JP O'Duill’s ‘Nótaí’ Finds Meaning in the Margins

With Nótaí, JP O’Duill delivers more than just a promising debut—it’s a record that feels like the culmination of a life lived thoughtfully, wrapped in the language of music. Emerging from the textured cultural sprawl of Dublin and Bray, O’Duill crafts an album that’s both local and universal in its scope. His poet’s voice lends the songs a lyrical depth that invites you to listen closely, while the understated confidence of the musical arrangements suggests an artist who already knows exactly what he wants to say—and how he wants to say it.

Thematically, Nótaí is as ambitious as it is intimate. O’Duill takes on the quiet battles of everyday life—grappling with questions of morality, personal failure, and the messy pursuit of something like truth. But there’s no sermonizing here. Instead, he offers gentle provocation: a questioning that is always compassionate, and at times deeply humorous. Songs glide from observations of city life to moments of raw vulnerability, never feeling out of place or overstated. This ability to blend the philosophical with the personal is what gives Nótaí its emotional weight.

Musically, the album is just as rich and unorthodox. Shifting easily between folk, post-punk textures, and avant-pop experiments, O’Duill never lets genre limit the storytelling. From the fluttering warmth of concertina to distorted synth washes and disarmingly odd rhythms, the sound world he creates is inviting yet hard to pin down. His collaborators—including Dan Doherty, Dylan Lynch, and Adam O’Regan—help flesh out this sonic vision with a clarity that makes even the most abstract moments feel grounded.

One of the standout aspects of Nótaí is its production, much of which was helmed by O’Duill himself in collaboration with some of Dublin’s most exciting talents. Recorded across Darklands Audio and Sonic Studios, the album exudes a sense of place without leaning on nostalgia. Instead, it captures the spirit of contemporary Ireland—a place where tradition and modernity are constantly in conversation. The subtle layering of instruments, from Angus MacAmhlaigh’s cello to Tim Doyle’s concertina, provides an intricate backdrop to O’Duill’s often understated delivery.

On the release, JP O’Duill shares, “I like the phrase, ‘We are halfway between the atom and the universe,’” says O’Duill, reflecting the album’s tone—introspective, compassionate, and often surprising in its perspective. Whether it’s tackling existential doubts or simply observing the day-to-day with a knowing eye, Nótaí feels like the work of an artist not just searching for meaning, but finding it in unexpected places.”

Ultimately, Nótaí feels like an album made by someone who isn’t in a rush—who’s more interested in reflection than resolution. JP O’Duill doesn’t pretend to have all the answers, but his work resonates with those asking the same questions. From the early promise of Empathy Primates to the quietly revelatory turns of this debut album, he positions himself as a vital new voice in Irish music—one that’s unafraid to explore the in-between spaces where meaning often hides.