“They love music, and they’re not faking it. We sense to a rare degree the real feelings of the two of them; there’s no overlay of technique, effect or style.” – Roger Ebert on “Once”
The world was shocked by the tragic passing of Glen Hansard on Wednesday, July 29, 2026, after an early morning motorcycle accident in Dublin. In the review quoted above, Roger nails what so many loved about the frontman of the Frames and Oscar winner for “Once”: Real feelings. You could sense the emotion in his voice every time he chose to gift it to people. “Once” was a perfect amalgamation of musician and filmmaker as writer/director John Carney used his growing filmmaking skills to spotlight the raw emotion of Hansard and his co-star Marketa Irglova. It’s a beautiful, perfect movie, one that means a great deal to me personally, and one that no one will be able to watch again in quite the same way, as it’s now going to have an undercurrent of tragedy at a life taken far too young.
Hansard was already a star in some circles, certainly in Ireland, when “Once” dropped at Sundance in early 2007. In the ‘90s, the Dublin-based musician fronted the Frames, who released six albums, and he appeared memorably in Alan Parker’s “The Commitments,” a movie that has gained cult status in the years since its release, often on lists of the best Irish films of all time. But Hansard dedicated himself to music for the 16 years between Parker and Carney’s films, segueing to a project called The Swell Season in 2006, which led into the success of “Once.”
Made for almost nothing, “Once” is really a collaboration between bandmates. Carney was the bassist for the Frames, and Hansard was initially just a creative partner on the film, sharing stories about his days as a busker to inform the narrative. It was originally intended to star Cillian Murphy, but Hansard eventually stepped into the role, collaborating completely with Irglova and Carney on the low-budget production, which shot in just over two weeks with a shoestring crew. The improvised, DIY nature of “Once” fit the material perfectly. It’s a film about the power of collaboration—how a person can bring out the best in you through art—and it’s a mirror of that theme through its own existence. It’s no wonder Michael Phillips named it the best film of 2007, a year that also included modern masterpieces like “There Will Be Blood,” “No Country for Old Men,” and “Zodiac,” along with Roger’s 2007 #1, “Juno.” It’s that powerful.
Personally, “Once” was a turning point for this specific film lover. The theater kid who thrives on creative collaboration was always going to adore Carney’s movie, but it also launched at a time when I was really trying to find my voice as a critic. Being able to speak to Carney, Hansard, and Irglova about a movie I loved was inspiring, teaching me to often embrace a writing style that emphasized how a movie made me feel as much as anything. I owe them a great deal that I can never repay.
“Once” would go on to win the Oscar for Best Original Song (despite some controversy given it had appeared on The Swell Season album before the movie) and took home the Independent Spirit Award for Best Foreign Film before being adapted into a hit Broadway musical.
Hansard used the success of “Once” to explore his own creative interests. He did a song for “I’m Not There” for Todd Haynes, often appeared on stage with Eddie Vedder of Pearl Jam, and popped up on soundtracks like “The Hunger Games” and “Kahlil Gibran’s The Prophet.” He had sporadic acting appearances like episodes of “Parenthood,” “The Last Man on Earth,” and Joe Wright’s underrated “Cyrano,” and he recorded music consistently, releasing five solo albums and collaborations with the Frames and The Swell Season.
Collin Souter, one of our writers, was also a huge Hansard fan, and shared the following:
“I first saw Glen’s band, the Frames, in 1998 in a small bar somewhere near New Lenox, IL. I had never heard of them, but my friend told me the long-haired guitar player from ‘The Commitments’ is the lead singer. That sold me enough. When we got there, we saw this six-piece band (with a violin player, unheard of in 1998) tucked away in a corner of the place. It wouldn’t surprise me if they were all plugged into the same outlet. That lead singer no longer had his long, curly hair, but he charmed the hell out of all of us with funny stories to go along with almost every song. His performance for each tune was magnetic. His eyes were often closed for the slower songs, wide open with joy for the more upbeat ones, and always commanding every drinker’s attention. You just felt that this setting was wrong for this band. Their sound was too big for a small, rustic place like this. I became an instant fan and immediately bought their latest album, Dance the Devil, which did not disappoint.
I think the moment I knew I was a fan was when he told the story of the song “Fitzcarraldo,” which was also the name of their second album (and where you’ll also hear the first version of “Say It To Me Now,” the song that opens “Once”). He told the story of the Werner Herzog film that inspired it. “It’s the story of a man pulling a ship over a mountain. I thought that was a lovely idea, so I wrote a song about it. I think we’re all pulling stuff over mountains.”
One of my favorite Hansard moments unfolded at Shane MacGowan’s funeral, where the singer covered The Pogues’ timeless “Fairytale of New York” in a way that made the event unforgettable. It’s somehow both melancholic and joyful at the same time; it’s a celebration and a eulogy. It is so Irish. And so powerful. I’ve watched it 100 times, and it has never failed to move me, and I share it with you below as a final tribute.
Listen to music in Glen’s honor today. Heck, maybe even create some of your own.
