Music Review

John Grant – Edinburgh Playhouse

Live music, Music Review

Full Disclosure: I love John Grant. From the very first play of Pale Green Ghosts – which I bought purely on the basis of Amazon’s persistent recommendation and the colour of the typeface used for his name on the cover – I was head over heels for his earthy baritone and acerbic lyrics. The unfamiliar blend of piano balladry and electronica got right under my skin. Without investigating his musical lineage or consulting any of my gig buddies I bought a ticket for his show at the O2 ABC that October and found myself on the barrier, positively beaming for the entire set. He had this sexy disco lumberjack vibe going that was utterly endearing; I walked away from that gig dazed but heart-full. I saw John play in each of the next 3 years. His performances with the Royal Northern Sinfonia were astonishingly beautiful and incredibly inspiring. At the very last show of touring Pale Green Ghosts, on his birthday no less, he dueted on Glacier with Villagers’ Conor O’Brien, dedicating it to Ireland, where same-sex marriage had recently been legalised by popular vote.

Each show and every tour was, in its own way, very special – I mean, the last time I saw him, at Celtic Connections, one of my very best friends was supporting – and so when I arrived at the Edinburgh Playhouse on Monday evening my heart was already this kind of translucent sponge, eager to soak up as much of that voice and wit and charm as the night would allow. As it happened, the night allowed for plenty as the show was expected to run from 8pm until approximately 9.30pm with no support or interval. 90 minutes to just sit and absorb. You could feel the excitement and anticipation among the crowd, hurrying into their seats and checking times with every steward on the way in.

When the lights went down almighty applause erupted and sustained until John and his band were all in their positions. Then, a pause. The pulsing beat and electronic arpeggio opening You Don’t Have To saw the crowd instantly nodding along. It was calm for the most part; soothing melancholy love songs interspersed with increasingly raucous applause and the occasionally indecipherable come-on from somewhere in the back of the stalls. The set was light on songs from the most recent album, 2015’s Grey Tickles, Black Pressure, but flowed nicely and allowed John to move between synth, piano and vocal duties regularly, working the stage strategically. With otherwise perfect posture he committed to TC & Honeybear with his whole body, expressing through piano sentiments that cannot quite be articulated by words and melody combined.

The performer-audience cycle repeated thus; powerfully emotive song, rapturous applause, restorative pause. “I’m glad we can enjoy silence together” John quipped. “This is for you” he continued before delivering a first class rendition of GMF. One “fun song to play” lead to another and Pale Green Ghosts was met with yet a greater level of enthusiasm from the already fervent crowd. There was a maelstrom of lights across the stage and in the centre, while not singing, John stood with his hands outstretched toward the heavens, as if conducting the storm. This exhibition filled the vastness of the stage convincingly with the drummer at one point upstanding to play. The sheer physicality of the sound was reciprocated with thunderous applause after a final flash plunged the stage into darkness, so loud that you couldn’t even hear John’s gratitude. This cleared the sonic landscape for newcomer and title track from the forthcoming album Love Is Magic, due in October. The bittersweet, synth-heavy song isn’t exceptional to his usual pallette but stood out partly for the fact it is very familiar to some fans and not at all to others; the mixed reception was noticeable. The song features layers of sounds filtering through like an 80s sci-fi soundtrack or arcade game (most likely inspired by the latter; John was actually wearing an Atari Centipede t-shirt). Perhaps it stood in contrast to what played before it; it certainly couldn’t be more different to what followed. In its emphatic simplicity Glacier lays John’s sonorous voice as the centrepiece, gradually adorned with piano flourishes that grow into an epic flurry of percussive harmonies. It was followed swiftly and gracefully by Queen Of Denmark as John took to the piano to conduct the rest of his band through the dramatic finale, fists futilely pounding at the keyboard while guitar and drums battled for ultimate supremacy of volume. As the last brutal dynamic explosion occurred many of the crowd quickly leapt from their seats in fits of furious applause. I wouldn’t have believed those 3000 people could get any louder, but here, they sure showed me! The madness spread until all three levels of seating had delivered a standing ovation and beckoned John and his supporting musicians back to the stage.

Although it was obviously a planned encore it was pitched to the audience, rather than the occasion. Sigourney Weaver made it into the final act by request. In one final burst of shimmering synth, Black Belt had people throwing shapes in their seats, even out of their seats, like the weekend was just getting started. After an hour and 50 minutes of music everywhere you looked there were people grooving and smiling and bouncing, all under the spell of John Grant. And even if they weren’t, I was. I am. I love John Grant.

