Henry Moodie

Tickets on sale Friday 26th September at 9am

Henry Moodie has a rare gift for turning starkly honest emotions into universally resonant pop songs. Since the release of his breakout debut single “you were there for me” in 2022, the singer-songwriter has quickly become one of the UK’s most compelling musical storytellers, amassing a billion streams globally and selling out shows across the UK, Europe, Asia, Australia, and the USA. Henry Moodie has just announced his highly anticipated return to the 3Olympia Theatre, Dublin on Wednesday 15th April 2026.

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His songs – woven from shattering heartbreak, unguarded vulnerability, fragile insecurities, and starry-eyed romanticism – feel as intimate as whispered confessions between friends, yet unfold with melodies so undeniable they take root in your subconscious. 

For Moodie, songwriting has always been more than a craft; it’s been a lifeline. Aged 11, he was gifted his first guitar by his mother, who encouraged him to channel his feelings into music. But it was at 13 that he discovered the power of music as a form of affirmation. “I was getting bullied at the time and was searching for an album that could make me feel empowered,” he says. “Then Reputation by Taylor Swift came out. I just loved the way she put these complex and personal things into bulletproof pop songs in such an accessible way. It’s a big reason why I fell in love with songwriting.” 

Inspired, Moodie spent his lunchbreaks in his school’s music block hiding from his bullies and writing songs. “They were about angsty teenage stuff,” he admits. “Not the best. But it takes a lot of bad songs to get to the better ones.” Nevertheless, he was dedicated to his craft: he learned how to produce music on his computer, and began sharing reworked cover versions of songs he’d recorded onto YouTube. “I didn’t feel much validation in school, so I sought it out online,” he says. “Escaping onto social media made me feel like I belonged. The music community on social media were my friends.” 

By 2019, his videos were racking up thousands of views. When Covid-19 hit, plunging the country into lockdown, he turned to TikTok. “I was studying for my GCSEs at the time, but our exams got cancelled. There was literally nothing for me to do for five months. TikTok became a flotation device when the world was in the weirdest, most surreal place ever.” Before too long, videos recorded from his bedroom in Guildford were going viral and as a digital native, he was cognisant of the opportunities the platform could bring: “I was thinking that I want to be an artist and this is a really good way of building a fanbase. I just wanted to one day be able to release a song.”

At 15, Moodie left school and joined a band. They spent a year writing material and sharing videos online, but something about the arrangement felt off. “I guess I was doubting myself as a solo artist, so I thought it was maybe safer to join a band,” he says. “But I found it less fulfilling not being able to write about my own life or from my perspective.” In the end, the group split. However, rather than drift, Moodie enrolled at the BIMM Music Institute to study songwriting: “I got so inspired again to really make it as a solo artist,” he says. “I just reconnected with that feeling I had from before the band of how much I just loved being able to write songs about my experiences and to have that full creative control.” 

This clarity led him to write “you were there for me”, a stirring and powerful ballad dedicated to his best friend. While initially hesitant to share the music he was writing to TikTok, something about “you were there for me” felt different: “I just thought, ‘Let me upload this one to see if something happens.” Practically overnight, the video accrued 1 million likes. What followed was a rush to get the song finished, produced and into the hands of Moodie’s followers, who were demanding its release. 

After signing a joint record deal with Robots & Humans in the UK and Columbia Records in the US, Moodie released a follow up, “drunk text”. About the torturous realities of unrequited love, with lyrics that practically shiver with yearning (“I wish I was more than just someone you walk by”) and an anthemic chorus begging to be blasted after a few too many glasses of wine, the song was another to catch fire on TikTok, particularly in Southeast Asia; it was soon regularly generating 2 million daily streams. Two acclaimed EPs followed – in all of my lonely nights and good old days – with songs like “fight or flight” and the nostalgic, Springsteen-esque “beat up car”, highlighting his increasing versatility as an artist.  

Now Moodie arrives at his debut album, mood swings. Alive with the chaotic uncertainty of young adulthood, it’s an uncompromisingly honest record that finds Moodie at his most exposed and personal. “When you hear an artist be vulnerable, it makes you feel like you’re being heard,” Moodie says. “So, if I can do that for someone else, that’s my idea of success.” 

This emotional transparency is evident from the title track, a rollicking, guitar driven opening to the album that sees Moodiedivulging his insecurities and frustrations with the volatility of being young: “I’m so tired of being twentysomething/I’m always feeling everything and nothing.” “I wanted people to understand who I am as a person before we got into the album properly,” Moodie says of the track. “It’s like I’m on a first date with the person listening and I’m telling them everything because I wear my heart on my sleeve.” 

Proving this is the achingly gorgeous “People Pleaser”, where he sings openly about seeking validation from others at the expense of his own wellbeing (“Even when it hurts/I put you first/That’s how I work”). Meanwhile the strumming “me myself and i”, with its country twang and stomping percussion, finds him making peace with his own self-destructive tendencies as he sings: “I’m stuck with them for life/Me, myself and I.” Elsewhere, he broaches friendship break ups on the tender “growing pains”, a piano ballad about drifting apart from someone that’s as heartbreaking as it is wise, and he shares his experiences with anxiety and depression on the affirming “pick up the phone”, which sees him reaching out a reassuring hand with the lyric: “It’s gonna be okay/Everyone needs a bad day/Remember you told me, you’re not alone.”

“It's important to share that side of me because it's really helped me when others have done it,” Moodie says of the song. “On social media, you highlight all the good parts of your life, but no one really speaks about the sad parts, which is understandable. But I want to make sure that my music reflects me on a fundamental level, and so speaking about my anxiety and mental health is really important because it’s real.” 

Indeed, the candour on mood swings is often disarming, something particularly true for “cigarette”. Co-written with Julia Michaels (Selena Gomez, Justin Bieber), this devastating acoustic ballad finds Moodie opening up about a queer relationship he had in his teens. “It was the first time I fell in love with a boy, but sadly it was a really toxic relationship as I didn’t know at the time that he had a girlfriend,” he shares. “It was sad that this person couldn’t be open and happy in who they were. And it was horrible for me because in the back of my mind I knew it wouldn’t work out.” When it comes to his own identity as a queer person, Moodie is proud of who he is. “It’s important that others feel that way,” he adds, “but I also want to remind people that they don’t need to feel pressure to announce their sexuality to the world.” 

Despite this early heartbreak, Moodie is still a romantic at heart. The rustic, folk-tinged “right person wrong time” shimmers with nostalgia for a former flame, and there’s a blurry-eyed contentment to the hazy “favourite mistake”, Moodie finding significance in a short-lived weekend fling. Recent single “sunday morning”, with its sing-a-long chorus, captures the stomach-flipping excitement of catching feelings for someone (even in a situationship), as does the euphoric “comedown”, which is both hopeful with the dizzying highs of new love and anxious with the fear that it may end. And, of course, there’s “drunk text”, it’s more reflective sequel “indigo”, which is heavy with grief over a relationship that could have been, and the charged ballad “ten years time”, co-written with Steve Mac and Ed Sheeran. 

The album closes with “dear drew”. Beginning as a haunting lullaby addressed to the person who bullied Moodie while he was at school, it steadily builds towards a crashing bridge of pure catharsis as Moodie sings: “I finally feel that you’re a part of my history.”  “That song was such a breakthrough moment for me,” he says. “It really helped me move on. Even with ‘cigarette’, I was able to process what had happened and see how that situation has affected me later in life. I’m just genuinely grateful for all these songs.”   

With mood swings, Moodie has crafted a record that deftly traverses the tenderness and turbulence of early adulthood. By capturing his own anxieties, heartbreaks and all the messiness that comes with being in your early 20s, he has turned deeply personal truths and barefaced confessions into opportunities for connection, reminding listeners that no matter what they’re going through they’re not alone. In doing so, he has also found contentment in himself, too. “This album has really helped me discover who I am, not only as an artist but as a person,” he says. “I feel really happy with who I am.”