and James Smith had an understanding of what we were trying to achieve, and it really aided the production of the EP.

Fontaines D.C.'s Grian Chatten has expressed admiration for Cardinals, calling you "one of my favourite new bands." How does it feel to receive recognition from fellow musicians, and how does it impact your confidence as a band?

Obviously there’s an initial sense of pride, and there’s definitely a full circle moment somewhere there. As we’ve kind of consumed it, we’ve not let it get in the way of our confidence or the contrary.

You’ve been immersed in Cork's live music scene for a while now. How has your local music community influenced your sound and trajectory as a band? Have you always felt welcomed?

It’s always nerve wracking going from a band of country boys into a city, but we fell in love with Cork and the music scene. It’s always nice to be inspired by those close to home, there’s something raw about the music Cork produces past and present.

The band's sound has been described as a marked side-step from recent bands in the alternative music scene. How do you see Cardinals contributing to the evolution of alternative music, and what sets you apart from your peers?

I guess we like pop and lean into our pop influences more so than others. We want to make warm music that resonates.

What do you love right now?

Those protesting the ongoing genocide in Gaza.

What do you hate right now?

Genocide. Guinness.

Name an album you’re still listening to from when you were younger and why it’s still important to you?

Rum Sodomy & The Lash, by the Pogues. Songwriting by the late great Shane MacGowan. It’s an album your parents would have playing as you’re growing up, and as you do grow up, you start listening to it on your own device.

Could you share some insights into your plans for future music releases in 2024? What can fans expect from Cardinals in terms of new material?

We plan to share some good music. We’ve just released our self titled EP, which is real and youthful. We’ve a few tunes to follow which have come about recently and we’re taking a liking into confining our sound into something people will remember.

As a band, what do you hope listeners take away from your music, particularly from songs like "Unreal" and "Roseland"?

We hope people take what they want from our music. We wouldn’t ask them to take anything else and we wouldn’t want our own interpretations getting in the way of the listener’s relationship with the music.