Setlist

You Don’t Have To

Outer Space

Marz

Grey Tickles, Black Pressure

Global Warming

TC and Honeybear

It’s Easier

GMF

Pale Green Ghosts

Love Is Magic

Glacier

Queen of Denmark

___

Vietnam

Caramel

It Doesn’t Matter To Him

Sigourney Weaver

Black Belt

Party At The Palace – Linlithgow Palace

Festivals, Live music, Music Review

Delivering on its name Party at the Palace brought the good times to Linlithgow on an otherwise dreary summer weekend.

Touted as Scotland’s premier family festival, now in its 5th year, the event offered something for everyone with a diverse and balanced musical line-up over the two days, as well as rides and entertainment for all ages. Saturday saw the best of the weather, staying dry for the duration, while Sunday threatened drizzle after some heavy showers in the morning but never lived up to the worst expectations. Fans were not deterred either as an estimated 15,000 attended over the weekend.

The compact site hosted 3 stages with music kicking off just after lunchtime. The cosy Purple & Orange Acoustic Stage was located within a marquee furnished with hay bales and stalls offering assorted delicious traybakes and hot drinks. Acts here ranged from straight up pop and folk singer-songwriters to country, blues and hip-hop bands, and all sets were well attended by relaxed, attentive audiences.

Located nearby, the Breakthrough Stage showcased some of the finest unsigned talent from across the region. The fact that sets were able to turn around so quickly after just a 20-25 minute performance really speaks for the professionalism of the artists and crew running this stage, and band after band provided exciting, fresh and original music with no filler.

Early sets on Saturday from Calum Frame and Splendid Suns got the crowd warmed up; the former with a cool Americana vibe (closer Shake Off Your Demons exemplifying the best of his sound) and the latter featuring some beautifully stirring guitars. By the time reggae and ska ensemble Aye n Aye came on people were really loosening up on the grassy dance floor. Rock duo Pyro showed promise with Cameron McLean’s heavy guitar providing a substantial platform for drummer Connor McCarthy’s raw vocals. With fiery passion and more than a touch of angst Stephanie Cheape moulded incredibly intimate lyrics and powerful melodies into visceral, hard-working pop songs. If was a particular standout. Wild Front played eloquent indie rock, made to soundtrack the final days of summer holidays, while Alloa outfit Vida headlined the stage with an inspired set of 90s-styled guitar rock. As if the full force of Richard Ashcroft was within them, the band’s energy was only matched by their fans enthusiasm and vigour, singing loudly and melodically and bouncing around like every song was their favourite.

The Main Stage line-up was equally varied and included a DJ set by former Spice Girl Melanie C. Cynics would think it a bit of a cop-out  having such a talented performer just spinning records from a big stage but the audience absolutely loved it. Not only was her tune choice – mainly 90s pop and dance music – on point but her mixing was precise, and the joy she clearly derived from being there rubbed off on the crowd, most of all when she threw in a bit of Who Do You Think You Are? complete with original Spice Girls choreography. It was a perfect party interlude after Colonel Mustard & The Dijon 5 had worked the crowd into such a state of exalted madness. Their uninhibited performance reached all corners of the park, bringing out everyone’s inner dancer, while preaching good natured social engagement, activism and tolerance. Peace Love & Mustard. Bouncy Ball lead into Dance Off which morphed into the friendliest mosh pit ever. The set was a positively jubilant and unifying experience.

Cast provided a no less buoyant set of hits in the early evening, engaging almost subconsciously with many early Britpop fans in the audience who found themselves singing along to Walk Away absent-mindedly while queuing for face painting and chips. Their set included a nostalgic mix of new and old songs that made you long for a time when rock bands all had acoustic guitars instead of drum synthesizers.

With guest DJ Gok Wan lining up among her fandom, singer Gabrielle debuted songs from her forthcoming album Under My Skin as well as playing her best loved songs like Give Me A Little More Time and Out Of Reach. On the new songs the London singer insisted fans could sing along even if they didn’t know the words by simply making them up; “that’s what I do all the time” she declared. Closing with her huge hit Dreams required no ad-libbing and the audience was well in tune and in position by this point.

