Dótts O’Connor sits in that space Irish music does best when it’s honest about itself. There’s no overproduction of identity, no chasing of trend cycles, just a steady pull toward storytelling that feels lived in rather than constructed.

His work leans into narrative, not as a stylistic choice but as a necessity, shaped by place, by isolation, by the quiet weight of rural life and the strange intimacy of community. There’s a looseness in how he defines himself, or rather refuses to, and that refusal is doing more heavy lifting than any neat genre label ever could.

What comes through instead is instinct. Songs built to hold something human inside a short frame, without overexplaining it. That’s where this new EP lands. Not as a reinvention, but as a sharpening of intent.

Below, he steps through the thinking behind it, in his own words.

You’ve built a body of work that people connect with in different ways. At this stage, how do you define yourself as an artist?

Tough question. To be honest, I tend not to put any sort of definition on anything, as I find it limiting. Am I an artist? Am I a musician? What is art?!

This new release feels like a defining moment. What changed in you creatively to make this project possible?

I suppose with this E.P. I began to write in a narrative style. I’m quite obsessed with trying to tell a story within the confines of a 3/4-minute song. I’ve also become quite comfortable with writing and multitasking. It’s not always possible for me to get a cabin in the woods to endlessly work on new material. 

Every project has a core energy or mood. What drives this one? Is there an uncomfortable truth that sits at the centre of this record?

I wanted to address a few themes such as rural isolation and loneliness with this project. I don’t find that uncomfortable to talk about and I think it’s an important conversation to have. I also wanted to talk about the importance of community. The song ‘I Saw It Too’ is about fostering community and the joy one can get from being part of something bigger.

There’s ongoing debate about whether artists in the entertainment industry should remain apolitical or use their platforms to speak out. How do you approach that question in your own career?

It’s not something I would think too much about and I suppose I’m also privileged to be in that position in that if I want to express a political opinion, I can and will. 

The industry often rewards consistency over evolution. How do you approach growth as an artist while staying true to what people first connected with?

If people truly connect with what you are trying to do, then I believe that they will afford you space where you can make mistakes or try new and different things.

When you step back and listen to it as a fan rather than the creator, what stands out
to you?

A very tricky question to answer. I really don’t believe it can be answered in a meaningful way, as it is impossible to step outside it. Maybe with the passing of time it gets easier but for now I’ll say the musicianship on the recordings is really, really excellent. I asked a few of my friends to play with me on the 4 songs and they are a dream to play with…

What does power look like in your career right now, and who controls it?

The algorithm…

If you could dismantle one myth about yourself or your genre, what would it be?

It has been noted in global media outlets that I gained the power of playing guitar by being bitten by a nighttime busker on Dublin’s Grafton Street. I can confirm that he didn’t bite me but merely kicked me in the hole after I asked him to play Wonderwall.

Music is often said to be a healing thing. When the final track fades out, and if someone plays this record on their best day or their worst day, what should it offer them?

The idea is that it offers the listener a different world to hop into for the duration of the E.P. similar to the way someone might watch their favourite series and really relate to the protagonist. That’s the idea anyway…

You can stream the new EP ‘Jodie’ here: