IT IS certainly unique that three functioning parish priests of the Diocese of Down and Connor, who describe themselves as 'middle-aged', had the fastest selling 2008 debut classical album in the UK and elsewhere.

But in achieving this feat, the trio have been rocketed to unprecedented stardom.

Accompanied by the amplified Irish Philharmonic Orchestra and Dublin Bach Singers, under Fergus Sheil, the classically trained trinity -- brothers Eugene and Martin O'Hagan with long-standing friend David Delargy -- take centre stage at the National Concert Hall.

Their generous programme, taken mainly from their CD, is bolstered a little with the high bright-within-limits soprano Eimear Quinn and uilleann piper Brendan Monaghan.

Handel's 'Hornpipe' from 'Water Music' acts as a fanfare before the clerically garbed pastors launch in to 'Domini Fili Unigenite' from Vivaldi's 'Gloria'.

Schubert's 'Ave Maria' has a prayerful restraint against their jaunty view of Bach's 'Jesu, joy of man's desiring'.

There is a natural beauty in Franck's 'Panis Angelicus' before the Spanish carol 'Hacia Belen' comes with amusing actions that are never overdone.

With the dress code changing to suit the repertoire, the second-half of the evening mixes secular and sacred numbers.

There are solo spots -- Father Martin in 'Caro mio ben', Father David -- the real baritone of the trio -- in 'The Rose' and Father Eugene with 'Bring him home', which he sings with understated grandeur.

Irish airs include a marvellously atmospheric 'She moved through the fair' in Danny O'Neill's arrangement, before a Latin return through Lloyd-Webber's 'Pie Jesu' and Arwyn's 'Benedictus'.

But an unusual sincerity floats across the entire presentation, where sensitivity and taste in interpretation play a rewardingly vital role.

In an age of relentless hype, of fledgling acts being flung into the spotlight long before they're ready, and in an environment which sees once lauded bands quickly discarded, it's good to witness the staying power of Baltimore's Animal Collective.

Over the course of nine albums -- all released this decade -- they have charted a pathway for experimental psychedelic electronica. Now a three-piece labouring under various stage names, Dave Portner (Avey Tare), Noah Lennox (Panda Bear) and Brian Weitz (Geologist) have released the best album of their career, 'Merriweather Post Pavilion', and there's a palpable sense of expectation surrounding this sold out show.

Their new album -- named after a famed outdoor concert venue built by Frank Gehry -- gets a thorough airing with 'My Girls', 'In The Flowers' and 'Summertime Clothes' sounding impressive in a live setting.

For fans of 'organic' music built around traditional instruments, the sight of this earnest trio bent over synths, sequencers and a non-conventional percussion kit, will provoke little enjoyment. But Animal Collective's strength is their ability to coax occasional magic from their machines.

A highlight for many is the propulsive, intoxicating 'Fireworks' -- a key track from their breakthrough-of-sorts album, 'Strawberry Jam'.

The trio don't have much to say, save for some harsh words for the photographers whose flashbulbs mess with their mojo.

The night closes with a scintillating 'Brother Sport', the finest track on their latest album - and one of the year's greatest songs. There's a hypnotic quality at its heart and it boasts a delicious vocal interplay between Portner and Lennox amid the skittering beats.

- PAT O'KELLY

www.independent.ie