Chloe MooreFresh off a summer that’s taken them from sweaty basements to sold-out rooms at home, Le Boom are in the middle of one of their most exciting chapters yet.
Hailing from Navan, they have been building serious momentum over the past few years, earning a reputation for chaotic, high-energy live shows and tracks that hit just as hard emotionally as they do on the dancefloor.
Blending electronic production with melodic spoken word and a strong sense of Irish identity, Le Boom‘s music captures late nights, leaving do’s, and that constant push-and-pull between home and elsewhere. Whether it’s through massive crowd moments at venues like Vicar Street or more stripped-back, intimate versions of their songs, there’s a real sense of honesty running through everything they do.
After a huge run of gigs, including an Australian tour and some standout headline shows, I caught up with Le Boom to talk life on the road, finding balance in the chaos, and what’s to come next for them.
Hey guys! Thank you so much for agreeing to sit down and chat with me today! You guys have had a busy Summer away on your Australian tour- how was that?
The time away in Aus almost feels like a dream. We were so jet-lagged at the start, with so many new, incredible experiences, the craic, and huge crowds at our shows; it nearly didn’t feel real.
Some of the places we found ourselves playing as well. Sweaty basements, old churches in the morning, we even ended up doing a full set in someone’s kitchen. We met a random group after one of our afternoon pop-ups, and this escalated into a full sound system getting delivered out to a kitchen in a Melbourne suburb from Facebook ads or something. Would it be mad to say that was our favourite gig?
We’re so lucky that we get to do this. And we have another BIG Aus announcement coming soon.
Your gigs at Vicar Street and Centre Point looked absolutely insane and full of energy. Were there any standout moments on stage that you’ll be talking about for weeks to come?
Some weekend (Troy Parrot played his part too, to be fair). Vicar Street was bucket list stuff. I guess it’s the venue that even your granny is impressed by. We absolutely loved all of it, but Christy doing a stripped-back version of our tune “What we do” in the madness of a late-night Centre Point was special. Just him and a little keyboard. The whole weekend seemed to slow down for those couple of minutes. We’ve been thinking about it since.
This summer seems to have been particularly busy for Le Boom, with a packed schedule of live shows and appearances. How has the intensity of touring and performing shaped you both creatively and personally over the past few months?
No matter how busy or hectic it gets, getting away with the boys to play shows is our favourite part. It never feels like work; it’s more the payoff for the rest of the hard work. It’s usually just the three of us on the road together – Christy, Andy and Peter. When you’re away playing anywhere, the actual show is such a small part of the whole experience.
Say in a weekend where you might have one or two actual shows, you’re up mad early for flights, trains, taxis, hauling gear around unfamiliar cities, hotel check-ins, and sound checks. Setting up gear, taking down gear. All that stuff. Then, doing it again to go home. The actual gig might only have been an hour and a half long. We’re three best mates, so we love it. We love the craic. You couldn’t do it if you didn’t love all those parts.
Andy, how did your journey into spoken word poetry begin, and what initially drew you to that form of expression before it became such a defining element of Le Boom’s sound?
It all kind of happened by accident, really. I had always been writing. Mainly stories. I wrote a few plays which we put on. Christy wrote the music and produced another. Our sister Katy is an unbelievable actress, so she was in a few and directed one. Real family affair. Such craic though.
It was only really during lockdown, Christy and I ended up living together again for a while, that we started putting some of my words to tracks to see if it worked. And it didn’t at all at the start! But we kept trying things out, more as an excuse to hang out, probably, and eventually things started coming together.
We did one of the tunes at one of the Le Boom secret raves. Real last-minute stuff, I was going to the gig anyway with my mates and didn’t tell them I was going to do it. I kind of loved it straight away, and thank god it went down alright, and Christy asked me to do it again.
And Christy, when did your love for music production begin? Any main inspirations?
To be honest, I wouldn’t really call myself a producer at all. I’m much more into the songwriting and melody writing side of things, to be honest and still trying to figure out the production side of things. Have been writing tunes as far back as I can remember, mostly guitar and vocals stuff, which then moved into more electronic stuff gradually.
