It is easy to feel hopeless, given the state of the modern world. Between the rise of fascism at home, the ongoing oppression and genocides that governments refuse to intervene in, the AI-spearheaded ‘enshittification’ of the human experience, and the increasingly unavoidable matter of the climate crisis, it can be difficult to believe that there is any meaningful way to make a positive impact. However, through small actions made by many, change is not only possible, but inevitable; it is such a mentality that Eve O’Riordan, and her band The Night Owls, have clearly embraced.
Working alongside Hot Vox, Eve and The Night Owls had visited London to record a session of live music to be broadcasted at charity fundraising evenings. All of this had been done in the name of raising money for War Child UK, who seek to protect the lives, rights, and childhoods of those that grow up within war zones. The band’s event at Liverpool’s cult favourite venue Artefact represented the central broadcast evening for the whole process, sandwiched between events held in Rossendale and Manchester.
It was clear from entering the venue that O’Riordan and her merry band of creatives had taken plenty of time, care, and attention in piecing together this event. From custom cocktails to homemade cakes, song auctions to hand-printed merch, personalised incentives to networking opportunities, there was an opportunity to do good wherever you looked within the eclectically decorated venue. Artefact, long beloved by creatives within Liverpool, had evidently given a deep and meaningful amount of support to O’Riordan. It felt meaningful to be present, and the optimism within the room was contagious.
Not only was there a performance from Eve and The Night Owls to look forwards to, but two fellow singer-songwriters had been invited to offer their support to the evening. The first of these was Millie Ady, an aspiring singer-songwriter and LIPA alumni who harnesses both folk and indie rock stylings. According to Ady, she typically performs with a band when on stage, but one would never have assumed that to be the case when watching her. A natural warmth and charm radiated from her, presenting with an apparent gentle confidence that you could not help but be utterly enamoured by.
Performing tracks from her catalog such as ‘Blood Rush’ and ‘Lean In’ it was clear that conveying her astounding vocal range through words would be a Herculean task. Husky, resonant lows rose up into songbird highs, whilst she wove tales through soft whispers and belted melodies, never losing power or presence. It was as if one had stumbled across some mythical nymph of summer; immediately, strikingly impossible to forget. Even her guitar work refused to falter, regardless of what impressive highs she sought to summit with her vocals; the soft tapping of her left foot kept time perfectly, but the songs were permitted space and time to roam freely and captivate the senses.
To witness Ady perform with a full band backing immediately made the bucket list of performances to attend. Ady has all of the hallmarks of a star indie songstress in the making, beautifully impressive technical proficiency merging with a humble, human, and diaristic approach to songwriting. To witness her is to be converted; you cannot help but feel an infallible belief that the brightest things await her.
Further musical assistance for this good cause came in the form of Catherine Bullock. Heralding from Aotearoa New Zealand, Bullock is a self-described ‘lesbian physics nerd’ in a folk music world, exploring queer identity, platonic and romantic relationships, and navigating early adulthood. Having already performed in not only their native country, but also Singapore and France, Bullock is now based within the north west of England. Should Ady’s performance have represented the sun, then Bullock’s performance worked beautifully in tandem as the moon, sapphic lunar symbolism wholly intended here.
Despite her age, Bullock’s voice contained a richness and depth far beyond not only their years, but their lifetime. Opening her set ‘My Voice Isn’t Honey’, they offer up an intense and vulnerable performance that builds towards a passage of total catharsis, letting their folkish guitar become swallowed up entirely by a scream from their very depths. It is an incredibly effective way of immediately securing your attention, and is a perfect introduction into the unapologetically wild and deep-feeling world of Bullock.
Tuning their guitar between tracks, Bullock offers insights into not just their songs, but the person whom has written them. ‘I Think I’m Cool’ was sculpted from the ashes of a disastrous choice in friends, and the loneliness experienced when you are far from home (‘the antipode of the globe’, they elucidate). ‘Readyset’ takes the experience of looking for love and spins in a positive light; the opportunity to meet new people and experience new things is something to be rejoiced in, whilst one waits for the person who is willing to embrace every aspect of you. There is an endearing confidence to all of this; Bullock ensures that there is never dead silence to weigh down the atmosphere, and offers their vulnerabilities to listeners with a real sense of hope and heart.
