People
GLEN HANSARD
WAS OUR
NATIONAL BARD
TheFramesfrontmanwasIrelandsbandleader,
anditfeltlikehewouldbedoingthejobfor
alongtime
ByPatrickFreyne
I
n the 1990s, I wasnt convinced
by The Frames. They felt a bit
mainstream. A bit major label. I
was a young idiot. Later, a
friend convinced me that I was
missing out and to give them a chance.
She was sure that, if I went to a gig, Id
get it. So I went to a gig and . . . I got it.
It was all because of Glen Hansard.
He wrote beautiful songs, but he was
also the still-yet-chaotic centre of an indie-folk storm.
His job was to hold it all together,
and he projected his charisma around
everyone else like a shield.
He was a frontman, but he was also
a band leader. A lot of singers are, in
fact, terrible band leaders and need
sidemen to perform that task. Nick
Cave had Mick Harvey. Morrissey had
Johnny Marr. Liam Gallagher had
Noel. Glen Hansard had a great band,
but he didnt need a foil.
His ability as a frontman was linked
directly to his ability to pull the people
around him into a functioning musical
outfit, whoever those people are. It
went back, I assume, to his days as a
busker.
It takes a special kind of person to
marshal random people of differing
musical ability into vessels for songs.
The boundaries between performer
and audience become fluid when people are busking (there is, after all, literally no stage).
And I think thats why Frames gigs,
and the first Frames gig I attended,
felt so powerful: the collective magic
of music creation at a Frames gig
didnt stop with the band, but spilled
out to include those watching.
He could produce anthems like Revelate and delicate beauties like Lay Me
Down but, more importantly, Hansard let the audience feel like they
were part of the band.
This is very rare. It was no surprise
to me that, as time progressed, he became an international representative
of Irish musicality, particularly after
he starred in John Carneys Once,
which was a beautiful, low-key statement about Dublin and about music as
a communal endeavour.
He became Irelands band leader.
Bob Geldof was too shouty. Van Morrison was too grumpy. Bono was too distant and out there in Dalkey.
Even in the David Letterman-fronted Apple documentary about U2, A
Sort of Homecoming, its Hansard
who turns up representing the earthy
reality of Irish music. Its Hansard who
doesnt look out of place in a pub session.
He was always supportive of other
musicians. He was very kind to my
band the NPB when we supported the
Frames at a gig in Limerick back in the
early aughts. And he took the piss out
of us too, for swapping instruments so
much between songs (The Frames
then did this when they played, as a
joke, to demonstrate how impractical
it was). It made us feel like we belonged.
Years later, in 2023, I met him again
when we were both performing at a
concert for Ukraine in Vicar Street.
At the soundcheck, as I performed a
song with my wife and sister-in-law,
he called put more jizz into it from
the side of the stage. We did. It was better for it.
In 2024, I saw him co-ordinate a disparate session of musicians, including
Hozier, Damien Rice and folk legend
Joan Baez, after a screening of a Baez
documentary in the Lighthouse Cinema, Dublin.
I met him only once when there was
no music involved. It was at a dinner at
a mutual friends house. He was funny
and thoughtful, but he wasnt the centre of things at the time.
He spent a lot of that dinner holding
his baby. I could see where soft and delicate songs such as Star Star had come
from.
The very last time I met Hansard
was right after American actor John C
Reilly performed his Mister Romantic
vaudeville show last November in Dublins Ambassador Theatre.
It was after the performance, in the
Parnell Mooney pub, across the road.
At around 11.30pm, Hansard asked
me to get the barman to turn the music off so he could get people to sing unaccompanied and, before I knew it, he
was band leading a session.
Reilly sang something mournful.
American country musician Sierra
Ferrell harmonised on something
jaunty and rootsy. Hansard sang
Rocky Road to Dublin.
GlenHansard
(1970-2026)let
theaudiencefeel
liketheywerepart
oftheband.He
was,bythetimeof
hisdeath,atthe
centreofIrish
musicinawaythat
biggerartistssuch
asEnya,U2orThe
Scriptcouldnt
everhopeto be.
Photograph:
JoshuaBright/The
NewYorkTimes
His ability as
a frontman
was linked
directly to
his ability to
pull the
people
around him
into a
functioning
musical
outfit
It was full-throated and rowdy. He
knocked glasses off the table in time
to the beat as he went (we picked
them up). He sang like he was possessed.
The singing lasted 15 minutes because the pub was closing, so Hansard convinced us to go up the street
to the heaving rock club, Fibber Magees.
There, he commandeered the
stage from a confused metal band so
that he, Reilly and an assortment of
musicians could play some songs.
I cant remember what they played
but he was, once again, being a band
leader.
Glen Hansard was, by the time of
his death, at the centre of Irish music
in a way that bigger artists such as
Enya, U2 or The Script couldnt ever
hope to be.
The Irish music world seemed to
orbit him. He represented the
throughline from kitchen sessions to
concert halls because he was comfortable in both.
He was, in a way, our national bard
and it really felt like hed be doing
that job for a very long time. It was
why he was the person urging other
musical legends along as they sang at
Shane MacGowans funeral. His ability to connect music from players to
listeners, often blending the two,
helped people to mourn.
Now I wonder whos going to do
that for him and who is going to do
that for us.
THE IRISH TIMES Weekend Saturday, August 1, 2026
5
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