Beginning delicately with acoustic guitar, ‘Signals’ soon expands into a full-band arrangement alongside Keane’s band Na Reálta. Atmospheric lead guitar moves around the acoustic foundation, occasionally stepping forward with brief melodic flourishes, while steadily building drums give the song its brooding intensity. It sits comfortably in indie singer-songwriter territory, gradually increasing its weight without losing the intimacy at its core.

Keane’s vocal is undoubtedly the star. Rich with her natural Irish inflection, her delivery feels raw, expressive and intensely personal, as though she really is addressing another person rather than an addiction. There are echoes of SOAK in that distinctive combination of accent and emotional directness, but Keane makes the perspective entirely her own. ‘Signals’ leaves behind a lingering melancholy, capturing the exhaustion of recognising a destructive cycle while still struggling to break free.

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Drawing on the same emotional honesty found in artists such as boygenius, Sam Fender and fellow Irish favourites Pillow Queens, ‘Hate Me Now’ thrives on its balance of introspection and soaring indie rock energy. Driving guitars and polished production provide the perfect backdrop for Sadhbh’s distinctive vocal, which brings warmth, character and authenticity to every line. Rather than dwelling solely in sadness, the song carries an underlying sense of resilience that lifts it beyond heartbreak.

While its lyrics explore the lingering emotions of a fractured relationship, ‘Hate Me Now’ feels equally suited to a festival field as it does a solitary listen through headphones. It’s the kind of song destined to become a live favourite, inviting audiences to sing every word back while finding strength in its bittersweet honesty.

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