Five Go Down to the Sea?

Five Go Down to the Sea?
Company type	Band
Industry	Music
Founded	1978 in Cork, Ireland
Founder	Finbarr Donnelly, Ricky Dineen, Philip O'Connell, Keith O'Connell
Defunct	1989
Headquarters	Cork (original), London (later), Ireland, United Kingdom
Products	Music recordings (EPs)

Adapted from the English Wikipedia article Five Go Down to the Sea?, available under CC BY-SA 4.0Updated 29 November 2025

Five Go Down to the Sea? was a post-punk group originating from Cork, Ireland, active between 1978 and 1989. The band initially formed as Nun Attax during their teenage years, founded by vocalist and lyricist Finbarr Donnelly, guitarist Ricky Dineen, and brothers Philip (bass) and Keith "Smelly" O'Connell (drums). They became known for Donnelly's bizarre and surreal lyricism, Dineen's sharp, angular guitar work, and a rhythm section inspired by Captain Beefheart. After relocating to London in 1983, they adopted the name Five Go Down to the Sea?. Their lineup also included guitarists Mick Finnegan, Giordaí Ua Laoghaire, Mick Stack, as well as cellist Úna Ní Chanainn.

Most of the guitar riffs were crafted by Dineen, who drew inspiration from bands such as the Mekons and the Fire Engines. Following their rise in Ireland during the early 1980s, they released the Knot a Fish EP under their new moniker. Upon moving to London that same year, they cultivated a live fanbase but were unable to secure a full album deal, instead issuing several additional EPs. The absence of commercial breakthrough and management led to their disbandment in 1985. Donnelly and Dineen later reunited as Beethoven in 1988 and released the EP Him Goolie Goolie Man, Dem in 1989 before Donnelly tragically drowned at age 27, bringing the project to an end.

Although their discography comprises only four EPs with modest sales figures, Five Go Down to the Sea? have since gained critical acclaim and significantly influenced later Irish musicians, especially Cork bands known for their dry wit. In 2001, broadcaster Paul McDermott created the radio documentary Get That Monster Off the Stage, focusing on Donnelly and his musical ventures. Author Mark McAvoy remarked in 2017 that Donnelly "probably would have been the most influential musician and songwriter" within Cork’s music community. A compilation album titled Hiding from the Landlord was issued in 2020.

Cork

The band originated among childhood friends Ricky Dineen and brothers Philip and Keith O'Connell from Churchfield, located in Gurranabraher on Cork's north side. In 1978, Dineen introduced Finbarr Donnelly—who hailed from Belfast but adopted a pronounced Cork accent—to the group. Dineen had previously favored hard rock and Pink Floyd, but Donnelly exposed him to post-punk sounds and BBC DJ John Peel’s radio show. The band took on the name Nun Attax and began performing punk covers like "Teenage Kicks" and "Pretty Vacant" in Keith O'Connell's bedroom. According to Philip O'Connell, their punk philosophy emphasized originality, consciously distancing themselves from mainstream acts such as Status Quo.

Unlike many Cork groups centered around University College Cork, Nun Attax came from working-class neighborhoods on the north side and playfully referred to themselves as "University College Churchfield." Their appeal extended to students and middle-class residents from Cork’s south side. Most of their early compositions were written in Ballinora; Sean O'Hagan of Microdisney noted that fans would travel by bus to attend rehearsals held in a Gaelic Athletic Association hall.

Nun Attax debuted live in February 1979 at Mayfield Community School. They quickly emerged as prominent figures in Cork’s punk scene around the Arcadia ballroom near Kent station—a rare venue in Ireland that favored punk over blues—managed by Elvera Butler and Andy Foster. Subsequently, they performed at Sir Henry's on South Main Street and expanded their reach with gigs across Dublin and Dundalk.

