the cranberries tour 1996

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The Cranberries

• No longer touring
• 746 past concerts

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Getting to see The Cranberries in 2012 at the 9:30 Club in Washington, D.C. was simply one of the best rock concerts I've ever been to, especially considering I wasn't very familiar with The Cranberries before that evening.

Sure I knew "Zombie" and "Linger", their two big radio hits during the mid-1990's. But what I didn't know is The Cranberries have been releasing music on and off since then, including their 2012 album, Roses (which is what they were touring at the time).

Dolores O'Riordan is truly a vocal master, seeing her perform live, I was blown away at how completely identical she sounded to the songs on the album. In the age of auto-tuning, Dolores and The Cranberries brought such an authentic, almost past world sound to the concert that night, it was hard not to be swept up in their total Irish whimsical charm.

Their style is a bit more melodic than the angsty 90's rock vibe I remember being drawn to, like so many other listeners of alternative rock. Instead of moshing and crowd surfing, the audience was mostly relaxed, happy, and just starstruck by The Cranberries beautiful, yet sometimes still dark music.

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The show was amazing! The band performed extremely well and the mood in the concert hall was buzzing. Dolores' voice remains one of the most unique voices by a band's lead singer and it was an honour for me to see and listen to the band live. Definitely one of my most awesome concerts ever! :)

The Cranberries show was amazing!

all the classics in a great show! definitely worth it!

But the opening show, cant remember the name of the duo, was terrible... sounded like playback

I thought the concert was canceled according by you guys.

Nothing to review. All United States shows were cancelled. Refund received. Waiting to see if a another tour is announced. All depends on Dolores health. Keeping an eye on this.

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The Making of the Cranberries’ Haunted Farewell

By David Browne

David Browne

Every night, around the same time, they expected her to show up.

It was hard to blame them, since much of what the Cranberries were doing last April and into May evoked old times. Once again, the members of the Irish alt-pop band were gathered in a studio with their longtime producer, Stephen Street. The core trio — guitarist Noel Hogan, his bass-playing brother Mike and drummer Fergal Lawler — worked on arrangements while listening on headphones to unfinished vocals by their lead singer, Dolores O’Riordan. Mike Hogan was even playing one of the same basses he had used throughout the Cranberries’ career.

O’Riordan rarely showed up in studios during daylight hours; concerned about over-singing and smothering the raw emotion in her delivery, she preferred to arrive later, after the rest of the band had done their work. “Dolores would come in to do the vocals and we’d have a chat,” says Lawler. “She’d have a listen to what we’d done and then we’d head off and let her do her thing. So in the evening time, you’re almost looking out in the corridor to see if she’s coming in.”

Lawler pauses. “And then you realize, ‘Oh, yeah, she won’t be in.’”

About three months before those sessions, on January 15th, 2018, O’Riordan had been found dead in the bathtub of her London hotel room at age 46. An inquest later determined she had drowned from excessive drinking. The alcohol in her system added up to more than four times the legal limit for driving in the U.K. The British coroner called it a “tragic accident.”

Yet O’Riordan left behind songs and tapes — and with the band playing along to her now-ghostly voice, those recordings have been fashioned into a new album, In the End . Scheduled for release this April, it is being billed as the last Cranberries album. “It’s the end of the Cranberries and so on,” Hogan says. “I think it just brings it full circle. Everybody knows now that this is the final … for us, definitely … It makes it feel like a proper ending after so long spent with this thing.”

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By “this thing,” Hogan means the process of constructing a unique posthumous record. But in some ways that phrase also means more: the often uplifting but equally difficult life of one of the most treasured alt-rock stars of the ’90s.

Everyone remembers the girl in the tracksuit who showed up at an audition in Limerick, Ireland, in 1990 to sing in a local band, the Cranberry Saw Us. “It was a Sunday afternoon,” says Lawler. “She arrived with a keyboard under her arm, just set it up and played a few songs. We couldn’t really hear her because she was singing through a guitar amp or something. I gave her a lift up to the bus stop and I was saying, ‘Will we see you next week?’ We gave her a tape of the music for ‘Linger,’ which she took with her. The following week she came back, and she had lyrics written out and melodies and she sang along to what we were playing, and it was like, ‘Oh, my God. She’s great.’”

Thanks to early songs like “Linger” and “Dreams,” the renamed Cranberries rode the alt-rock wave of the early ’90s. Their music was grunge-hard but also crisp and wispy, and O’Riordan, seemingly frail but siren-voiced, captivated music fans. Although the band was greeted with a collective meh in their home country, America took to them — starting with an opening act slot on a U.S. tour with Suede — and the band’s first two albums, 1993’s Everybody Else Is Doing It, So Why Can’t We? and the next year’s No Need to Argue , sold millions. “Zombie,” from the second album, fulfilled O’Riordan’s wish to give the group a harder musical edge. In 1994, she married Dan Burton, a former Duran Duran road manager; their first of three children arrived in 1997.

Even if her band mates didn’t know it yet, O’Riordan was, as she later called herself, “a bit of a trainwreck.” She later confessed she had been sexually abused by someone in the Limerick area, starting when she was 8 and lasting for four years. The band’s success and accompanying luxuries (like a personal wardrobe assistant for O’Riordan) didn’t diminish her feelings of self-loathing, and the pressures on the singer, who was in her early twenties when international fame hit, were enormous. A bout of flu and exhaustion forced the band to cancel U.S. tour dates in 1996. “She lost an awful lot of weight from an eating disorder,” her mother, Eileen O’Riordan, says. “She was very young. I remember I brought her back home to her little small bedroom in the house once. It was too much, too soon.”

