But The Session as it is today—a community website where everyone can add tunes—first went online on June 3rd, 2001. That’s 25 years ago today.

Considering the typical lifespan of a web page, I’m proud of having a website still online and thriving a quarter of a century after launching it.

At this point it’s fair to say that thesession.org is my life’s work. Though, really, I’m just the curator; the site would literally be nothing without all the contributions that people have made to it.

It’s been a great 25 years so far, and I’m looking forward to the next 25.

I am currently developing an exhibition celebrating the thriving folk musics of these islands for the Royal College of Music Museum and one of the showcases looks at the Sharing of folk music and collections. As an incredible and heavily used repository of tune collections, I would like to print a graphic screenshot of a page from The Session to demonstrate digital dissemination, sharing and preservation of tune collections. Are you happy for me to do so?

I replied that I’d be honoured!

The exhibition opened on May 19th. I just happened to be in London a few days after that for the Gaeltacht cois Tamaise. So I arranged to have a little tour of the exhibition from its curator, Jennifer Brian.

It’s a really nice collection, and it was kind of surreal to see my website in amongst esteemed artifacts of folk music history.

I’m not used to The Session getting recognition from a museum, but I am used to getting kudos when I tell fellow trad musicians that I made the website. I joke that it’s my passport to free pints anywhere there’s a session happening, but it’s true.

The next night when I was playing in the session in the pub, Brendan The Navigator, I outed myself about halfway through the evening when I handed out some stickers for the website. Sure enough, someone immediately asked if they could buy me a pint.

I must admit it’s very gratifying when people appreciate the work that’s gone into building and maintaining The Session.

The exhibition at The Royal College of Music Museum is free and runs until October. If you’re in the neighbourhood, you should drop in and check it out.

Bhí na ranganna ar siúl Dé Sathairn agus Dé Domhnaigh, ceithre huaire an chloig gach lá, i gColáiste na Rí. Bhí ceithre leibhéal ann—tosathóiri, meanleibhéal-iseal, meanleibhéal-ard, agus an ardleibhéal. Bhí gach rang lán le foghlaimeoirí.

Roghnaigh mé an rang meanleibhéal-ard agus bhí an leibhéal foirfe. D’fhreastail Jessica ar an rang tosathóirí agus dúirt sí go raibh a mhúinteor iontach deas freisin.

Bhraith sé aisteach a bheith ag labhairt Gaeilge i lár na phriomhcathair Shasana, ach bhain mé go leor sult as!

Roimh na ranganna, bhí imeachta ar siúl ar an Embasáid na hÉireann ar an tráthnóna Dé hAoine; taifeadadh beo ar an bpodchraoladh How To Gael le Louis Cantillon agus Doireann ní Ghlacáin. Éistim leis an podchraoladh, mar sin thapaigh mé an deis iad a fheiceáll beo. Mná cliste agus greanmhar is ea iad!

Bhí imeachta eile ar siúl ar an tráthnóna De Sathairn ach ní raibh mé ann. Chuaigh mé go dtí an teach tabhairne Brendan The Navigator i Highgate—i bhfad ó croílár na caithreach!—mar gheall go raibh seisiún ceoil ann. Seisiún iontach iontach deas a bhí ann le daoine fáiltiúil agus go leor poirt áille.

Beidh mé ar ais!

Like The Morrigan, Brigid is modern retelling of Irish mythology, but in a very different time period. Whereas The Morrigan was set in a mythical time of the Fomorians and the Tuatha Dé Danann, Brigid is set in the relatively recent past of early Christian Ireland.

I was curious to see which Brigid this book would be about: the pagan goddess or the Christian saint?

Both, it turns out. The protagonist is the saint, but the narrator is the goddess. And they interact. It’s a clever framing device and for the most part, it works.

There are cameos a-plenty from the Christian pantheon like Patrick and Brendan the navigator but this is not the hagiography we learned in school. All the usual miracles are present and accounted for, but any supernatural powers aren’t ascribed to a Christian deity.

The world of Brigid isn’t so far removed from the world of The Morrigan after all.

Brigid isn’t a ground-breaking book, and it didn’t grab me as much as The Morrigan but it’s an enjoyable read nonetheless.

After your afternoon workshop there’ll be one final closing talk at the end of each day before we head to the bar.

These closing talks are a way of bringing everyone back into the same space after spending the afternoon in different workshops. It feels right to start the day and end the day with a shared experience.

On day one, discovery day, the closing talk will be delivered by Michael Kibedi. It’s called Whose English gets to be default?

Ben Sauer will be giving the closing talk on day two, design day. His talk is called Story before screens.

Finally, on day three, delivery day, the closing talk will be from Lou Downe. It’s called Bad services, which also happens to be the title of their brand new book!

As you can see, each day at UX London is crafted to be a distinct one-day event, but all three days also flow together nicely.

If you haven’t got a ticket yet, grab one now before the standard pricing ends at midnight. And don’t forget that you can use the discount code JOIN_JEREMY to get a tasty 20% off.

The book begins in an environment fairly dripping with death, all bones and darkness. It sounds like it should be grim, but thanks to the sarcastic attitude of the protagonist, the tone is actually quite fun.

Sassy goth; that’s how I would describe the general vibe. Once I settled into it, I found that tone thoroughly enjoyable.

The bulk of the action takes place in the planetary equivalent of a haunted mansion and the various characters are assembled like the cast of an Agatha Christie mystery.

I must admit that I struggled a bit to distinguish one space necromancer from another. I should’ve payed more attention to the dramatis personae at the front of the book.

The plot kept me intrigued and invested throughout, although it did sometimes feel a bit like a video game with puzzles to be solved in order to unlock the next level.

The driving force of Gideon The Ninth is its excellent world-building. Though you’re dropped into things in media res, the foundations of the world you’re in are revealed piece by piece, and it all adds up to a fascinating premise for this book and its sequels.

I’m already looking forward to reading the next book.

You can peruse the full schedule if you need to decide wether you’re coming for just one day or for all three. The event is designed to flow together, from discovery day to design day to delivery day, but each individual day is also designed to be a standalone experience by itself.

Day one on Tuesday, June 2nd has a focus on research:

1. Maria Isachenko will talk about how You don’t need more research time: You need a system that keeps research in product decisions.
2. Melin Edomwonyi covers Validation as a UX superpower.
3. Marley Dizney Swanson will present From insight to impact: A hypothesis-driven framework for product teams.
4. Luisa Berta will be talking about Turning failure into opportunity.

Day two on Wednesday, June 3rd is all about the nitty-gritty details of design:

1. Julia Petretta kicks things off with From onboarding to “a-ha!”: Designing the moments that really matter.
2. Andrea Grigsby has a case study called Why must things be this way? Designing with intention.
3. Piccia Neri puts a positive spin on accessibility with her talk, The best creative brief.
4. Hidde de Vries will explain why The future of UX is green: On the Web Sustainability Guidelines.

Day three on Thursday, June 4th will cover collaboration and design systems:

1. Ben Callahan will impart Wisdom from the trees.
2. Lucy Blackwell and Alex Edwards will give a case study on Putting the user at the centre of your design system.
3. Rachel Ilan Simpson will take us From 0 to scale: Building and transforming design at startups & scale-ups.
4. Matt LeMay will cover why The communication of the thing IS the thing

And those are just the morning talks!

On each day you’ll have your choice of workshop for the afternoon.

1. Feyikemi Akinwolemiwa will cover Future friction: Horizon scanning for UX.
2. Natasha den Dekker will help you answer the question How well do you know your users? Exploring assumptions through play
3. Chris How’s workshop is Yippee IA: Information architecture for digital designers
4. Oore Babatunde will help you put together UX practitioner’s code of ethics.
5. Lucrezia Ponzano will take you From chaos to clarity: A tactical workshop for real alignment.
6. Ben Callahan will guide you through Assessing organisational culture.

After your afternoon workshop there’ll be one final closing talk at the end of each day before we head to the bar. I haven’t announced those speakers yet, but believe me when I say they’re going to be quite special!

UX London 2026 is shaping up to be an excellent three days of design. Get your ticket now if you haven’t already got one.

(And just between you and me, you can use the discount code JOIN_JEREMY to get a whopping 20% off any ticket price!)

The search engine no longer says “here, go read what this person wrote.” It now says “here, I’ve already read it for you.” The contract is broken.

