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Here Goes Nothing, Eamon McGrath’s brave second offering and follow-up to 2017’s widely acclaimed Berlin-Warszawa Express, once again explores the world of touring musicians - but this time McGrath expands his scope and perspective from the inner dialogue of a traveling songwriter into the wider range of a multi-member touring band. Told in two interwoven narratives that blur the lines between past and present, Here Goes Nothing explores the complex relationships that are both created and destroyed by the perpetual-motion engine that is the touring van.

Angus Mooney is not happy—he's been murdered, cut off in the prime of his life. He feels humiliated—he's never even believed in an afterlife. (How wrong he'd been). He's confused—death has provided more questions than answers. And he desperately misses his audacious and fiery wife, Gracie, who's expecting their first child. The only upside is that Angus has found a way to see what his murderer is up to and how Gracie is faring. The downside: Gracie and his murderer are getting uncomfortably close, and a worldwide pandemic means the afterlife is about to get very crowded.

Angus is a reformed ne’er-do-well looking forward to the birth of his first child when he’s murdered by a man who is in love with his pregnant wife, Gracie. Having never believed in God, heaven or hell, Angus finds himself in the afterlife—a place that provides more questions than answers. As a worldwide pandemic finally reaches the shores of Australia, the afterlife starts to get very crowded and Angus finds a way to reconnect with his wife, Gracie, and maybe even seek revenge on his murderer.