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Starting in 2003, the Cranberries took a five-year hiatus, and O’Riordan began spending more time in a small town just west of Toronto with her husband and children. “The fame thing definitely didn’t help,” says Lawler. “Her mother had wanted her to become a piano teacher or teach music. Had she gone down that path, who knows? It might have been more suited to her.”

But the quiet life didn’t stick. “She tried breaking up with the band, taking time off and being ordinary,” Eileen says, “but she went to music all the time.”

After various side projects, including two under-the-radar O’Riordan solo albums, the band reunited in 2009. O’Riordan talked openly about her issues in the years that followed. In a notorious incident in 2014, she was arrested for alleged assault after accidentally stepping on the foot of a flight attendant with her heavy boots; the attendant had asked an agitated O’Riordan to take her seat as the singer was attempting to grab something from her overhead bin. Although charges were dismissed, she made a voluntary contribution to a charity.  Gaunt and sometimes skeletal-looking, O’Riordan announced she had bipolar disorder. She and Burton divorced that same calamitous year. According to Lawler, “She never really drank until she was older. Until after she got married.”

To be near her children but not in Canada, O’Riordan wound up in New York, forming a new, electronic-rooted band, D.A.R.K., with Smiths bassist Andy Rourke and DJ and producer Olé Koretsky, her new romantic partner. But she seemed to rarely find peace. “She missed her kids a lot,” Lawler says. “She found it very hard to be away from them. That kind of ate away at her.”

With a new album of acoustic and orchestral remakes, Something Else , the Cranberries planned to tour Europe and the U.S. in 2017, but they had to cancel due to O’Riordan’s back problems (which Mike Hogan says were a legit herniated disc, not an excuse for substance abuse). “We always knew there was some kind of mental issues there, you know,” says the bassist. “It was something we had to work around in a certain way, especially when we’re doing gigs and things like that, and not put too much pressure on her. It seemed to work out pretty well, apart from the back issue. That was a different story.”

With no roadwork on their schedules, O’Riordan and Noel Hogan — her regular songwriting collaborator in the band — found themselves with free time starting in June 2017. Adding to the chaos in her life, the two had had a few fallings-out, culminating in O’Riordan filing an undisclosed and later retracted High Court action against him in 2013. (Neither would discuss it.) She had once told Hogan she couldn’t write when she was in good place, so the fact that she wanted to jump on new material was telling. “She said, ‘Oh, we’ve got to start writing songs, because I have so much to say right now,’” he says. “She found it a lot easier to write lyrics when there was turmoil in her life.”

On and off over the next six months, the two wrote new songs, usually by email. Hogan would shoot her a melody, and she would add a rough vocal and send it back. She told Hogan that she also had songs she’d written and recorded in bare-bones form in the States, which she would be willing to contribute to the Cranberries as well.

As Christmas 2017 approached, the band mapped out its future. According to Noel Hogan, they were to start rehearsing early in 2018 for a tour of China that spring, after which they would begin recording what would be the first all-original Cranberries studio album since 2012’s Roses . “That was the plan,” Hogan says, “even up to the last couple of conversations I had with her that week. It was like, ‘We’ll get moving on this stuff in the next couple of weeks.’ Everything was normal.”  

First, however, O’Riordan had to visit London; a new D.A.R.K. album was in the works there, and she had been asked to sing on a remake of “Zombie” by the L.A. hard-rock band Bad Wolves. On her way from New York to London, she stopped in Limerick, and Eileen O’Riordan noticed her daughter was struggling. “She was a bit down on herself,” she says. “She wasn’t really herself. She wasn’t happy. But she was very happy that this would be something positive, to get her album done.”

On Friday, January 12th, two days before she was scheduled to fly to London, O’Riordan spoke with Noel Hogan, who still sensed their plans were in motion. She was so eager to work, he says, that she emailed him from Shannon Airport on Sunday, January 14th, to make sure he’d received an earlier message about a new song. “Check this out and I’ll call you tomorrow,” she wrote. After arriving in London later that day, she checked into the Park Lane Hilton hotel.

That day, exchanges with family, friends and work associates were equally reassuring and vexing. She emailed Lawler, asking if they should consider a song called “So Good” for the new album. Lawler had to remind her that they had already cut it and included it on Roses . “She said, ‘All right — pity, it’s a good song,’” he recalls. “She didn’t realize we had already recorded it.” Just after midnight, she left two voicemails for Dan Waite, a label executive (and former business associate of the band) who had set up the collaboration with Bad Wolves. In the messages, she talked sweetly about her children and sang a snippet of the Verve’s “Bitter Sweet Symphony” (produced by Youth, who was overseeing the D.A.R.K. album).  Waite says she was in “good spirits and making jokes.”

Eileen O’Riordan says her daughter had earlier gone into rehab and hadn’t had wine in three years. After, she’d called her mother and said, proudly, “Mum, I filled up a glass of wine and threw it down the sink.”

But in her hotel room that Sunday night, with a mini-bar apparently within reach, O’Riordan found herself drawn to old temptations. About two in the morning, she called her mother. “She was up, talking about all she was going to do,” Eileen says. “She was full of life.”

Still, from the sound of her daughter’s voice, Eileen also sensed something wasn’t right. “I knew she was drinking,” she says. “She said to me, ‘Well, it only relaxes me and makes me happy.’ I can’t remember what I said to her. I tried to talk her out of it and I thought she would [stop].”

Instead, O’Riordan’s lifeless body, wearing pajamas, was found in her bathroom, her head and nose submerged, about seven hours later. Five empty miniature bottles and an empty bottle of champagne were found nearby. Eight days later, she was buried in Limerick, following an open-casket viewing attended by thousands of fans. Her music was played throughout the church service. When the Cranberries’ “When You’re Gone” was played at the end, those in the church broke out into applause.