You probably don’t hear much of it in the Le Boom tunes so far, but John Spillane was a huge influence on me- went to a songwriting workshop with him in secondary school, and it was a game-changer for me. I still fuckn love his tunes and go back to them all the time, so they feel like a comfort thing to me now.
I absolutely love Flook too- started recently throwing some Flook samples into our live shows and definitely want to play around with more trad stuff in the sets coz I’ve been at some banging trad sessions that have felt raves – same energy.
I guess Dan Snaith, as both Daphni and Caribou, is a big influence in terms of production.
Your track, Australia Lock-In version, combines the emotions of moving away due to the housing crisis and the familiar, raw experience of the after-session in Ireland- it really strikes a chord. How did writing this track come about?
We released Australia a couple of years ago after a period where pretty much all of our mates left for Australia. We went from having this weekly 7-a-side team, subs and all. Then, one week, there were only like two or three of us left. It was a shock to the system.
There are far worse things going on in the world than a few of your mates heading off for a few years, but for some reason, it always feels like one of the big moments at our gigs, no matter where we go. It’s the track we get the most messages about.
The “lock-in” version came about after a special night in Sydney. Had been a crazy experience finally getting to play this tune in Sydney, really emotional for our mates who got to hear it live for the first time. We ended up at a lock-in in a whiskey bar in Sydney. Some of the most incredible musicians we’ve ever met were there. The guitar was getting passed around, and we did an acoustic version of it. Ross O’Donovan, an unreal fiddle player who was there, joined in with us. We recorded it and released it when we came home. Ross is on the track, which is class.
You already integrate the Irish language into your music. Do you think that visibility has the potential to influence how younger audiences perceive Gaeilge, particularly in terms of making it feel more contemporary and culturally relevant?
Irish has always felt really relevant to us. We grew up with Irish and spent our teenage years out in school in Ráth Cháirn, the Gaeltacht in Meath. It’s usually our go-to language when we’re away gigging, so it felt very natural for us to use it in our music.
But Irish has never felt as relevant. There’s a movement and momentum, and it’s so class to see. We played at the Oireachtas a few weeks back in Belfast. It’s thriving there.
Your music often taps into Irish identity and that whole ‘where do I belong?’ feeling. With young people today juggling worldwide influences and also trying to figure out their roots, what part do you think Le Boom plays in the conversation about, or the changing face of, modern Irish youth culture?
When we go away gigging, it feels like everyone we meet at the minute wants to be Irish and it’s class. I guess a lot of people are looking to Ireland these days because of all the success with music, film, writing, everything. It makes us so proud to see so many of our musicians, in particular, highlighting the awful shit going on in the world, like the horrific genocide in Palestine.
Our own love of Irish came from at home and I think being brought up bilingually has a big impact on how you see the world (not just because you have more than one word for everything) but also in the way that it gives you a sort of respect for culture in general – like it give you a curiosity and a respect for other cultures and languages when you’ve had such access to your own. Honestly, that to me is the greatest strength of bilingualism – like the more connection we have to our own culture and language, the better we can relate to and connect with other cultures. To me, this is actually what it means to be Irish.
I fucking hate seeing the misuse of the Irish flag that has been happening recently, and think that more than ever, we need to sing louder and dance harder when we can, so that everyone knows that what makes us proud to be Irish is that we can recognise oppression, that we can reach out and help and respect and welcome with arms wide fuckin open. Fáilte roimh theifigh!
After such a packed summer of gigs and releases, where do you see Le Boom heading next? Any upcoming projects, collaborations, or new directions fans should be excited about?
It was a crazy year, but I feel like 2026 is going to be huge. We won’t be in Ireland for the first couple of months, but we can’t announce where just yet. We have so much music we cannot wait to share. We also have big dates in the UK and Ireland announcing soon, and loads more. We’re buzzing for it.
And lastly, I have to ask- Guinness, Murphy’s, or Beamish?
Ah now. Look, gun to my head, it’s probably Guinness. Unless we’re down in Cork, then I wouldn’t thank you for one. Murphy’s and Beamish split the camp here.
