Longford Lives: Overcoming challenges, endeavouring and becoming unbeatable

Niamh Ní Mheara is a composer, orchestrator and songwriter, whose composition in a film is in an Oscar-qualifying festival. She has been recognised for her work with awards, and has played in the Troubador, as well as the Red Sessions in Dublin.

To achieve her compostions, Niamh uses Logic Pro, a DAW system that has orchestral and synth libraries to sync with scenes. She works alongside a director to achieve a score for a film, and says that she does plenty of research to be inspired, whether it be through other films, or different composers.

Affected by the Covid-19 pandemic, Niamh has faced challenges before reaching her rising success. Although accepted for a course in Edinburgh, it was cancelled, yet with support from her family, she has been fulfilling her dream of being a composer.
Under the name of Nvara, Niamh began performing and releasing songs in 2020. By 2024, Niamh began taking songwriting seriously again, as she finds it a personal escape to channel everything. In the next few months, she will be releasing two new songs.

Niamh came to chat with the 'Longford Leader' about her unique career and the journey.

Where in Longford are you from?
Ardagh. I went to Mean Scoil Mhuire, the convent in Longford. Feels like so long ago.

Would you tell me about your earliest musical experience, such as your education and performance opportunities?
I remember my piano teacher. She was amazing, Toni Rock. I remember her being really encouraging with me. When I started, I was super young and probably a bit chaotic.

I always wanted to make music; make my own pieces even if I didn’t know how to play. She was so patient and encouraged my creative side. She encouraged it, letting me show my pieces.

Performance wise, I was really shy even through school. I wanted to sing for my Junior Cert practical but I asked my music teacher if I could do it privately so I didn’t have to sing in front of my class. She started pushing me into performance more after that by telling me I was singing at mass - which was terrifying for me at the time. My first experience with performance was probably the carol service in Mean Scoil Mhuire.

She asked me to perform a piano piece at an assembly in my final year. Then I think, like everyone says, it gets easier. I didn’t believe that.

When I say I struggled with nerves, I mean I still do, but my legs would be trembling back then before I had to perform. I was more into writing music than performance.

I do find it easier now if I have to. If it’s my own music, no problem. If it’s someone else's, like classical, it’s like being back in school.

What level of grading did you achieve and what degree did you study?
I did all the piano grades and then I did my diploma during my Leaving Cert. I did that and went to UCC to do Music and English. I always wanted to get into film scoring but had no idea how you do that.

One of those reasons I went to Cork was because on the open day, I asked if there was composition. They said they were trying to expand it.

I love writing, books, films, stuff like that. In college, I subconsciously kept choosing the film modules. I only got to compose for the final project in my third year. I think if I’d had my way, I’d just be composing.

That went really well and was probably the highlight for me in my undergrad. I wrote three pieces for cello and piano. I still work with the cellist. I started working in a music school after college. Covid hit. I started looking up film scoring master’s. A master’s is a good way into it, I thought. I applied to one in Edinburgh but it fell through. I was heartbroken because I got in, but they cancelled the course.

My mum sent me this Berklee course in Valencia in Spain. I thought it was beyond me but I applied for it and managed to get a scholarship.. It was the most incredible year and a half of music I’d ever had.

It opened my eyes to this world that I had always wanted to be a part of, but didn’t know how. It was amazing, intimidating and terrifying all at once.

The imposter syndrome was huge. There were four girls on my course. It was very male-dominated. It was amazing and started everything off. I’m grateful.

What project helped launch your career?
In some ways, it’s a tough industry. I’ve a lot of friends, who have ended up in the film industry. Some of them are screenwriters, aspiring directors, and editors. A lot of them are at the same stage as me, and I think they would agree that it’s a long road. I’m not close to where I want to be but much further than I was. Probably, I’ve got to where I am now because I just said yes to things.

I really wanted to grab any opportunity that came my way. When I was in my master’s, there was a collaboration with a film school called ESCAC in Barcelona. They’ve some really amazing students.

One of the parts of the collaboration, with Covid, we weren’t allowed to meet. We were sent their portfolios and they were sent ours. I got really lucky.

One director Han Huang messaged me about a film he was making and said he liked my work and Marine Auclair was another director, who I had contacted from Mallorca.

I fell in love with film music through period movies, like Pride and Prejudice so when I saw that she was making a period drama, I thought I had to work with her. Fortunately, she responded. Both films were beautiful. Marine was ambitious and had a drive. It had a good festival run.

A while later when I was working in London with another composer as an assistant, I got news that her film had circulated a lot of festivals in Europe. I was nominated for a few awards. I managed to win one.

It feels like luck. A lot of it you just don’t know. I didn’t expect it to happen. When you do a short film, it might now get seen again. Her film “Blava Terra” (“The White Land) did really well and I’ve continued to work with her now.

She’s just after doing another short film which has gone to South by South West (SXSW) in Austin-Texas which is an Oscar-qualifying festival. I’ve been lucky to work with her.

Another was Chris Roe. I ran into him at a composer networking event. He heard I was a singer and asked me if I’d be interested in being the vocalist in his score for an ITV series, which was on Sunday (February 22) called “The Lady”. I ended up working with him as an assistant, helping him with the scores and session prep which was really cool.

When you’re open to different opportunities, things come along. This time a vocalist. It’s really saying yes to things. Being part of the wheel is the main thing. Everyone is working in their own capacity.

Have you got any recent / upcoming projects that you would like to discuss?
The short film I scored, Gamberra “The Baptism” at the Austin Festival is having its world premier at South by Southwest (SXSW), is really amazing. I’ve never had a film in an Oscar-qualifying festival before. It’s in the category for best short.

I’m going with the film crew. Getting to work with Chris Roe, I love his music. His score for “The Lady” was amazing and I feel so grateful to have worked and been trusted by him with his music and work. It was an amazing opportunity. Probably those two.

What has been a challenge during your arts career?
I think failure is always the hardest challenge when you work in the creative industry. I’m sure every profession has its difficulties and challenges. It’s hard to not take it personally.

When you create something for someone, or not picked for a pitch or they go with a different composer, you have to learn to deal with it. Not every opportunity is going to work out.

Anyone I know in this industry will find it difficult, but it’s something you have to learn to get better at. I’ve been put up for some projects and you can’t believe you’re in the running for them. You’re still hoping.

The hardest is accepting it didn’t work out. The next one might. Negotiating certain things. A bit of a perfectionist, like me, you hate getting things wrong. Learning to adapt to failure, missed opportunity and prevent that happening in the future is a challenge that I’ll always be dealing with.

Would you have any advice for any Longford individual who may want to become a composer-instrumentalist that you could give?
I’ve been so lucky. My family and friends have been so supportive. I’d say holding onto that belief in yourself. It’s a tough industry.

It’s scary and daunting. If you feel that pull, this is what I want to do. There’s a tiny voice that knows you can do this. Try and hold onto that because life is sandwaves. It’ll go up and down. If you can hold onto that, you'll get there. Belief will do that. Not because I didn’t believe in myself, but people pushed. Having a good support system and holding onto that self-belief is important. It’s vital.