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The Corrs (formed in 1991) is an Irish family pop, rock and celtic fusion band, best known for their third full-length pop album “In Blue”, hailing from Dundalk, Country Louth, Ireland.

Prior to the formation of the Coors, siblings Jim and Sharon Corr began playing music together at their aunt’s pub, McManus’s. Fellow siblings Caroline and Andrea Corr subsequently joined and the Corrs was born. The group’s breakthrough came when they landed roles in the 1991 film, “The Commitments”, and secured John Hughes as their manager. Following a successful show at Whelan’s Bar in Dublin, the group were invited by the U.S. ambassador for Ireland to play at the 1994 FIFA World Cup in Boston.

After singing with Atlantic Records, the Corrs released their debut studio album “Forgiven, Not Forgotten” in September 1995. Combining the traditional celtic fiddle work and vocals with folk and alternative rock, the album spawned the singles “Runaway”, “Forgiven, Not Forgotten”, “The Right Time”, and “Love to Love You”. In support of the record, which charted in over 18 countries, the Corrs embarked on a world tour from April 1996 which included Europe, Australia, Asia, America, and Canada.

The band’s sophomore album “Talk On Corners” was released in 1997 and produced by Glen Ballard, known for his work with Alanis Morissette. Aided by the Top 10 singles “Only When I Sleep”, “I Never Loved You Anyway”, “What Can I Do”, and “Dreams”, the record catapulted the group to UK success, topping the Irish and the UK Albums Chart. The Corrs’ third full-length to date, “In Blue”, followed in July 2000, marked by a move towards mainstream pop and away from celtic traditions. Toping the charts in nine countries including the UK, Ireland, Germany, and Australia, the record produced the singles “Breathless”, “Irresistible”, and “Give Me a Reason”.

In 2001, the band issued the compilation “Best of The Corrs” before contributing to Josh Groban’s debut album “Canto Alla Vita”. The Corrs subsequently performed a successful show at Ardmore Studios in which U2’s Bono and the Rolling Stones’ Ronnie Wood made appearances, which culminated in the live album, “VH1 Presents: The Corrs, Live in Dublin”. Returning to their folk rock roots, the band’s fourth studio album “Borrowed Heaven” arrived in May 2004. Led by the singles “Summer Sunshine”, “Angel”, and “Long Night”, the record didn’t prove as popular with mainstream audiences however was seen as a return to form.

Completely dropping the mainstream pop influences, released exactly 10 years after “Forgiven, Not Forgotten”, the Corrs’ fifth studio album “Home” arrived in September 2005. Earning a string of positive reviews, the record went on to sell over a million copies, led by the single “Heart Like a Wheel/Old Town”.

Live reviews

This was the first time I'd seen the Corrs since their memorable St Patrick's Day gig at the Royal Albert Hall in 1998, in part due to them taking a decade break from 2005. The other reason for that was the gradual move towards mainstream pop, and starting to play at Arenas such as this, which made them a lot less appealing. The Corrs are not suited to arena gigs - their sound is just, well, not big enough. A theatre is much more them.

Anyhow, this was at the O2 arena, and to be fair they made a good fist of it. However, too often they were neglecting their roots (e.g. playing a medley of great folk instrumentals, rather than giving the songs the time they deserve, and playing them in full), and particularly Sharon's fab fiddle playing. When they did go back to them (e.g. on 'Toss the Feathers', and 'Radio', with an excellent extended fiddle outro), they were excellent, there just needed to be more of it. And there needed to be more, full stop, with the set around 1 hr 45 minutes, at least 15 minutes too short for an established act.

The set was also far too heavy on their second album 'Talk on Corners', with 6 songs from it played (including 'Dreams'), although a couple of the highlights - a very rocky 'So Young' and 'Queen of Hollywood' (featuring a storming guitar solo) - were from that album.

All, in all, a good gig, albeit one with ups and downs - and well worth seeing.

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With countless platinum selling albums and singles released over the years, the Corr siblings continue to produce and perform their famous combination of traditional Celtic Irish themes, with pop/rock music which maintains its appeal of originality. When I saw them in concert, the night flew past, it all seems like an incredibly magical blur. I was lucky enough to get tickets for myself and a few friends in Manchester, and it really was the best gig i've ever been to. There was something extremely special about seeing the musicians perform with such passion and enthusiasm to such a vast audience, whilst seeming to personally interact with everyone in the concert hall.

They came to the stage just after 19.30, to the backing track of a prerecorded introduction that fuelled the enthusiasm of the audience even further. They launched straight into their first song without any introduction, which created tumultuous screams from the fans. After a few of their classics, they stopped to introduce the show, and thank us for being there which was really great. I loved how they played a great balance of the classics, really well known songs, and also some of their new material which is great! A simply unbelievable concert, don't miss out if you get the chance to go.

Hi, I am 72 years old, and I believe i am one of the eldest followers\fans of The Corrs.

I follow this wonderful group ever since when the first album "Forgiven Not Forgotten" was launched in 1996, and after having listened to it, I haven't rested until I bought it. I own the whole band's discography either in CD's and DVD's and I was present in the first live concert in Portugal - Braga when it took place in 2005, it was a spectacular performance and one of the last before the band fell apart, and since it did I became interested in Sharon Corr and her performances instead. Which remind me of her concert in Galicia - S. Tiago de Compostela in the Lope de Vega theater, and in Dublin - The Sugar Club in which I was also present.

In regard to what I think about the White Light Tour in Dublin - Arena 3 no words can describe it, it was the best concert I watched in my whole life and is one that I will forever remember.

I was touched by that performance and the experience it was. Easily the best concert of The Corrs for me, they know how value the merit given to them by their fans and naturally you can count on me in future events.

Best regards from Domingos Silvestre.

Ireland has produced good musicians & great musicians over the years but The Corrs would be very top of the pile.

I'm an Irishman living in Australia for many years but my sister lives in Jenkinstown Dundalk.

Every time I visit I hope I might run into one of The Corrs in a local pub, well no harm in dreaming!

Really hoping the Corrs might do a world tour in the next few years?

I'm thinking most of the band members are married now with families so it's probably very difficult to tour these days.

The Corrs are adored worldwide & especially here in Australia.

That raw fresh Irish sound which is so original comprising the fiddle, tin whistle etc. to the pure voice of Andrea,there is simply nothing else like it.

The entire Corr family are just so talented & when they combine the music they create together is just magic!

Please Corrs try to do a tour in the next 3 years? I seriously would go anywhere in the world to see you again in concert.

This was not just a Corrs concert. It was their first performance in 11 years!

We've been following them for years so when we heard that they were working on a new album and were expected to perform at BBC Radio 2 Live at Hyde Park we were very excited!

Before their set, a clip of their hit songs and some live footage was shown, getting cheers from the audience.

They played a 30 minutes set which included Breathless, Runaway, Dreams, What Can I Do, Radio and Toss The Feathers.

There were some technical problems during the first song and it was clear they were very nervous, but who could blame them! They probably weren't sure of the audience reaction but they really had nothing to worry about, as everyone was clapping, cheering and singing along. Runaway was a very emotional moment!

It was great to see them back on stage together and, if anyone is wondering, YES, they still got it!!

I had seen the Corrs live twice before but after a gap of 10 years and a rather subdued performance in Hyde Park (seen on TV) I was concerned that the family band may have lost their touch.

Seconds into the set I felt reassured and by the end I knew they are back, back, back.

There was an instant standing ovation from their first appearance on stage which continued throughout the set.(NB: if you like sitting get a banked seat)

A mix of fast, slow, new, old (plus the 'traditional section') would have pleased most fans.

The new album 'White Light' was given a fair hearing but sprinkled throughout.

The staging was also up to standard with projection and various light effects enhancing the music rather than being a distraction.

There was no escaping the warmth of affection between audience and the group and I was pleased to witness the first leg of the revival

The Corrs at Epsom Racecourse on a cold windy evening did not seem a promising prospect -any more than the 50-1 outsider that I backed, but how wrong I was. With the strong wind blowing into their faces the whole concert they were magnificent, even more polished than they were when they were last touring. They performed the best from their extensive back catalogue including all the hits plus their wonderful repertoire of traditional irish songs faultlessly, and a few new songs, I guess from their new album thrown in. Their one and a half hour concert just flew by and sadly the crowd were not granted 'more'. Despite contending the wind full on, the sound mix was excellent. If I was being a bit picky, maybe the vocals could have been a bit louder. If you liked the Corrs don't miss seeing them. You won't regret it. Forgiven for the break, and definitely not forgotten

Llevo desde los catorce años deseando ir a un concierto aunque sólo sea una vez e intentar conseguir sus autógrafos y una foto con ellos.