There was only one final set of the night and it, along with the assembled audience, belonged to James. The Manchester band have often spoken about their affinity with Scottish audiences and the feeling of homecoming when they play shows north of the border and Saturday showed how vibrant and abounding the Scottish audience’s love for the band remains. Never being the sort of act to just roll out their hit parade at a festival, James’ set drew on recent albums Living In Extraordinary Times  and 2016’s Girl At The End Of The World, throwing in a few fan favourites and deep cuts for variety. Out To Get You set off an immense singalong right at the beginning and was followed by some pretty adventurous crowd expeditions by singer Tim Booth. “Health and safety is important, make sure everyone is up standing” he added after being consumed by the crowd during Say Something. Midway through the set a couple of so-called competition winners, Scott and Kelly, were brought onto the stage and given a microphone. Excitement turned to pure joy as Scott got down and proposed, and Kelly accepted. The band wished them well before launching into a rather euphoric Nothing But Love. There was talk of the set having nearly been cancelled due to Tim losing his voice 24 hours earlier but he recovered enough a compromise was reached; a stunningly stripped down rendition of Coming Home (Pt. 2) that seemed exceptionally moving as the darkness of the cloudy night fully set in. Winding towards curfew they threw in more popular choices in Laid and Sometimes (Lester Piggott) before skipping the encore rigmarole and playing out the night with Top Of The World and Come Home. Their ability to deliver an engaging, gratifying and enjoyable performance without conforming to expectations is what has made James an enduring live band for almost 3 decades and on this occasion they achieved such a performance, received by thousands of devoted fans in a field by a loch, overlooking a castle. It’s every bit a fairytale ending, at least on this particular Saturday night.

After Saturday night’s revelry the second day of Party at the Palace started somewhat reluctantly, in part due to the weather. Early showers delayed many but for those who braved the conditions, the reward was another day of high class musical entertainment.

Highlights from the Breakthrough Stage included Glasgow 4-piece 100 Fables blending electro-pop and heavier elements into a dynamic set of catchy songs that had the crowd moving; an energetic singalong to Black Dove‘s Fake ID which saw the first arm-in-arm pogoing of the day; Be Like Pablo‘s sun-drenched post-punk sounds conjuring up fantasies of palm trees and teenage angst; and South River Blues Band bringing generations together through their lively interpretations of modern and classic blues numbers.

Playing an upbeat set of anthemic pop songs from her 2018-released debut album Game Face, Anna Sweeney brought so much sparkle and groove to the early evening. Drawing comparisons to the songwriting of Taylor Swift and sonic parallels with the likes of Haim, Sweeney is by far the most radio-friendly act to grace the Breakthrough Stage over the course of the weekend. That’s no bad thing. The infectious melodies of Jealous and Seventeen linger well after her set is done. Edinburgh outfit Retro Video Club delivered nothing short of their best high energy rock show. The growing buzz around this quartet as one of Scotland’s must-see live bands is fair justified as they turn on a particular sweaty charm, seemingly without doing much more than plugging in their guitars. It’s good honest fun in any weather. Heading up Sunday’s Breakthrough line-up is The Nickajack Men. No strangers to the festival circuit now, they know how to work their audience with a set of cleverly crafted indie rock songs. Hints of psychedelia and country bleed through ambling guitar solos that never quite outstay their welcome, and Lewis White’s impassioned vocal spits and crashes through the occasional wall of sound. If punters didn’t walk away with a new favourite band it could only be because they’ve seen these guys before.

Over at the Main Stage devoted fans enjoyed a brilliant performance from former Joy Division and New Order member Peter Hook & The Light, whose vibrant set tapped into that back catalogue with earnest zeal. Angular guitars carved shapes over smooth, pulsing synth and bass lines and relentless drums. The energy from the stage could have easily filled a headline slot but it was equally nice to get an early dance session in before dinner.

Placed in the same timeslot as Cast played the day before, post-Britpop 5-piece Embrace served up a similarly nostalgic collection of songs spanning their twenty-something year career. Curiously, dropping their first big single All You Good Good People almost at the beginning of the set seemed to take a weight of anticipation off both band and crowd and lifted the atmosphere to something akin to light-hearted whimsy. The triumphant Ashes elevated the experience further as the crowd raised their hands in voluntary bliss.

Irish singer Imelda May changed things up yet again, mixing blues, soul and jazz influences into her unique style of pop music. Demonstrating immense restraint and power in her vocals she entertained and enchanted the crowd with songs including Human and Big Bad Handsome Man. She held the audience captivated as the daylight gradually dimmed.

