"My inspirations are Adrianne Lenker and CMAT, so I suppose I aim to write like them while maintaining my own voice."
— Iona Lynch
Currently, seated on a lively street in Brighton with coffee to soothe their hangovers, the band is preparing to launch their second EP, ‘Salt of the Lee’ - a set of four tracks intended to, in Locon’s words, “truly make our presence known.”
“We were intentional about creating an EP this time,” he explains, “it has a bit more edge, it's rawer, and it’s more centered on the band we aspire to be.” Iona agrees: “I was also less concerned about the lyrics this time. I want listeners to interpret the stories for themselves instead of me clarifying everything that’s happening.”
These two EPs, despite being released just 13 months apart, showcase significant growth. The anthemic lead single ‘Bittersweet’, filled with gritty guitar riffs and uplifting trumpet accents, beautifully contrasts with the lyrical folk ballad ‘Dungarvan Bay’. In addition, ‘My Favourite Monster’ narrates the story of a local antagonist through social commentary and lively choruses, while Iona’s self-identified favorite ‘R&H Hall’ begins with a poignant piano melody before erupting into a folk-rock tribute to their cherished Ireland.
Certainly, their Irish identity is central to the band's essence, both musically and spiritually, and Iona radiates pride as she reflects on her upbringing in Cork: “Irish culture surrounds you; it’s part of your DNA. We learn the language in school; music, literature, and history are ubiquitous; even in adulthood, you find traditional music sessions in pubs that anyone can join. You’re taught to take pride in your culture, and it’s only recently that we’ve started to appreciate it.”
“British audiences are only paying attention now thanks to bands like Fontaines DC, but it has always been happening,” Locon asserts. “Our government supports music; they allow people to enjoy themselves in small venues, regardless of their skill level. In Britain, the opportunities for emerging musicians are scarce because there aren’t enough small venues left, so [music] is often limited to those who have taken formal lessons; it’s mainly for upper-class youth.”
The fact that Cliffords have discovered their voice so emphatically and swiftly speaks volumes about their drive, resilience, and undeniable talent. The phrase ‘meteoric rise’ may be overused, but in this instance, it accurately reflects the band’s journey since they started playing covers in pubs.
“We’re always striving to improve,” Locon remarks, “and we can only achieve that by composing more songs. When we like an idea, we pursue it repeatedly until it resonates.” Iona nods in agreement, “we can always tell when we’ve created a fantastic song. We’re aware that Irish bands receive glorification or fetishization merely for being Irish. We don’t want to be recognized solely as a great Irish band; we aspire to be a great band, period.”
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