For this month’s edition of Conversations, we sit down with Claire Hall, newly appointed Creative Producer at Belfast’s Oh Yeah Music Centre. A long-time champion of inclusive dancefloors, grassroots scenes and bold creative production, Claire brings years of experience across nightlife, placemaking and festivals into her new role helming the programming of this year’s Sound of Belfast. From her roots in punk and Ballroom to shaping flagship cultural events, she shares her vision for the city’s music future, why Oh Yeah is Belfast’s best-kept secret, and what it means to lead with joy, curiosity and care.

Hi Claire. First off, huge congratulations on your new role as Creative Producer at the Oh Yeah. How does it feel to join the team at such a pivotal moment for Belfast’s music community?

Thank you for your kind words. I am feeling energised working in this new role as I have been working in this sector across genres of punk/DIY and electronic music since 2008. To have a lead role in creating opportunities for artists and preserving our venues across the city is a huge privilege.

You’ve worked across culture, placemaking and nightlife, from leading the team that set up Banana Block, to producing talks with AVA and working with festivals like CQAF and Outburst. Alongside that, you’re also a musician, DJ and part of the New York Ballroom scene, not to mention your time at David Holmes’ God’s Waiting Room. What threads connect all that experience to your new role at Oh Yeah?

I am very lucky to have had the opportunities to be curious and explore different types of music and scenes since I moved back to Belfast in 2008. I remember coming to Oh Yeah when it had just opened and subsequently have produced work in here, led workshops and DJed with Marion Hawkes for Women’s Work. I’ve been fortunate to work with Queer scenes here and in 2015 the MAC supported me on my first big production “House” about the NYC Ballroom scene. I’ve performed in and I’ve produced many club nights including God’s Waiting Room since 2022. The threads that pull all these things together are people who share a punk rock and grassroots ethos; if it doesn’t exist, make it happen. Belfast is a particularly special place for being able to experiment and try things out. 

You’ve called being a Creative Producer your dream job. What is it about pulling teams together and shaping creative projects that brings you the most joy?

Ha, yes this is new-ish term for me to use that describes what I’ve unwittingly been doing for years. What I love about this job is bringing ideas and musings into living and tangible entities; I am always forced out of my comfort zone which is so important to any creative endeavour. I think this job nourishes the daydreamer in me who also really enjoys the practical aspects of production and team management – when you get the right team of people around you the possibilities are endless and joyful!

Since 2022, you’ve helped elevate God’s Waiting Room into a vital part of Belfast’s club ecology. What’s it been like helping shape something so immersive and what have you learned from that world that feeds into producing bigger cultural programmes like Sound of Belfast?

I have loved being a part of God’s Waiting Room for many reasons. Firstly, because David Holmes’s curations are unmatchable. Secondly, because I have had the opportunity to move right out of my comfort zone by producing large-scale, site-specific events for the club. And thirdly, because I have had the opportunity to meet so many incredible artists. The key thing I have learned is about creating a baseline of consistency – even though no two GWR events are the same, the essence of leftfield artists, diverse dancefloors (in terms of age, gender, sexualities, race etc.) and a collective shared respect of other human beings is at the core of the club, so people know that they are going to a carefully considered event. This is a value that I want to continue to bring into Sound of Belfast Festival. It will be a diverse programme but at its core the festival showcases Belfast and Northern Ireland music scenes. 


This year, you’re helming the programming of Sound of Belfast – a flagship series for the city and a key moment in its musical calendar. What’s your vision for this year’s programme? What new energy are you hoping to bring to it?

I am so excited to be leading the curation of the festival this year! My own inputs and vision for this year are to spread out across the city into lesser-known venues and spotlight some places that are not quite on people’s radars, linking up musicians to venues. I am particularly focused on placing the Oh Yeah Music Centre at the heart of the festival for the ten days duration, making it a central hub to host gigs, talks, workshops and, of course, coffee and drinks. The brilliant team who have spearheaded these two events is led by Charlotte Dryden and Dee McAdams. They are low-key two LEGENDS!

Oh Yeah sits at the centre of Belfast’s identity as a UNESCO City of Music. How does that status influence how you’re thinking about programming, and how can Sound of Belfast help level up that vision? 

Oh Yeah has long been a champion of emerging talent and artists from Belfast not only through youth development programmes like Volume Control and Elevate, through the talent development programme Scratch my Progress to supporting bands by providing mentorship and venue support. I think Sound of Belfast and Oh Yeah not only embody the vision of the UNESCO City of Music but have laid the foundations to support and tease out the best of what our brilliant city and country have to offer!                                                                                                                

As someone who’s long championed inclusive and diverse dancefloors, from Ballroom culture to queer club nights, how will that commitment carry through into your work at Oh Yeah?

My commitment to creating inclusive and welcoming spaces through the venue set up to the programming is life-long. I will always endeavour to curate a programme that is reflective of the diversity in our city and this encompasses gender, sexuality, race and those with disabilities. 

From the legendary RÓIS performance you mention to your dream of seeing Talking Heads and Madonna live, what kind of energy do you think live performance should bring to a space like Oh Yeah?

RÓIS is one of my favourite artists because she is INCREDIBLE! I want every live act to experience what it feels like to have a captive audience and for the audience to be completely immersed in the artist on the stage. That’s how it was during the last RÓIS gig I produced here. You could hear a pin drop. 

Finally, what’s exciting you most about this new chapter and what legacy would you love to build during your time at Belfast’s dedicated music hub?

I am most excited to work in the venue and build its profile. I genuinely believe Oh Yeah is the best-kept secret in Belfast and I see so much potential in the space. I have already lined up some very cool (I cannot say right now) gigs for Sound Of Belfast and throughout the year so watch this space. My legacy? Hmm… to have contributed to elevating our music scene in some small way. 

Sounds of Belfast 2025 returns this November. Keep an eye on their Instagram for the official dates and full line-up—coming soon.