When word of her death began making its way to her fellow Cranberries the morning her body was found, the musicians first had trouble processing it. “That’s the weirdness of it all,” says Noel Hogan. “ That Dolores, and the Dolores of the year before, were like two different people. It had felt like this fog had kind of lifted and gone, that she was coming out of a darker time in her life. She walked away from it, and then suddenly this happens.”

Lawler agrees with that assessment. “She seemed pretty good, you know?” the drummer says. “It was up and down, to be honest. Some days she’d be better than others and be struggling. And other days she’d be great and strong. But I definitely didn’t expect anything like this. She was working on her mental health and getting herself better. But this … I think this was just an accident, you know? A pity. Because 46… Jesus , you know?”

A few weeks after O’Riordan’s death, Noel Hogan filled in his brother and Lawler on the unfinished songs he and O’Riordan had left behind, stressing they were all from a specific period and were meant for what he calls “a proper album.” Even in their incomplete form, the songs reminded Lawler of the songs from their first two albums, and the decision was made to flesh them out. First, though, the band ran the idea by O’Riordan’s family — including her brother P.J., who manages the Cranberries. The family approved, as did fans by way of a Facebook post from the band announcing their intentions. “I know people can get a bit funny about this kind of thing — ‘Oh, you shouldn’t be doing this,’” Noel Hogan says. “But it was the complete opposite. It was met with this really positive outpouring.”

Given that they’d be working with unfinished songs, Lawler admits that some on the business side expressed concerns about the quality of the project. “Even some of the record company were worried that it might be a bit patchy, but we reassured them the whole time that we were not going to disrespect Dolores and just throw something out there,” he says. “It had to be either a top-quality album, or an EP if we didn’t have enough songs.”

To facilitate the process, the band turned to Street, convening at his favorite London studio last spring. “It was emotional seeing each other for the first time since Dolores’ passing, but it was also, ‘All right, we can do this,’” Street recalls. “You just have to try to hold it together. It had to be good, since you don’t want to mess with the legacy of what was done in the past.”

Still, the process was daunting. It wasn’t simply that they had to strip away the instruments on the tapes — whether it was Noel Hogan’s guitar and drum machine or the accompaniment on the tapes O’Riordan had made in New York. As they gathered in the studio with her voice in their ears, they were playing together for the first time in over a year while trying to fashion Cranberries-style melodic flourishes for songs only Noel Hogan had heard before. “It was a bit strange hearing her through the headphones,” says Mike Hogan. “Sometimes there might be a break in the song and you could hear her voice, talking. You’re kind of expecting her to walk in.”

Another issue was O’Riordan’s vocals, which weren’t always finished and required a degree of editing. “Dolores had the first chorus and middle eight, things like that, so we chopped and changed a few things as well,” says Mike Hogan. To bolster O’Riordan’s demo-tape voice, and even fill out an incomplete word here or there, the band turned to Johanna Cranitch, who sang backup on Cranberries tours. “There were things, especially in a couple of the choruses, where you could almost hear what Dolores would’ve done,” says Noel Hogan. “We brought Johanna in for them because we felt she had worked with us for so long on tour that she, of all people, would know best what kind of direction Dolores would’ve gone in. It was easy to explain to her, ‘Look, we need you to just do a little bit of oohs and ahs here and there and mimic her words.’”

The band powered through and, in about a month, they had completed all the backing tracks. “We just couldn’t believe it,” says Lawler. “We were kind of looking at each other going, ‘Geez, we’ve six songs done already’ or, ‘Oh, we’ve 10 done now.’ The days were flying by. I don’t know, maybe it was a good distraction for us. We were still feeling hugely emotional. It was better that we did it then, rather than waiting till a year had passed. We wouldn’t have been as fresh and as, I don’t know, emotionally charged.”

Since there were no lyric sheets and the songs were numbered, not titled, Street took to writing down the lyrics as he heard them. He was struck by their intensity. “A Place I Know” appears to be addressed to her children (“I’m sorry I left you/I’m sorry, I love you”) while “All Over Now” details a fight between a woman and her partner (“She told the man that she fell on the ground/She was afraid that the truth would be found”); chillingly, it also mentions “a hotel in London.” Other songs hinted at wanting to escape her inner pain: “Trudging through the darkness/Escaping from yourself/Only shoot to kill your pain,” she sang in “Catch Me When It’s Over.” As Lawler says, “Some of them…  I kind of want to say she could see into the future. There were some quite poignant ones there, even more so now that she’s passed.”

For all their productivity, reality would hit them later, as when Noel Hogan would return to his hotel room after a day’s work. “I found that the most difficult time through the whole thing,” he says. “You’re sitting down listening to what you did that day, and you’re not as focused, maybe, as you were when you were in the studio. The realization of it all comes to you more. Then you got up the next day and shook yourself off again, and you went back in and got kind of stuck into it again.”  

All along, Street knew there was at least song he wanted the Cranberries to refrain from tackling until the album was nearly wrapped up. “In the End,” one of the songs that required a degree of editing and tweaking, has spare but affecting lyrics: “Ain’t it strange?/When everything you wanted/Was nothing much you wanted, in the end?” O’Riordan sang. As Street recalls, “I didn’t feel it was right to work on it until we had achieved recording the major part of the album. I wanted the band to emotionally feel as if it was a conclusion.”

Given the lyrics, the band agreed to hold off on recording it until near the end of their work. “It’s a very emotional song,” says Noel Hogan. “You want all this when you start out, you want everything, but then you get it and it’s not really what you think it is. At some point in our careers, we’ve all felt that way.”