Under Dineen’s guidance—who drew influence from groups like the Mekons, Gang of Four, and Siouxsie and the Banshees—Nun Attax developed a complex, noisy sound rooted firmly in punk traditions. Dineen usually introduced riffs for improvisation before Donnelly layered vocals on top. Donnelly penned all lyrics himself, noted for their spontaneous vernacular and surreal qualities. Though self-taught musicianship characterized the band, Dineen was a resourceful guitarist while Keith O'Connell's drumming reflected Captain Beefheart’s style.

Mick Finnegan briefly joined as a second guitarist early in 1979 but was replaced by Giordaí Ua Laoghaire from Ovens, County Cork that September. Ua Laoghaire enhanced the band's technical skill; Dineen remarked that prior to his arrival they had been "playing to their abilities." Ua Laoghaire departed in May 1980 to join Microdisney. In 1981 Nun Attax contributed three tracks to the live compilation Kaught at the Kampus, recorded at the Arcadia ballroom and released by Reekus Records. Philip O'Connell left the band in 1980; during recordings Dineen temporarily handled bass duties.

In 1982 Mick Stack joined as guitarist while the group rebranded itself as Five Go Down to the Sea?, radically transforming their sound. They enlisted cellist Úna Ní Chanainn from Glanmire—later associated with the RTÉ National Symphony Orchestra—who assumed bass responsibilities previously held by Dineen. The band recorded the 1983 EP Knot a Fish on Garreth Ryan's London-Irish label Kabuki, featuring songs like "Elephants For Fun And Profit" and "There's a fish on top of Shandon (swears he's Elvis)." Ní Chanainn remained with them for about a year but stayed behind in Cork when they relocated to England, after which they returned to operating as a four-piece ensemble.

London

In 1983, Five Go Down To The Sea? moved to Rotherhithe, London, compelled by scarce employment opportunities during Cork's economic downturn and significant emigration in the early 1980s. Their initial year proved difficult, surviving on minimal means while residing in squats and performing manual labor. The following year, they secured a recording deal with Abstract Sounds and released the Glee Club EP, produced by Jon Langford, who commended their sharp humor and inventive style. Abstract arranged performances, including a support slot for the Jesus and Mary Chain, which helped the group cultivate a devoted fanbase, particularly across northern England.

By 1985, the band established connections with Alan McGee and producer Joe Foster of Creation Records, a label they greatly respected. McGee invited them to perform at his Living Room club in Camden, recalling their chaotic yet captivating shows. Author David Cavanagh highlighted Donnelly’s surreal lyricism and dynamic stage energy during these appearances.

Their EP Singing in Braille, issued by Creation in August 1985, sold approximately 600 copies. Cavanagh observed that a sustained relationship with Creation was unlikely due to commercial complications. Peter Fowler, Creation’s art director, remembered their unconventional lifestyle in Rotherhithe as emblematic of their distinctive character. Later, Dineen expressed dissatisfaction with the Creation recordings, feeling the band had aimed for excess but ultimately fell short.

The group encountered difficulties engaging productively with English record companies because of artistic clashes and communication obstacles. Dineen remarked on their inability to adapt to industry norms, while Ua Laoghaire suggested Donnelly secretly craved success but was reluctant to reveal that ambition. Coughlan believed they possessed commercial potential comparable to Echo & the Bunnymen but were held back by an unwillingness to collaborate with A&R representatives. Journalist Fergal Keane shared this perspective, proposing that professional management might have enhanced their prospects; however, Donnelly’s heavy alcohol consumption made him resistant to such guidance.

By the end of 1985, the band disbanded out of frustration over the absence of an extended record deal, disenchantment with touring life, and exhaustion from financial hardship. Stack sought relief from excessive drinking by relocating to America; Keith O'Connell opted to return to Ireland. Donnelly and Dineen briefly continued performing with a drum machine in early 1986 but failed to attract industry attention.