Despite Bullock’s rather extensive performing experience, they are still only at the very start of their musical journey. Yet one cannot help but feel that what Bullock offers is not only whimsical, heartfelt indie-folk, but storytelling that a young queer individual will one day see themselves within, and hold incredibly close to their heart. To love and be loved is to be changed, and that is brought to life beautifully by Bullock.
Following Bullock’s performance, live music is paused for a short while, as Eve and The Night Owls broadcast the set they recorded for Hot Vox. Even at this point of the evening, there is a fantastically warm and celebratory atmosphere. The set consisted of predominantly unreleased material, Eve O’Riordan’s single ‘crying wolf’, and incredibly long camera shot of bassist KC Hamer for seemingly no reason, which prompted much amusement from the band themselves. The venue was simply perfect choice for such an event; Artefact clearly have a love for the music scene, and don’t simply treat it as an extra source of income, but something worthy of nurturing.
The performance can be watched below, and donations can be made here until June 11th.
In the spirit of giving, Eve and The Night Owls went on to give the audience a live demonstration of their talents. Within the cozy environment of Artefact, it is difficult to imagine a place more suiting to the music of this project, save for perhaps a forbidden and enchanted forest glade.
Few souls shine quite as brightly as that of frontwoman Eve O’Riordan; even before she sets a foot in the rudimentary stage area that Artefact have designated, she carries herself with a joy that is unparalleled in its infectiousness, and ensures that each and every attendee is welcomed warmly. Backed up by her Night Owls, KC Hamer (Ugly Jumper) on bass and Vyra Ivanova (Second To None, Never Or Now, Creepmouse) on percussion, O’Riordan leaps into her set with her debut single, ‘Mascara’ brought to life with a distinctly jazzy flair, the stripped-back and organic instrumentation at play working wonderfully to tap into the track’s playful and unserious attitude. There is a real chemistry between these musicians, and whilst O’Riordan is the driving creative force, the mutual respect is clear for all to see.
‘I Heard it on the News Today’ saw O’Riordan tapping into her familial folk music roots, offering a tender and empathetic political ballad that perfectly reflects the experience of witnessing humanity’s worst in the palms of our hands, all day every day. One cannot help but wonder if it such a source of inspiration that has prompted O’Riordan to offer her musical services for Hot Vox’s charitable endeavours; a belief that surely there has to be a better life for those enduring the worst of fates.
After placing ‘crying wolf’ at sixth on last year’s Top 50 Songs of 2025 it seemed apt to put my money where my mouth was, and a donation for ten votes on the aforementioned song auction secured the track’s position in the setlist (could this be my first ever declaration of a potential conflict of interests?). As magnificent as the track is, nothing could have prepared for the experience of hearing it performed live. O’Riordan’s vocals build from wavering tenderness towards untamed, wild brilliance, conjuring up goosebumps with a talent that defies mortal reasoning. Conscious thought vacates you, replaced wholly by the experience that Eve and The Night Owls sculpt from their instruments; the return to this realm leaves you with a firm understanding that this is a performance that will stay with you for life.
As a closing statement, O’Riordan performs her single ‘inhaler’, but in a manner far different to the track’s original piano focused interpretation. Transformed into something akin to a pop-punk or folk pop number, the track’s originally mournful nature took on a subtly frantic and defiant edge, O’Riordan not at the mercy of her mental health but pushing back against it with grit. Should her folk music career not pan out, there is potentially also a bright future for her in emo.
Some may say that it is futile to fight back against a system so stacked in the favour of the few; what will a charity fundraiser do in the face of seemingly insurmountable odds? Yet through these small endeavours, a better future can be manifested; even the smallest of success is magnitudes upon magnitudes more impactful than doing nothing. Music can and should be a vehicle for change and community; everybody involved in this wonderful evening of music and entertainment, from Artefact to O’Riordan herself, clearly understood and believed in this. To musicians out there reading this, I challenge you be a little more Eve and The Night Owls in life, and see what magic might happen. Change won’t happen unless you make it happen.
Eve and The Night Owls’ collaborative fundraiser with Hot Vox is raising money for War Child UK. Donations can be made here, and are open until June 11th.
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