Áine O'Dwyer is an Irish experimental musician, known for her live performances and recordings, which explore the aesthetics of sound and its relationship to environment, time, audience, and structure.
[5][6][7] Published accounts of O'Dwyer's live appearances include The Music of the Future by Robert Barry, who describes O'Dwyer lying on the floor under a baize cloth, plucking the strings of a harp with her feet, during a performance at the Supernormal Festival in Reading.
[8][9] O'Dwyer's appearance in November 2015 at London's Cafe Oto, in which she dressed as an 18th century scullery maid, backlit with a fan flailing her hair, and played the accordion, was described by The Quietus reviewer Matthew Foster, as "a terrifying sight for the average wuss",[10] while Chal Ravens of Fact Mag described a performance by O'Dwyer as "like an invisible banshee haunting the pipes of the church’s organ, O'Dwyer pummels us with gothic drama from her concealed lair above the altar"[11] and experimental artist Graham Dunning described her live sets as "always refreshing, often very melancholy but often with deliberately jarring sections or silly interludes".
[12] O'Dwyer has also collaborated with artist Alice Maher on a live show, Visitant, which combined dance, music and visual art, performed at the Project Arts Centre in 2014[13] and based performances on her own drawings of mythical creatures.
[14] Her albums include Gallarais (2017), Beast Diaries (2017), Music For Church Cleaners (2012), Locusts (2016) and Gegenschein (2016).