Beethoven

Following the breakup, Donnelly and Dineen remained in London and early in 1988 enlisted Dublin-born bassist Maurice Carter and Swiss drummer Daniel Strittmatter to form Beethoven Fucking Beethoven, later abbreviated as Beethoven. Their first performance at the Mean Fiddler drew the interest of Keith Cullen, owner of Setanta Records, who took on management duties and arranged shows. In June 1989 they released an EP titled Him Goolie Goolie Man, Dem, produced by Jon Langford of the Mekons and the Three Johns. This was Setanta's inaugural release featuring five tracks including a cover of the Beatles' "Day Tripper."

On 3 June 1989, the EP was honored as NME's "Single of the Week." Steven Wells praised it as a "gem of a record," emphasizing their innovative rendition of "Day Tripper." Conversely, Melody Maker critic David Stubbs was less enthusiastic, characterizing Donnelly's vocals as a "wail." Ua Laoghaire observed that these songs lacked the earlier humor found in Five Go Down To The Sea?, reflecting Donnelly and Dineen's industry frustrations yet maintaining their distinctive edge. Cullen later commented that much of the band's activity revolved around drinking, with Donnelly and Dineen frequently intoxicated.

Tragically, on 18 June 1989, Donnelly drowned in London's Serpentine Pond at age 27. Present at the time, Dineen described it as an accidental drowning during a hot day when Donnelly went swimming. The event profoundly impacted Dineen, who returned to Cork and faced personal struggles thereafter. Plans for a second EP featuring a Queen cover of "Bohemian Rhapsody" were never realized.

Legacy and influence

Donnelly was recognized for his magnetic yet occasionally intimidating stage presence. John Robb of Membranes lauded his eccentric performance style as genuinely rebellious against convention. Keith O'Connell recalled Donnelly’s unpredictable conduct in London, while Cathal Coughlan credited him with inspiring a musical career that might not have otherwise occurred. Critics emphasize Donnelly's lyrics as capturing the frustrations of young Ireland with a blend of wit and intensity.

Five Go Down To The Sea? left a significant mark on Cork’s music scene through their dry humor and distinctive originality. Des O'Driscoll attributed Donnelly with unleashing Cork’s quirky creative spirit; Mick Lynch from Stump stated that Donnelly gave permission to embrace eccentricity. Morty McCarthy of The Sultans Of Ping described them as Cork's "sacred cow" and an untouchable source of influence. Mekons’ Sally Timms called them "funny, talented and strange," singling out Donnelly as especially remarkable.

English songwriter Pete Astor paid tribute to Donnelly in his track "Donnelly" on the album Paradise, considering him an unsung hero comparable to Shaun Ryder and Richie Edwards.

In 2001, Paul McDermott produced "Get That Monster off the Stage," a radio documentary about Donnelly and his bands later broadcast on RTÉ. In 2009, Cork hosted a tribute event commemorating the 20th anniversary of Donnelly’s death featuring artists such as Mick Lynch and John Spillane. As of 2020, Dineen continues performing with Big Boy Foolish.

April 2020 saw Allchival Records issue Hiding from the Landlord, a compilation album containing 24 tracks including previously unreleased material like "Knocknaheeny Shuffle." This release was accompanied by a fanzine featuring contributions from notable musicians and writers.

Also in 2020, Cork City Libraries and Council unveiled a mural on Grand Parade honoring Five Go Down To The Sea? for the 40th anniversary of "Kaught at the Kampus." The artwork included a life-size photograph of the band alongside reprinted fanzine interviews celebrating their influential role in establishing Cork’s musical reputation.

Band members

Finbarr Donnelly – lead vocals, lyricist (1978–1989)
Ricky Dineen – guitar, bass (1978–1989)
Philip O'Connell – bass (1978–1980)
Keith "Smelly" O'Connell – drums (1978–1985)
Mick Finnegan – guitar (1979)
Giordaí Ua Laoghaire – guitar (1979–1980)
Mick Stack – guitar and bass (1982–1985)
Úna Ní Chanainn – cello (1982–1983)
Maurice Carter – bass (1988–1989)
Daniel Strittmatter – drums (1988–1989)

Discography

The group’s official output includes three Fanning sessions recorded for RTÉ between 1982 and 1984.