Su música me ayudo a superar una gran depresión con intentos de suicidio, al ser agredido sexualmente a esos 14 años.

Ellos me dieron fuerzas a salir del hospital en

donde estaba paseándome por un pasillo muchas veces (tres meses) y algo cambio en mi.

Si consiguiese hace realidad este sueño, podría dejar atrás ese horrible suceso porque si no lo hago para mi, no tiene sentido la vida.

Una vez tocaron en el monte do gozo y no pude ir.

Pagaría millones de euros para poder estar a su lado y dejando de lado la firma y sus autógrafos, también fallé en poder conocer a sus padres T.T

Blenheim Palace 24th June.What can you say? Send out the ever popular Caroline to energise the crowd with a drum solo before launching into 'I do What I Like' . As always a rock based opening with well established favourites before slowing down to the 'Irish' and acoustic sections.Kiss of life and Ellis Island are becoming fan favourites. Andrea , delightfully, couldn't understand why the crowd laughed when she introduced Ellis Island as a song about immigration!We all joined in with Runaway, stood for Breathless and generally had a superb time.Only dampener was the band not being allowed to play 'toss the Feathers' as they reached the site curfew time.Shame on you BP.

I adore The Corrs and have every CD. Looking forward to their new CD release on Nov 10th! I’ve seen them in the states at the Jones Beach Concert Hall on LI, saw Sharon perform at the Bolton Center in Bayshore, NY, and again saw The Corrs at the Titanic in Belfast in 2016. Their beautiful lilting and uplifting music is a joy to listen to, and their stage presence is vibrant!

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The Corrs announce Talk on Corners tour with special guest Natalie Imbruglia

6 February 2024, 10:03 | Updated: 6 February 2024, 11:26

By Tom Eames

Irish pop icons The Corrs have announced an eight-date UK & Ireland tour for November 2024.

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The group will perform tracks from their acclaimed 1997 album Talk on Corners plus a selection of their greatest hits.

The tour kicks off at Belfast’s SSE Arena before heading to Manchester’s AO Arena, Glasgow’s OVO Hydro and Newcastle’s Utilita Arena.

• The Corrs share gorgeous cover of Fleetwood Mac's 'Songbird' in tribute to Christine McVie
• Andrea Corr facts: Corrs singer's age, husband, children and career explained

Joining them on tour will be Australian pop legend Natalie Imbruglia.

Presales for the tour will start on Wednesday (February 7) at 10am local time. More presales will run throughout the week, with general on-sale following on Friday (February 9) at 10am local time.

The Corrs will also soon release a first ever vinyl version of Talk On Corners later this year.

The dates are:

• Friday 8 November SSE Arena Belfast
• Saturday 9 November 3Arena Dublin
• Monday 11 November AO Arena Manchester
• Tuesday 12 November Utilita Arena Cardiff
• Thursday 14 November Resorts World Arena Birmingham
• Friday 15 November Utilita Arena Newcastle
• Sunday 17 November OVO Hydro Glasgow
• Monday 18 November Utilita Arena Sheffield

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The Corrs announce 2024 Glasgow show with Natalie Imbruglia 

The 'Talk On Corners' tour will see the Irish group play a number of venues in November 2024.

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The Corrs have announced a tour which will see them play eight shows across the UK and Ireland.

The “Talk On Corners” tour will see the Irish group play a number of venues in November 2024 where they’ll perform songs from their 1997 number one album of the same name as well as various greatest hits.

The Corrs confirmed they would be playing Glasgow’s OVO Hydro on Sunday, November 17.

In a post shared on X, formerly known as Twitter, the band confirmed the “big news” that they were hitting the road once again.

In the announcement they also confirmed that they would be joined by Australian singer Natalie Imbruglia, who will open for the band.

Big news! We're heading back out on the road this November with dates across the UK & Ireland. You can catch us in Belfast, Birmingham, Cardiff, Dublin, Glasgow, Newcastle, Manchester & Sheffield with special guest @natimbruglia On sale Fri at 10am https://t.co/vIWqbK0HF5 pic.twitter.com/iKfdmj5K1I — The Corrs Official (@CorrsOfficial) February 6, 2024

How to get tickets

Tickets will go on general sale on Friday, February 9 at 10am.

Presale details

OVO Live will host a presale event set to commence from 10am on Wednesday, February 7.

O2 customers will also have access to an exclusive presale event from Wednesday at 10am.

Live Nation members will be able to grab presale tickets on Thursday from 10am.

All presale events will end before general sale tickets go on sale.

The Corrs tour 2024 date

• Friday, November 3 – Belfast, SSE Arena
• Saturday, November 9 – Dublin, 3Arena
• Monday, November 11 – Manchester, AO Arena
• Tuesday, November 12 – Cardiff, Utilita Arena
• Thursday, November 14 – Birmingham, Utilita Arena
• Friday, November 15 – Newcastle, Utilita Arena
• Sunday, November 17 – Glasgow, OVO Hydro
• Monday, November 18 – Sheffield, Utilita Arena

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“I don’t have any qualms about playing it until the day I die.” How Nymphetamine helped Cradle Of Filth become “the Backstreet Boys” of black metal

With help from Leaves Eyes vocalist Liv Kristine and some spiritual interference from Type O Negative, Cradle Of Filth traded black metal for goth on 2004's Nymphetamine

By the time they released their sixth studio album, 2004’s Nymphetamine , Cradle Of Filth were loved and loathed in equal measure. Having partially shed their black metal skins, they’d embraced a more grandiose and symphonic style, dragging extreme metal as close to the mainstream as it could get at that point. They’d even – gasp! – signed to a major label for preceding album Damnation And A Day , which came out on Sony in 2003. 

Nymphetamine the record featured two versions of its title track. Nymphetamine (Overdose) was a multi-part, nine-minute epic sitting as the centrepiece of the record. But it was a shortened version, dubbed Nymphetamine (Fix) , that was sent forth as a single, taking on its own life, propelling the band to even greater levels of infamy and landing them their biggest-selling album to this day. It even got nominated for a Grammy. 

“The negativity had already hit us in a tsunami by that point,” laughs frontman Dani Filth. “When we signed with Sony, of course we were labelled sellouts. We were the Backstreet Boys! But the thing about being in a band with longevity is that you eventually outrun all that crap anyway.” 

Cradle’s relationship with Sony lasted for a single album, with Nymphetamine emerging on Roadrunner just a year after Damnation And A Day . When asked if they were in a hurry to get something out on their new label, Dani explains that it was more a case of the band just being on a roll. 

“We were fuelled up at this time. We’d headlined the B-stage of the American Ozzfest for 10 weeks, which was a big, big deal,” he recalls. “We took Type O Negative out in support of us in the States - and I think some of that Type O rubbed off on us a little bit with some of the songwriting. Sony didn’t really understand us, and they let us go without holding us to any contract, with Roadrunner waiting in the wings. We were riding high as a band, and that’s why we were so swiftly off the bat.” 

Following a string of full- and partial-concept albums, the band wanted to return to a more varied approach on Nymphetamine . This coincided with a change in the songwriting process, with former keyboard player Martin Powell telling blog Jävla Musik that they went from “writing as a full band in the rehearsal room, to each of us working on our own songs on our own studio set-ups”. He also claimed that he wrote a few songs in their entirety, along with “the majority” of the title track. 

“What I remember is that we wrote the song and it was vastly different,” Dani says. “People started discussing the merits of shortening it into just the middle section but I wanted to keep the original like a triptych, with wings on both sides. 

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The original vocal pattern was twice the speed and we were trying to work out how we were going to get this to work. Then one Sunday afternoon I was like, ‘Right, everybody is going out somewhere, I’m going to sit down and work this out.’ I ran the vocals at half speed and it suddenly dawned on me, ‘This is actually quite clever.’ OK, it sounds really obvious, but it wasn’t at the time.” 

The recording sessions themselves were a little stop-start, with producer Rob Caggiano having to leave at one point to go on tour as then-lead guitarist with Anthrax. Dani came down with a pollen allergy that prevented him singing for a while, but these were, he says, pretty standard obstacles for any long-term band. In the end, both the longer Nymphetamine (Overdose) and the reworked Nymphetamine (Fix) were included on the album, with the shortened version acting as a kind of closing reprise. 

As well as Dani’s barking shrieks, both versions benefited from a guest appearance by former Theatre Of Tragedy and Leaves’ Eyes vocalist Liv Kristine. It wasn’t the first time Cradle had employed a female singer – Andrea Meyer had appeared on debut album The Principle Of Evil Made Flesh , and Sarah Jezebel Deva sang as a backing vocalist with the band for almost 14 years, but they wanted a different voice for Nymphetamine .

Dani vaguely recalls having a connection to Liv through her then-husband, Alex Krull of Atrocity. “Roadrunner US got in touch with me out of the blue and asked me to do some vocals for Nymphetamine. They needed my vocals very quickly,” Liv told Brave Words at the time, adding that she recorded them remotely at Alex’s Mastersound Studio in Germany. 

“I fell in love with the song straight away… I love the contrast between Dani’s vocals and mine. The feeling of the song might remind you of [Where The Wild Roses Grow by] Kylie Minogue and Nick Cave,” she added.

“So she just ripped it off then, did she?” laughs Dani, when we tell him about her comparison. “I guess she’s talking about that sort of ‘Beauty and the Beast’ vibe, although it’s a horrible thing to call her a beast! No, I see what she means – it is a cool juxtaposition. And again, we’ve employed that throughout our career. In fact, we’re doing that even still with our collaboration with Ed Sheeran.”

Unlike the Kylie and Nick Cave duet, Nymphetamine doesn’t end in bloody murder, but it does explore the darker side of love, lust and obsession. The title itself is a portmanteau of ‘nymphette’ and ‘amphetamine’, and at the time Dani described the song as concerning itself “with a love affair so intense, that although soured and dead, it ignites at the slightest sniff of reinvention”. 

“It’s a kind of morbid love letter,” he nods today. “And unhealthy. An addiction, as love often is. Probably worse than alcohol or heroin – to those of us who are divorced,” he adds with a chuckle. 

As already mentioned, the approach to songwriting on the Nymphetamine album was markedly different to 1998’s Cruelty And The Beast – a concept album based around Elizabeth Bathory – 2000’s Clive Barker-inspired Midian or 2003’s Damnation And A Day , which the singer describes as “a huge, convoluted album literally dripping off the CD, about the fall of Lucifer”. 

“To paraphrase Alice Cooper, he’s not writing songs about the Fall of Man and politics and that sort of thing. He just wants to hear how your girlfriend’s doing,” he grins. “It was refreshing to go back to that, because I’m a bit of a gothic romantic at heart and the lyrics on the album were more Byron-esque.” 

Of course, famed poet Lord Byron probably wouldn’t have used Airwolf as a placeholder. Taken from the hokey 80s military helicopter-themed TV series, that was the unlikely working title of the album’s title track until it was completed.

Another key element of the success of Nymphetamine (Fix) was the suitably gothic black and white music video that accompanied it. Liv Kristine flew over for the shoot, which took place partly in the tunnels around the London Dungeon and was directed by Dani Jacobs, who had previously enjoyed success in the pop world with the likes of Tears For Fears, The Corrs and Steps. 

“We didn’t have a lot of time to film it but we did have a lot of cool costumes and ideas,” Dani recalls. “Most of our previous videos had full stories going on, but much like the album, this was more freeform. And it’s obviously one that’s stood the test of time.” 

Buoyed by the video and their burgeoning success, Cradle Of Filth secured that Best Metal Performance nomination at the 47th Annual Grammy Awards in 2005 alongside Slipknot, Hatebreed, Killswitch Engage and Motörhead. The latter bagged the award with their cover of Metallica’s Whiplash – a fact Dani remains philosophical about. 

“They’re the Grammys, they don’t really know about subgenres,” he shrugs. “Metal comes on, they go, ‘Oh, Motörhead we know about them. We’ll vote for those.’” 

So has Nymphetamine itself stood the test of time, in both of its guises? There’s no doubting that the original extended Nymphetamine (Overdose) version has been overlooked, despite those enfolding ‘wings’, as Dani calls them, providing some excellent metallic dynamics at either side of the far better-known middle section. 

“I still love the [ Overdose ] version. We were going to play it live, but the longer you go on, the trickier it gets to put the setlist together without missing anything,” Dani shrugs. 

And Nymphetamine (Fix) ? “Every time I hear it, it sends a shiver of fear and revulsion through me, because it means I’m probably in the toilet and I should be at the soundcheck instead,” he laughs. “Seriously though, it’s the go-to song, and I’m not one of those people moaning, ‘Oh, I wish I’d never written that, now I have to play it every day.’ I don’t have any qualms about playing it until the day I die."

Cradle Of Filth tour the UK from October 27 and headline Damnation Festival on November 2. For the full list of live shows, visit the band's official website . 

Paul Travers has spent the best part of three decades writing about punk rock, heavy metal, and every associated sub-genre for the UK's biggest rock magazines, including Kerrang! and Metal Hammer . 

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