What drew you to explore the idea of myth-making as a way to understand modern life, and how did that shape the tone of the record?
We all mythologise our own lives to some degree and so I was trying to really get to the heart of my own life and how I view the wider world through the medium of story driven songwriting on this album. Myths contain age old wisdom, allegory and metaphor that are useful if you’re trying to find your way so I was tapping into that in one sense. It shaped the tone of the record as I feel there’s an arc from confusion to a sense of acceptance and clarity.
You describe Modern Mythologies as both personal and universal — what moments in your own life most influenced its creation?
I’m constantly writing and I’m very grateful that I have music as a guide. It’s more like a continuation, a conversation I hope to be having as long as I’m alive, pursuing ideas and songs to document the journey. Specifically I feel this album was me searching for something deeper, meaning, purpose, a letting go of certain struggles or at least a more compassionate approach to them which in turn helps me be more compassionate to humanity.
How did confronting your past struggles, particularly with addiction and self-perception, translate into your songwriting on this album?
It was freeing but a raw thing to document. Ultimately it pushed me to be more focused, my love for being alive and for being creative outweighs my self destructive tendencies and there’s healing in the process of unraveling deep fears and insecurities. There is a mystical element to songwriting and inspiration that I wouldn’t want to totally analyse but when you step into your power and face your self there’s hope to be had in that choosing of courage.
There’s a tension between chaos and wonder running through these songs — how did you find balance between the two during the creative process?
Chaos is a creative force if you can find that balance. At one time chaos was the dominant force in my life and so it was like wild fire. I find balance in general now by being able to cultivate the quiet time I need in nature or in connection with others.
The record connects folklore and meme culture, the sacred and the everyday. How did you approach blending those worlds without losing authenticity?
It’s all about perspective, the ordinary can be profound if you wake up on the right side of the bed! My head works like that, I love connecting threads and seeing new patterns emerging. The memes of today were the slang graffitied onto a wall in ancient times, it’s all an attempt at communication.
What role did collaboration play in bringing this album to life, especially working with Gavin Glass, Peter Baldwin, and Cian Synnott?
Working with three producers was accidental and organic it wasn’t a conscious decision. Timing and circumstance just played their part and that was beautiful because I got to tune into three different environments at three different stages of the process. Each one was of equal importance & I appreciate all three experiences. It’s funny how things unfolded but it all feels right to me in hindsight, giving the album an almost anthology feel. 16 songs!
Your lyrics often read like poetry — do you begin with words or with melody, and how do the two evolve together?
Thank you, I usually sit down and start writing and the words start making their own music or they suggest a melody in their rhythm and flow that I can then elaborate on. It’s always been important to me that they can stand on their own unaccompanied if being read by someone and that they contain a multitude of things beneath the surface level.
You’ve said the process of creating brings you closer to reality. How has that philosophy changed your relationship with music over the years?
It brings me closer to reality in a sense that it brings me into the present moment where I feel awake and truly vibrant. Life happens and we all make mistakes, have our struggles and want to escape from feelings. I’m just glad I have a means of connecting and expressing with the world through the work. It means too that I look for that identification in other people, places and things.
What do you hope listeners take away from Modern Mythologies — especially those navigating their own chaos and renewal?
I hope it’s useful in some way and may spark a conversation with the person who may then look at a particular thing that’s affecting them in a new way. I hope it sparks a creative idea in someone else and they follow it because in my experience, that’s a wonderful path to explore.
After everything you’ve explored in this album, what kind of story do you think you’ll tell next?
I am open hearted and open minded for what comes next, always hopeful. I’d like to keep experimenting with different styles of music and writing! Thank you for the questions!
Upcoming tour dates for David Keenan:
Tickets avail at https://davidkeenan.com/
2025
• 6 Nov – Irish Film Institute (IFI), Dublin
Address: 6 Eustace Street, Temple Bar, Dublin 2, Ireland.
• 7 Nov – John Lee’s Bar & Venue, Tullamore
Address: Church St., Tullamore, Co. Offaly, R35 Y161, Ireland.
• 15 Nov – The Millhouse, Slane (final show of Chasing Myth tour + Hill of Tara visit)
Address: The Old Mill, Slane, Co. Meath, C15 FFK7, Ireland.
• 21 Nov – The Devonshire Arms Soho, London
Address: 17 Denman Street, Soho, London W1D 7HW, United Kingdom.
• 22 Nov – Rough Trade Denmark Street, London
Address: 24 Denmark Street, London WC2H 8NJ, United Kingdom.
• 26 Nov – Whelan’s / Spindizzy Records (Irish album launch night — live + in-store)
Address: 25 Wexford Street, Dublin 2, Ireland.
2026
• 13 Jan – Waterfront Hall, Belfast – as part of the Your Roots Are Showing / Folk In Fusion conference
Address: 2 Lanyon Place, Belfast BT1 3WH, Northern Ireland. https://www.waterfront.co.uk/what-s-on/folk-in-fusion/