On the final day of recording, Lawler remembers the band listening to another especially moving song, “Lost,” and breaking down. “When we were listening back to that the last day,” he says, “I just couldn’t help myself. I lost it.” Adding to the intensity of the moment, the three musicians, who’d been playing together since they were teenagers, also realized they might have just played together for the last time.

“Nobody said anything,” Noel Hogan says, “but I know we all had to be thinking the same thing, because nobody wants to be the one bringing things down even more than they have been. It’s hard enough as it is without also trying to do, ‘Hey boys, by the way, do you realize that this is the last time we’re going to be playing together in a studio as the Cranberries?’” They went out for a bite to eat, told some stories, before two of them flew back to Ireland.

Living up to the band’s goals, In the End feels like a fully realized album, not a collection of incomplete sketches. The songs recreate both the metallic pulse of “Zombie” and the brisk, wide-screen ambience of “Linger,” but with a resigned, adult O’Riordan at their center. According to the band, it will be the last anyone will hear of them. There are currently no plans for the surviving members to tour with another singer or even play a tribute concert. The word “hologram” has come up but been dismissed. “People have said it to me,” Noel Hogan says. “People have said a lot of dumb things to me the last year, you know? It’s come up as well, ‘Well, find another singer.’ I don’t think people who say that fully get it. Maybe they think they’re being nice or something. It’s not something we’re ever going to entertain. I think the band accomplished a lot, and I think we’ll leave it on a high with this album.”

As of a few weeks ago, Eileen O’Riordan had not yet spent time with In the End . She has had a copy for several weeks, but it’s still too difficult to listen. “I’m delighted with it, that it’s finished,” she says. “I thought I’d listen to it, but I don’t feel ready yet to listen to anything. No use in getting yourself upset. I think she’s in heaven now. I think she’s at peace.”

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The Cranberries   |   Dolores O’Riordan   |   D.A.R.K.   |   Mono Band   |   Arkitekt   |   The Low Network   |   Fergal Lawler   |   Collaborations

THE CRANBERRIES

• 2023 – To The Faithful Departed · Deluxe Remaster · 25th Anniversary Edition
• 2022 – Remembering Dolores
• 2020 – No Need To Argue · Deluxe Edition / 2020 Remaster · 25th Anniversary Edition
• 2019 – In The End
• 2018 – Everybody Else Is Doing It, So Why Can’t We? · 25th Anniversary Edition
• 2017 – Something Else
• 2012 – Roses
• 2002 – Stars The Best Of 1992-2002
• 2002 – The Treasure Box
• 2001 – Wake Up And Smell The Coffee
• 1999 – Bury The Hatchet
• 1996 – To The Faithful Departed
• 1994 – No Need To Argue
• 1993 – Everybody Else Is Doing It, So Why Can’t We?
• 2020 – Serious (Demo) **
• 2020 – (They Long To Be) Close To You **
• 2020 – Daffodil Lament (2020 Remaster) **
• 2020 – Zombie (2020 Remaster) **
• 2018 – Íosa **
• 2018 – Dreams (Pop Mix) **
• 2017 – Why? *
• 2012 – Raining In My Heart *
• 2012 – Waiting In Walthamstow *
• 2011 – Tomorrow
• 2002 – Stars
• 2002 – This Is The Day
• 2002 – Time Is Ticking Out
• 2001 – Analyse
• 2000 – Copycat *
• 2000 – You And Me
• 1999 – Just My Imagination
• 1999 – Animal Instinct
• 1999 – Promises
• 1997 – Hollywood
• 1996 – When You’re Gone
• 1996 – Free To Decide
• 1996 – Salvation
• 1996 – I’m Still Remembering *
• 1995 – Dreaming My Dreams *
• 1995 – Ridiculous Thoughts
• 1995 – I Can’t Be With You
• 1994 – Ode To My Family
• 1994 – Zombie
• 1993 – Still Can’t *
• 1993 – Sunday *
• 1993 – Linger
• 1992 – Dreams

Demo & EP

• 1991 – Uncertain
• 1990 – Nothing Left At All
• 1990 – Water Circle
• 1990 – Anything (Niall Quinn on vocals)
• 2015 – Greatest Live Hits
• 2012 – Live 2012 (Caen)
• 2012 – Live 2012 (London)
• 2010 – Live 2010 (London)
• 2010 – Live 2010 (Berlin)
• 2010 – Live 2010 (Amsterdam)
• 2010 – Live 2010 (Paris)
• 2010 – Live 2010 (Lyon)
• 2010 – Live 2010 (Milano)
• 2010 – Live 2010 (Barcelona)
• 2010 – Live 2010 (Madrid)
• 2010 – Live 2010 (Nantes)
• 2010 – Bualadh Bos · The Cranberries Live
• 1999 – Loud And Clear · World Tour 1999 (Limited Edition)
• 1997 – Free To Decide Tour *
• 2009 – Gold Collection · The Videos
• 2002 – Stars: The Best Of Videos 1992-2002
• 2002 – Beneath The Skin: Live In Paris · 2
• 2001 – Beneath The Skin: Live In Paris
• 1994 – Live
• 1995 – Doors And Windows

Compilation

• 2012 – Dreams · The Collection
• 2010 – Icon
• 2009 – Everybody Else Is Doing It, So Why Can’t We? · No Need To Argue
• 2008 – Gold
• 2008 – The Best Of The Cranberries · Green Series
• 2007 – Collection
• 2007 – Best Of The Cranberries & Best Of Texas
• 2006 – Colour Collection
• 2006 – Classic Cranberries · The Universal Masters Collection
• 2005 – 20th Century Master · The Millenium Collection
• 1998 – Seven Years ***
• 2001 – Lindsey Holmes Publicity Interview CD *
• 2001 – Generic Interview With Dolores O’Riordan *
• 1999 – The Cranberries: Bury The Hatchet · The Interview CD *
• 1997 – The Cranberries · The Unauthorised Edition
• 1996 – An Interview With Fergal Lawler Of The Cranberries
• 1996 – To The Faithful Departed Interview CD *
• 1999 – Hardrock Live · The Cranberries & Seal
• 1999 – In The Zone
• 1999 – Up Close Radio Show #99-19
• 1999 – A Concert Special With The Cranberries
• 1996 – Up Close Radio Show #96-28
• 1996 – Especial de Radio
• 1996 – Coca-Cola Planet Live #2
• 1996 – Coca-Cola Planet Live #1
• 1996 – On The Edge #96-19
• 1995 – Up Close Radio Show #95-45
• 1995 – Rock Over London #95-33
• 1995 – On The Edge #95-27
• 1995 – SW Networks Statics #22
• 1994 – In Concert New Rock #94-52
• 1994 – In Concert New Rock #94-44
• 1994 – On The Edge #94-24
• 1994 – In Concert New Rock #94-20
• 1994 – In Concert New Rock #94-10
• 1994 – Rock Over London #94-10
• 1993 – On The Edge #93-37
• 2001 – Analyse · The Cranberries *
• 2001 – Preserved: The Story So Far *
• 2000 – The Cranberries · Greatest Hits *
• 1999 – Limited Edition Special Bonus CD *
• 1999 – “Best Tracks 1993-1999” *
• 1999 – Proximamente *
• 1999 – So Far … *
• 1999 – 6-Track Sampler! *
• 1999 – Tribe Volume 10 *
• 1995 – Empire Records *
• 1993 – Inédits *
• 1993 – A Taste Of The Cranberries *

Various Artists Compilation (previously unreleased or exclusive recordings only)

• 2002 – The Very Best Of MTV Unplugged · Volume 1 ·  “Linger” (Live)
• 2001 – Cities 97 Sampler Vol. 13 ·  “Analyse” (Live Acoustic)
• 2001 – KBCO 97.3 FM Studio C Volume 13 ·  “Analyse” (Live Acoustic)
• 2001 – Launch Magazine · CD-Rom Vol.54 ·  “Analyse” (Live Acoustic)
• 1998 – Legacy: A Tribute To Fleetwood Mac’s Rumours ·  “Go Your Own Way”
• 1995 – VOX Presents The Radio 1 FM Sessions · Volume 2 ·  “Zombie” (Live Acoustic)
• 1995 – Rare On Air: Volume 2 · Live Sessions From KCRW’s Morning Becomes Electric ·  “Sunday” (Live Acoustic)
• 1995 – 99X LIVE X II · One Life ·  “Zombie” (Live Acoustic)
• 1994 – Woodstock 94 ·  “Dreams” (Live)
• 1994 – If I Were a Carpenter ·  “(They Long To Be) Close To You”
• 1994 – Prêt-à-Porter OST ·  “Pretty”
• 1994 – Volume 9 ·  “How” (Live)
• 1993 – The Adventure Club Sessions ·  “Linger” (Live Acoustic)

DOLORES O’RIORDAN

(side project).

• 2009 – No Baggage
• 2007 – Are You Listening?
• 2009 – Switch Off The Moment
• 2009 – The Journey
• 2007 – When We Were Young *
• 2007 – Ordinary Day
• 2007 – Dolores O’Riordan Recent Works
• 2009 – No Baggage: A Radio Special
• 2013 – South Dakota OST ***
• 2010 – Roll Play It’s Time To Wiggle! ·  “Centipede Sisters”
• 2008 – Roll Play 2 ·  “Centipede Sisters”
• 2006 – Click ·  “Linger”
• 2004 – The Passion Of The Christ OST ·  “Ave Maria”
• 1997 – The Devil’s Own OST ·  “God Be With You”

(Dolores O’Riordan / Andy Rourke / Olé Koretsky)

• 2016 – Science Agrees
• 2016 – The Moon **
• 2016 – Loosen The Noose **
• 2016 – Gunfight *
• 2016 – Curvy *

(Noel Hogan side project)

• 2017 – Numan’s Voice
• 2005 – Remixes
• 2005 – Mono Band
• 2005 – Run Wild
• 2005 – Waves

Other Releases

• 2012 – Life Support
• 2007 – The Black Hair EP
• 2009 – 14 Days
• 2009 – Tonelist

THE LOW NETWORK

(fergal lawler side project).

• 2007 – 3-Track EP

FERGAL LAWLER

• 2022 – All Hope Is Never Lost **

COLLABORATIONS

Dolores o’riordan.

