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Published 18:52 8 May 2026 BST
Updated 11:31 9 May 2026 BST

Though she is an immensely gifted, multi-award-winning fiddle player, Shóna is fed up with traditional Irish music. Feeling like these skills were forced upon her by her stern music teacher mother (the great Sarah Greene, Bad Sisters), she has no interest in taking part in sessions or fleadhs.
One day, however, an eccentric troupe of wandering musicians (led by Aidan Gillen and Ann Skelly, in a Rose Plays Julie reunion) arrive in Shóna's town, keen to hear as much trad as they can.
Wowed by Shóna's fiddle playing and shocked that she does not appreciate her gifts, the nomadic gang quickly invite her to hit the road with them. Partly as an act of rebellion against her mam, partly because she would like to get to know the troupe's handsome banjo player (played by Hollywood star Henrique Zaga), she accepts their invitation on a whim.
Shóna's experience with the group leads her to rethink her dismissal of trad, and form an unlikely duo act with Ray (Cathal Coade Palmer), the troupe's shy and self-depricating guitar player from Dublin.
On paper, Trad may sound like your standard, solid Irish crowdpleasing comedy-drama, with a lead character who, to paraphrase a Stereophonics album title, has to go there to come back. What elevates it, though, is its sense of specificity and texture.
So much of this comes from the casting of newcomer Megan Nic Fhionnghaile. She is not only a fantastic fiddle player from Donegal (which adds so much to the movie's feeling of authenticity), but she's also an endearing and funny onscreen presence, even when her character's rebellious streak manifests through sarcasm and stubbornness.
On the other hand, yes, Shona's mother, as a character, is underdeveloped. Yet, Daly was wise to cast Greene (whom he worked with on Black '47) in the part. She is someone who, with just a glance, can imply a rich inner life for whoever she is playing.
Adding to Trad's intoxicating vibe is the on-location shooting at scenic locations across Ireland, and the near-complete lack of a traditional score, with most of the movie's music being provided by the characters themselves as they tour the country.
The film builds to a lengthy climactic seisiún scene full of infectious joy, which is sure to have cinemagoers tapping along or maybe even full-on Irish dancing in the theatre aisles.
Just like how The Commitments led to an uptick in soul bands, we wouldn't be surprised if Trad did the same for well, trad. For the romantics in the audience, it'll make them want to embark on their own music adventure.
Trad isn't the only music-related film in cinemas this week. There's also Billie Eilish's new concert movie, which she co-directed alongside James Cameron in what is sure to be one of the most unexpected collaborations of 2026.
The documentary is made up of footage of Eilish performing live on her most recent tour. This is intercut with glimpses of all the prep that goes into such a massive undertaking, and of the pop star in conversation with Cameron about her life.
The result feels intimate and epic in equal measure, benefiting from the singer-songwriter's natural charisma, her great tunes, and some truly inventive visuals. In terms of the latter, GoPros and 3D (it is a Cameron picture after all) are consistently deployed to eye-popping effect.
That said, given Eilish co-directed the movie and is onscreen for so much of it, it is surprising how little she reveals to the audience that they might not have known already. The main talking points are: She loves her fans, and she loves performing, even if it can be a strain on the body and mind.
While the film makes for a great spectacle, the lack of fresh insight or recontextualisation leaves it feeling more like it's aimed at Eilish superfans than potential converts.
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For such a small country, Ireland has produced a lot of great movies about music. We've had The Commitments back in the '90s, to the oeuvre of John Carney (Once, Sing Street, and the excellent soon-to-be-released Power Ballad), as well as Frank, Good Vibrations, and the recent Kneecap film.
This week, meanwhile, sees the cinema release of Trad, a new Irish music movie that could go on to be held in such high esteem as the aforementioned pictures. Written and directed by Lance Daly (Black '47, Kisses), the comedy-drama centres around Shóna McAnally (real-life musician Megan Nic Fhionnghaile, in a star-making turn), a young woman living in the Donegal Gaeltacht.

As an Irish movie fan, it's exciting to see newcomers like Nic Fhionnghaile, Dallán Woods (as Shóna's cheeky scene-stealing young brother) and Cathal Coade Palmer act opposite more established names like Sarah Greene, Peter Coonan (who plays Shóna's Irish-speaking father) and Aidan Gillen.
In particular, Gillen's casting is a stroke of genius. Daly utilises the Love/Hate actor's off-kilter energy and idiosyncratic line-readings, which often land him villain roles, to play Harky, the travelling troupe's enigmatic, well-meaning leader. Kitted out all in white, Harky often responds to a question with a question and talks in riddles, some of which might contain odd pearls of wisdom.
A lesser movie might have made the troupe completely in the right, and Shóna's mother completely in the wrong. Yet, Daly avoids such simple dichotomies in favour of what feels real. Several of Harky's squad's condemnations of modern life and modern music are simplistic and pretentious. While Harky may have a point that smartphones haven't been great for society, taking Shona's phone and driving a nail through it with a hammer may be going too far (although it is very funny, as his nickname for her, delivered in Gillen's intense lingering drawl: 'Shony McPhony').

Irish movie with two Love/Hate stars is on TV tonight
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