He’s absolutely right.

But…

Have you ever clicked on a result from a search engine? Unless you’re lucky enough to land on a nice personal website, you’re more than likely to be confronted with pop-ups to allow tracking, or a desparate plea to subscribe to a newsletter, or just rubbish ads all accompanied by a slow page loading somewhere in the mix.

Don’t get me wrong. I’m not saying that what Google is doing is okay. But let’s not pretend that everything indexed by Google is just fine and dandy for people to visit.

And of course the main reason why websites are so terrible is because they’ve tied their business model to heaps of behavioral advertising driven by invasive tracking courtesy of …Google.

This reminds me of AMP. Remember Google AMP? It was a terrible solution to a real problem. Web pages were (and still are) bloated and slow. The correct solution would be to encourage people to fix that, but instead Google mandated a proprietary format for your content that had to be hosted on their servers.

AMP was a disaster, both in practical terms and in the reputational damage it did to Google’s developer relations.

Now they’re doing it again, powerwashing away any goodwill they ever had with site owners. Now Google doesn’t even send search engine traffic to the websites that host the ads that Google encouraged people to put on every page.

It’s almost as if Google is a company so large and with so many competing interests that it now suffers from an incurable split personality disorder.

Personally I think they’re missing a trick. They should be using “AI” summaries as a stick.

If your site is slow, or filled with user-hostile annoyances then it should be cockblocked by a hallucinated summary. But a nice fast respectful website? Send the traffic their way! Everyone wins—users, site owners, Google, the World Wide Web.

Could you imagine how quickly this would revolutionise the world of search engine optimisation? They’ve always told us that we should make websites for humans in order to get good Google juice. This would be a way of making it come true, without any of the over-engineered woefulness of AMP.

It’ll never happen of course. But I can dream.

Technically, we all experience time differently depending on how fast or slow we’re moving. But the differences are so imperceptible as to be non-existent. That’s how we can describe events as being “simultaneous”, even though according to Einstein’s theory of relativity, there’s no such thing.

It’s thanks to these small relativistic effects that GPS works. But when you approach the speed of light—or get close to something very massive—then the large-scale relativistic effects kick in.

If you travel close to the speed of light for a short time, it will seem like a much longer time to everyone you left behind. This is the twin paradox, which isn’t really a parodox at all, just time dilation in action.

There are some coincidental parallels to this kind of time dilation in old folk tales.

The Japanese tale of Urashima Tarō tells of a fisherman who rescues a sea turtle and is rewarded with a relaxing few days in an underwater kingdom, only to find that when he returns home to his village, 300 years have passed.

The Irish tale of Oisín describes the warrior’s journey to Tir na nÓg, the land of youth. He spends three years there but when he returns to Éire to see his old fighting comrades from the Fianna, 300 years have passed.

This story gives us a wonderfully poetic turn of phrase that’s still used today. The closest English equivalent is “Billy no mates”, a rather cruel term to describe someone with no friends. In Irish, we say:

Mar Oisín i ndiadh na Fianna

Like Oisín after the Fianna.

When I was devouring modern retellings of Greek myths, I commented on an interesting difference in the tellings:

The biggest difference I’ve noticed is the presence or absence of supernatural intervention. Some of these writers tell their stories with gods and goddesses front and centre. Others tell the very same stories as realistic accounts without any magic.

The Morrigan was dripping in magic. Finn Mac Cool is a more down-to-earth affair.

That’s not to say that magic doesn’t matter. For the characters in this book, their belief in magic is as real as their belief in the weather. But there are no supernatural powers here. If anything, Finn’s superpower is his ability to tell—and believe—tall tales involving supernatural intervention.

All the usual accounts of Finn Mac Cool’s prowess are retold as deeds that may have a basis in reality but then get exaggerated almost immediately.

It’s a framing device that works well. It’s all too easy to believe in the rise to power of a charismatic man skilled in controlling the narrative.

There’s plenty of Machievellian politics at play. There are no outright villains, or even heroes. There’s a pleasing messiness to the forces at work.

Sometimes the author’s research shows a bit too much. There are digressions into explanations of Brehon law that threaten to derail the narrative.

Overall though, this is an engaging and vivid retelling that just makes me want to spend more time in this world.