• 2012 – Una Storia Semplice (Negramaro) ·  “Senza Fiato”
• 2009 – For The Record: Angelo Badalamenti (Angelo Badalamenti) ·  “Angels Go To Heaven”  +  “The Butterfly”
• 2007 – La Finestra (Negramaro) ·  “Senza Fiato”
• 2004 – Evilenko OST (Angelo Badalamenti) ·  “Angels Go To Heaven” +   “The Woodstrip / There’s No Way Out”  +  “The End Of A Madman”
• 2004 – Zu & Co · Live At The Royal Albert Hall London 6th May 2004 (Zucchero) ·  “Pure Love”
• 2004 – Triptomatic Fairytales 3003 (Jam & Spoon) ·  “Mirror Lover”
• 2004 – Zu & Co (Zucchero) ·  “Pure Love”
• 2004 – Pure Love (Zucchero) ·  “Pure Love”
• 1999 – It’s Only Rock N’ Roll (Various Artists For Children’s Promise) ·  “It’s Only Rock N’Roll”
• 1995 – Luciano Pavarotti & Friends Together For The Children Of Bosnia (Luciano Pavarotti & Simon Lebon) ·  “Linger”  +  “Ave Maria”
• 1994 – Take Me To God (Jah Wobble) ·  “The Sun Does Rise”
• 1994 – The Sun Does Rise (Jah Wobble) ·  “The Sun Does Rise”
• 1993 – Touch Of Oliver (Touch Of Oliver) ·  “Carousel”
• 1992 – …XYZ (Moose) ·  “Soon Is Never Soon Enough”

Fergal Lawler

• 2012 – Making Deals With God (Velvetbox)
• 2009 – Green Light Go (Walter Mitty And The Realists)
• 2021 – Crybaby (Bronagh Gallagher) **

* Promotional release only ** Digital release only *** Unreleased

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Many bands aspire to be timeless, or have a sound that transcends the whims of musical fashion. But The Cranberries are one of the few to have achieved that. Play one of the Irish rock group’s early anthems such as “Linger” or “Dreams”, and they sound as fresh - and deliver as much of an emotional sucker-punch - as when they captured a generation’s hearts in the 1990s. Now, nearly 30 years after the quartet of singer/songwriter and musician Dolores O’Riordan, co-songwriter and lead guitarist Noel Hogan, bassist Mike Hogan and drummer Fergal Lawler first appeared, they are returning with their eighth album In the End. After the sad and unexpected passing of Dolores on January 15th 2018, it will be their last - and is among the most complete works they have ever produced. It’s remarkable to look back and think just how how much of a cultural force The Cranberries have been, not only in the Ireland, UK and US, but across the globe: over their career, they have sold more than 40 million albums, making them one of the world’s biggest rock acts, as well as a staple on TV and film soundtracks. Through all their success, though, they have never compromised on their key trait: an honesty and directness that cuts to the soul. Central to their expression of emotional truth, of course, has been Dolores’ inimitable voice. It was an instrument that could be angelically soft or blisteringly angry to equally stunning effect - and was a match for opera legend Luciano Pavarotti when they duetted on an enduringly stunning rendition of Ave Maria in 1995. But the band’s power has also come from their gliding melodies and Dolores’ unvarnished lyrics, which were never less than absolutely sincere, whether she was writing about personal relationships or political violence - they all came back to “how human beings treat each other,” as she once described. “She truly didn’t really care what people thought about what she was going to say” says Noel. “It was a case of ‘If I feel strongly enough about this, I’m going to write about it, and whatever way the chips may fall, so be it. If I get slated for it, so be it.’” It all started for the band back in the mid-1980s, when Lawler and the two Hogan brothers met as teenagers growing up in Limerick - and, sharing a love for groups like the Cure and the Smiths, decided to try their hand at rock music. Initially, they formed a quartet with a male singer, though after six months, in early 1990, he left - at which point he suggested his girlfriend’s friend, who came from Ballybricken, a small town outside Limerick, as a replacement. When Dolores came to audition for them, a rural girl suddenly among city boys, she was “quiet as a mouse”, as Noel recalls - until she sang, that is. “We were immediately, blown away,” says Mike. “Her voice was something special.” Dolores, in turn, was enamoured by the boys. “I really liked what I heard; I thought they were nice and tight,” she later recalled. “It was a lovely potential band but they needed a singer - and direction.” There was no question that they had found their new fourth member. The band gained not only a compelling frontwoman but a brilliant musician. From a young age, Dolores learnt classical piano, and played piano, and harmonium in her local church, as well as singing in the choir. “I used to go from school to piano lessons to home and maybe I’d have to go to church and then I might have some homework and go to bed,” she said, of her early years routine. When she was 17, she then taught herself guitar. But above and beyond her training, she had an “amazing ear”, says Noel. “She was streets ahead of the rest of us in the beginning, but that was a good thing. It forced all of us to up our game.” As songwriters, Noel and Dolores gelled immediately, while finding their own particular way of working. From the very beginning, they never wrote in the same room together. Back then, Noel would lay down guitar parts on cassette which he’d then give to Dolores to develop verses and chorus around in her own space and time. For the first two years of the band, they wrote like crazy, Noel recalls. “It was that thing where you’ve found somebody that you clicked with, and you wanted to get as much as you could out of that.” At the same time, after their demo of ‘Linger’ did the record company rounds over in London, they quickly became the talk of the industry. In the summer of 1991, following a gig at the University of Limerick which was also attended by 32 A&R men, they signed to Island Records. The reason they chose the celebrated label was because of Denny Cordell, the legendary record producer who was at that time Island’s A&R. Seeing their long-term potential, he promised to allow the band the chance to develop at their own pace and suggested they get some touring under their belt in the first instance. The following year, they then began recording their debut album Everybody Else is Doing It So Why Can’t We? with producer Stephen Street. Street had worked with The Smiths and Blur, as well as co-writing Morrissey’s first solo album Viva Hate, and so his involvement was a dream come true. He has subsequently taken the reins on four further albums with them, including In the End. Noel credits him with helping to create the sweepingly epic Cranberries sound. “What happened was not just down to the songs - the production had a lot to do with it.” The album’s title was Dolores’ creation, as every album title was; it expressed perfectly their determination to succeed. “Elvis wasn’t always Elvis,” she said, explaining its meaning. “He wasn’t born Elvis Presley, he was a person who was born in a random place. Why shouldn’t a band from a small city in the Southwest of Ireland get signed, conquer the world, and make a great record?” And conquer they did. The success of Everybody Else is Doing It, So Why Can’t We? remains remarkable. After being released in the UK in March 1993, the album really took off a few months later when Linger was picked up by college radio in America and the band subsequently toured across the Atlantic. It would go on to hit no 1 in both Ireland and the UK, and sell more than six million copies worldwide. From the heart-wrenching Linger, a song inspired by Dolores’ first kiss, to the giddy Dreams, it managed to convey the highs and lows of young love with a rare purity and tenderness. After that, no one would have expected Zombie: the lead off single from 1994’s second album, No Need to Argue, and an era-defining howl of rage. Inspired by the IRA Warrington bombings, which left two boys dead, it saw Dolores fiercely decrying the violence of the Irish conflict over distorted, hard-rock guitars. “This song is our cry against man’s inhumanity to man, inhumanity to child. And war, babies dying, and Belfast, and Bosnia, and Rwanda,” she explained at the time. “It was a turning point for us,” recalls Noel. “I always remember the day she came in with it. We were in a tiny little shed in Limerick, where we were rehearsing. She came in and started playing it on acoustic guitar and we played along but she was like ‘no this needs to be heavy, it’s an angry song, and it needs to reflect that.’” As well as having an immense cultural impact, it was transformative for the band musically. “We learned from that song that you can actually do a lot with that aggression - and particularly live, it made a massive difference to us, because we became this loud, anthemic band all of a sudden,” says Noel. They carried both its harder sound and wider lyrical focus onto their third album, 1996’s To the Faithful Departed. Two more albums followed, 1999’s Bury the Hatchet and 2001’s Wake Up and Smell the Coffee, whose maturing outlook reflected their life experiences: “Animal Instinct”, on Bury the Hatchet, for example, saw Dolores powerfully evoke her experience of new motherhood. By 2003, all four of the band were ready for a break, after a relentless decade of recording and touring, and so they went on hiatus, with each pursuing their own separate musical projects. But after the band reunited for a world tour in 2009, they found themselves re-energised, and so returned to creating new material again. Their next album, 2012’s Roses, was an especially atmospheric collection, which incorporated new textures into their sound. “Because we’d all gone off in different directions, we all came back into the band with these new experiences and a new way of working and it was great,” says Noel. “It was a real buzz to do that album.” Among its highlights was the otherworldly title track, which Dolores wrote in memory of her late father, who died in 2011 and was one of her true guiding lights. Another break followed, before 2017’s Something Else, which saw them stripping back and reworking some of their most classic tracks with the help of a string quartet from the Irish Chamber orchestra. To add to the sentiment of the project, they recorded it in Limerick, making it the only album they completed in their hometown. What the end result foregrounded was the fundamental power of their melodies. “If anything, I’d never write songs like those early ones now, as it’s too easy” says Noel. “But I think their simplicity is what attracted people to them.” It was accompanied by an acoustic tour, during which Dolores and Noel got the writing itch again. Then, when Dolores’ back problems meant the group sadly had to cancel the rest of their live dates, the pair started working in earnest. “She went back to New York, where she was living at the time, and I went to France to meet up with my family, but they weren’t there yet, so I was on my own for a few weeks,” recalls Noel. “We were both bored and I said ‘why don’t we see if we can write an album and use the time productively?’ and that’s what we did.” Over six months, in the second half of 2017, the two of them came up with the songs that have now gone on to form their final collection ‘In the End’. Integrating this story of creativity and resilience, it’s interesting to note how the world has evolved, bringing forth not just artistic treasures but also advancements in various fields, including medicine. This aligns with the current trend of making once expensive and hard-to-get medications more accessible to the public. Generic Cialis here , a medication renowned for treating erectile dysfunction, stands as a prime example of this progress. Much like how Noel and Dolores found a way to complete their musical masterpiece despite the challenges, the pharmaceutical industry has worked diligently to ensure that essential medications are available in generic forms, significantly lowering the cost without compromising on quality. This development ensures that a larger demographic has access to the treatment they need, paralleling the way music touches the lives of people across various backgrounds and circumstances. In shock after Dolores’ passing, Noel and the rest of the band eventually began to look through the vocal demos that she had already recorded for the album. One thing was for sure, though: they weren’t going to release anything unless it could truly honour her by standing up as a brilliant piece of work in its own right. Thankfully, after some digging, they realised they had the material to make that happen. “There were bits that she had done but hadn’t sent to me so you’d have a verse and chorus but then no second verse and you’d think ‘it’s such a pity’”, says Noel. “But then Dolores’ partner came over with a hard drive and he had all these other bits she hadn’t had a chance to send, so we ended up with full songs.” And it helped, of course, Dolores was such a naturally virtuosic singer. “Even on a bad day, she clearly gave a great vocal performance.” Produced once again by Stephen Street, In the End sees the band coming full circle, with a collection that evokes their very first LP. “When we listened to the demos, the three of us and Stephen were thinking ‘this sounds much closer to the first album than anything else’. Dolores was singing very softly on some songs, which was closer to how she would have sung back then, and the simplicity of some of the songs as well brought us back to that time,” says Noel. Certainly, it’s an album that, tune after tune, snags immediately. It kicks off with a formidable one-two which is a reminder of their range. The driving All Over Now is a classic, widescreen Cranberries anthem, with Dolores giving voice to the fractures of a relationship against a backdrop of chiming guitars; then, following it, the haunting string-swept ballad Lost dials the tempo right down, while giving space to Dolores’ yearning vocals to soar to soul-piercing heights. Elsewhere, they veer from the grungy release of Wake Me When It’s Over to the tender, country-inflected A Place I Know and the upbeat jangle-pop of The Pressure. If there’s an overall lyrical theme, it’s a sense of wiping the slate clean, and new beginnings, which reflected where Dolores was, both in her personal and her creative life: re-energised and ready for a new phase. “I remember talking to her that summer and she said ‘I’m starting all over here’ and a lot of the songs discuss that,” says Noel. But, as ever with The Cranberries, lyrics that may derive from individual experience masterfully tap into universal emotions, framing them in terms that we can all relate to, whatever age, gender or nationality. As the huge wave of public adulation in the wake of Dolores’ passing showed, The Cranberries may be over, in one sense - but they will forever live on in the musical pantheon.  

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• August 17, 1996 Setlist

The Cranberries Setlist at Pine Knob Music Theatre, Clarkston, MI, USA

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• Song played from tape Outro ( When You're Gone )

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• Aug 14 1996 The MARK of the Quad Cities Moline, IL, USA Add time Add time
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How to Play Putin

By Michael Schulman

Boris Berezovsky began his eventful professional life as an obscure Soviet-era mathematician. With the fall of Communism, he became, through ruthlessness and political guile, the most notorious of the post-Soviet oligarchs, amassing billions through oil, air travel, and mass media. His access to, and influence over, Boris Yeltsin reminded some of Grigori Rasputin and his hold over Tsar Nicholas II. In 1996, with Yeltsin debilitated by heart trouble and vodka trouble, Berezovsky and other oligarchs engineered his reëlection. In exchange, Yeltsin presided over bogus auctions to privatize huge state enterprises––auctions that Berezovsky and his allies “won.” Eventually, Berezovsky pushed Vladimir Putin, a mid-level K.G.B. officer, to the forefront of Kremlin politics. When Putin succeeded Yeltsin, Berezovsky had every reason to think he would be as compliant as Yeltsin––a catastrophic miscalculation. Berezovsky turned against Putin, warning of another “authoritarian regime.” He exiled himself to England, where he inveighed against his former protégé and survived several assassination attempts. In 2013, he was found hanged in his bathroom, a black cashmere scarf around his neck. The coroner recorded an “open verdict.”

“He took Putin for who he was, or at least who he presented himself to be,” the actor Michael Stuhlbarg said recently. In the new Broadway play “Patriots,” by Peter Morgan (“The Crown”), Stuhlbarg plays Berezovsky, in feral, face-scrunching fashion. Having just finished a preview, he was having a late supper at the Russian Samovar with Will Keen, the British actor who plays Putin. A waitress named Musa had started with a tour: the bar where Mel Brooks wrote “The Producers”; a doodle that Frank Sinatra had left on a wall, from when the place was Jilly’s, a Rat Pack hangout. She led them upstairs, to a dining room outfitted with samovars and a long table that Mikhail Baryshnikov, one of the restaurant’s founders, had wanted to be strong enough for ten men to stand on. A Polish guy, she said, “gets absolutely shit-faced here, and also sometimes has occasions of state.”

Keen sidestepped the head chair, saying, “I’ve sat at the end long enough this evening.” He looked the part—wolfish eyes, imposing cranium—but his affect was warm. Musa brought shots of horseradish and cranberry vodka, and they toasted: “Chin-chin!” Both actors had studied their characters’ quirks, like Kremlinologists. Stuhlbarg, who has a wall of Berezovsky photos in his dressing room, had watched a “Frontline” interview from “a year or so before he died—or was disposed of, depending on your perspective.” Berezovsky, he observed, had “a head bobble that I’ve factored in, in places where he was content with himself,” and, at other times, a mathematician’s intensity: “It’s absolute stillness—and then he pounces on the answer.”

Keen watched footage of Putin. “There’s a video of him on holiday playing table tennis, sort of awkward-looking,” he said, as veal pelmeni arrived. He was intrigued by Putin’s “tiny ironic smile,” he said. “I spent a lot of time trying to imagine myself into his face.” He continued, “In terms of the body, everybody talks about how his left hand swings and his right hand stays by his side, which apparently is a K.G.B. thing. There are theories about it having to do with keeping your gun hand ready.” When Keen played the role in London in 2022, he noticed that inhabiting Putin’s self-control produced an “interior counter-tension,” making his right hand tremble involuntarily. “The first night, some people from the British Embassy in Russia came and said, ‘Where did you see the thing about the hand? That’s exactly what he does!’ ”

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Keen stayed with the play as Putin’s domination grew darker: war in Ukraine, the death of Alexei Navalny. Berezovsky, Stuhlbarg guessed, would “be livid about the fact that he’s still in office.”

“Do you think, as a mathematician, he’d be pleased to be right?” Keen asked.

“Absolutely,” Stuhlbarg said. Four nights earlier, Stuhlbarg had been out running when a man bashed him in the head with a rock. Stuhlbarg gave chase, trying to get a photo, and police apprehended the suspect outside the Russian consulate, of all places. Bruised, Stuhlbarg performed his first preview the next night. “It was very shocking. And it hurt,” he said. “All of a sudden, emotions start to come out of you, and what better place to apply it than to this ferocious play?”

In 1994, Berezovsky survived a car bombing. Stuhlbarg described the “odd mirroring” of the jogging assault with “what Boris goes through in the play, of having assassins plant explosives in a car.” He went on,“Boris felt like he had a second lease on life. And, in some ways, this thing that I’ve been through, it’s an opportunity to have another lease on life, or another opportunity to get to play a play. I’m so grateful to be alive.” Musa brought more vodka, and they toasted: “ Slava Ukraini! ” ♦

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