As the darkness set in for good and the threat of rain prevailed anticipation reached its peak as the stage was set for the final act. Cheers erupted as the members of Texas took to the stage. Further rapturous applause greeted frontwoman Sharleen Spiteri and the Scottish singer showed pure delight at the reception. Her endearing smile radiated throughout as she engaged with her audience as near and far as she could see. Opening with I Don’t Want A Lover and Summer Son, the band clearly had energy to burn. The set was heavy on big hits, not because it needed to be but because Texas just have so many great songs to choose from, it’s hard to find a weak one in the mix. Let’s Work It Out and Tell That Girl from 2017’s Jump On Board were received with as much vigour as So-called Friend and Everyday Now. Spiteri’s allure as an entertainer is irresistible. She is honest, direct and humorous in a most natural way and between songs she connects with fans in memorable encounters that make every performance unique. If there was a script she’d be off it 99% of the time. Observing that Glen’s sponsored the festival she publicly noted a lack of vodka on the stage and the situation was resolved promptly. Later she singled out a man in the crowd wearing a bright yellow poncho and inevitably pulled him up on stage for a casual chat. It’s refreshing to see that kind of flexibility in an otherwise polished performance, bringing so much life and humanity to the concert experience. Introducing a stripped down In Demand as a love song after joking about her daughter’s posh London accent seemed almost too intimate, too familiar, but it was welcome on both sides of the barrier. Charging down the stage at one point during Inner Smile it looked like Spiteri might actually launch into the crowd, despite making several references to a recent back injury. Prefacing Say What You Want with the potential promise of one more song the band delivered a knockout extended singalong rendition of their 1997 hit single before retiring from the stage. They ultimately returned to finish off with a cover of Suspicious Minds, leaving the festival crowd on a resounding high. Did anyone notice the rain? What rain?

Belladrum Tartan Heart Festival 2018

Festivals, Live music, Music Review

Those who have travelled here before know already; there’s no place quite like the Scottish Highlands in summer. The cool freshness of verdant woodlands abuts richly golden fields of barley, beneath the vivid blue and white of a sunny afternoon. Even when the misty grey rolls in from the north the atmosphere is evocative. It comes as no surprise then that the musical highlight of the Highlands’ calendar, Belladrum Tartan Heart Festival, is quite unlike any other festival in Scotland, or indeed the UK. While it has a reputation for being the annual “anything goes” blowout for young people in these parts the festival prides itself on its consistent programme of family-oriented music, entertainment and activities, and its coming-together spirit of communal celebration.

With around 20 stages running throughout the weekend Belladrum is the kind of festival you could easily get lost in. This year’s line-up represents a “something for everyone” approach to booking, with nearly all genres and styles of performance on display. From old favourites to up-and-comers, laidback listeners to dance floor bangers, artists from just down the road and around the world all add to the truly unique experience of this festival. Of course, it’s also the kind of festival you can just chill out at, if you prefer; there’s yoga, massage, kids crafts, whisky tastings, film screenings, storytelling, poetry, workshops, comedy, a gin “palace”. There’s even wrestling. The wrestling is very popular! And there’s a designated Chill-out Tent for when you just need a good long moment to collect yourself. New for this year is Club Clan Bella – an exclusive VIP section of the festival with fancy loos, private bar and a giant teddy bear named Bella.

The theme for Belladrum this year is Bollywood – that specific strand of Indian cinema – and to go along with that there is the dedicated Bollydrum Bhangra Stage, featuring Bhangra DJs and live performances. Elephants are ubiquitous within the site, in artworks and costumes and street theatre, and the Bollywood Bar takes pride of place at the top of the main Garden Stage area. The festival is a sell-out this year, at a capacity of 20,000 each day, and with the local climate defying the forecast for showers and temperatures in the mid-teens, revellers can enjoy the extensive grounds in relative summery comfort, whether they’re camping on site or just day-tripping from nearby Inverness and surrounds.

Thursday

The opening night of the festival saw no fewer than 40 acts take to the various stages from the moment the main gates opened. With lengthy queues to get through security and into the campsite (some punters reported waiting in line for 2 hours or more) it was positive to still see such a good turn out early on. Entrance to the Garden Stage required an additional ticket on Thursday and some folk didn’t bother. The main arena was lively enough with the Grassroots Stage offering up a fine array of folk and trad music. Belladrum regulars Hoodja were one act to get the crowd buzzing, eliciting all the usual whoops and hollers with each change of phrase. Over at the Ice-House Bar the emphasis was heavily on brass. Jazz, blues and swing ensembles played upbeat covers of classic and modern pop songs while the crowds boogied on and off the earthen dance floor.

Those who had paid the extra for Garden Stage access were treated to 4 acts as diverse as the entire festival line-up. Brass Gumbo kicked things off with their own funky take on the brass ensemble concept, followed up by UK country darlings Ward Thomas. The twin sisters put as much energy into connecting with their audience between songs as they did into performing for them, at one point sparking up a chat with a pair of twins spotted in the front row. