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Their love was real and it still survives, albeit in a new state.And Irglová has found the seeds of her own voice, maybe, and they have dug down deep into the soil and taken root.“That session rendered what could have been a record, but it didn’t feel like the right record to follow up Rhythm and Repose,” Hansard says.Working on the album with The National’s Thomas Bartlett gave Hansard the extra drive he needed at just the right time.Irglová is us, if we were thrust in such an uncompromising and glorious situation based on our talent and passion and our capacities to believably feel in the moment.I’m talking about the dream of watching a crush up on the screen and imagining that one day we might find ourselves playing opposite them and having them fall in love with us, not just as characters in a reel story, but our real lives.

She had been given the chance to address the audience after the swelling music had cut her off during their initial time.Irglová, though, is shy and more intrinsically intimate; she needs to shut the door to faces in the crowds, retreat from the stage to some more natural boundary, a place where it doesn’t make sense to have your picture taken with someone you don’t really know.The catch-22 lurking is that people feel like they know them, Hansard and Irglová.“It really came down to the fact that each session and location loaned itself to different musicians, and the job became to keep the thread running through it so it didn’t feel disjointed. Things like ‘Wedding Ring’ and ‘Winning Streak’ came out of those sessions. And Chicago gave us ‘Her Mercy,’ which is fitting since in its spirit are people like Mavis Staples or Curtis Mayfield.”Upon the release of his second full-length solo album, Hansard is certainly one of Ireland’s most successful musicians.But he remains seemingly unaffected or driven by fame, perhaps staying true to his humble beginnings as a busker on the streets of Dublin.

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