Irish Culture’s Flourishing Moment
From the renowned “Craic Pack” trio consisting of Cillian Murphy, Saoirse Ronan, and Barry Keoghan, to a group of decorated writers like Sally Rooney, Paul Lynch, and Anna Burns, not to mention influential music acts like Kneecap, Fontaines DC, and CMAT, it’s clear that Irish culture is currently in the spotlight. The Dublin-based band Sprints is thrilled to be part of this cultural resurgence, which their lead singer Karla Chubb humorously labels the “Irish renaissance”. “It’s certainly a great period to be Irish on the global stage,” agrees drummer Jack Callan, although he quickly tempers the enthusiasm with a dose of realism. “Now I’m just bracing for everything to go downhill, like someone’s about to spoil it all,” he adds, half-jokingly. Chubb points out a hypothetical disaster: “Imagine Paul Mescal doing something disastrous!”
Rising Stars in the Rock Scene
Since forming in 2019, Sprints, which includes bassist Sam McCann and guitarist Zac Stephenson alongside Chubb and Callan, has climbed the rock ladder by performing intensely and sharing their raw, unguarded post-punk music. In 2023, they had the opportunity to support Suede on tour, earning admiration from lead singer Brett Anderson, who often watched their performances from the wings. (At times, McCann would notice a “menacing black silhouette” resembling Slenderman, remarks Callan.) The following year, their compelling, moody debut album, “Letter to Self,” which bluntly and poetically dealt with Chubb’s struggles with mental health and ADHD, broke into the UK Top 20. In January, it was nominated for the RTÉ Choice music prize, the most prestigious music award in Ireland.
A New Album on the Horizon
Ahead of their biggest Glastonbury performance to date, Sprints are set to elevate their game once more. The upcoming album “All That Is Over” delves deeper into certain influences—like Bauhaus and PJ Harvey—to cultivate what Chubb playfully terms a “gothic cowboy” sound, while also branching into storytelling inspired by novels (such as “Prophet Song,” “The Bee Sting,” and works by Octavia Butler) and video games like Fallout. “It’s not exactly ‘end of the world’ stuff,” Chubb explains, sharing a coffee with her bandmates in a London hotel on a bright June day, “but it’s certainly otherworldly. A lot of it is about escapism—even if it means moving from one dystopian world to another.”
The album emerges from a paradox: Sprints’ career was taking off just as the world’s news seemed increasingly grim. “We’ve created this wonderful, liberal, queer, creative space, and we’d be on tour delivering these incredible performances… then you’d check your phone and just think, ‘What on earth is going on?’ like with the situation in Gaza or the forest fires in LA,” Chubb says. “We’re doing something that feels artistically genuine and true, set against a backdrop where it feels like the world might end at any moment.”
Music as a Medium for Understanding
For Chubb, music is a tool for making sense of chaos. This theme is central to their latest single “Descartes,” with its pivotal line – “I speak so therefore I understand” – playing off the philosopher’s famous dictum to underscore the clarity and relief songwriting can bring. The track is also a reaffirmation of the band’s commitment to vocal activism. Like other outspoken Irish groups such as Fontaines DC and Kneecap, Sprints face their share of criticism. Over the past year, Chubb has dealt with disparaging comments about her weight and has faced harsh criticism from men challenging her political views, accusing her of arrogance for using her stage to discuss issues like Palestine.
Chubb shares some nearly comical examples of condescension she’s faced, like a recent Dublin concert-goer who critiqued the band’s guitar work before claiming his son could have done better. Initially, Chubb felt compelled to showcase her guitar skills to dispel any doubts about her musicianship. Nowadays, she’s less concerned with such opinions: “With this album, I really don’t care anymore.”
Challenges and Triumphs of a Rock Band
Nevertheless, some experiences of misogyny are tougher to dismiss. Last year, Chubb made headlines after being groped by an audience member during a performance in Belfast, an incident that also occurred at a show in Munich. Initially unfazed, she soon realized the gravity of the situation through discussions with her bandmates. Her decision to speak out led to an outpouring of support from other artists who had faced similar violations. “It’s disgraceful,” they echoed.
Discussing the sexism Chubb faces could fill hours, but she and her bandmates appear mostly jubilant rather than subdued. The economics of running a rock band are unstable—”There are months when we don’t know how much, if any, money we’re going to make,” Chubb admits—and the lifestyle can be demanding. Their original guitarist, Colm O’Reilly, left the band last year seeking a more settled life. “Touring isn’t for everyone—if you don’t like it, it’s miserable,” says McCann.
Yet, the remaining members are clearly thriving, eagerly listing their Glastonbury must-sees (Amyl and the Sniffers, Getdown Services, Nilüfer Yanya) and reflecting on the perpetual forward motion and endless possibilities now that they are full-time musicians. “There’s always another show to play, there’s always another album to write,” Chubb remarks, before humorously adding, “And there’s always another personal or mental health crisis to inspire a song.”
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Fatima Clarke is a seasoned health reporter who bridges medical science with human stories. She writes with compassion, precision, and a drive to inform.
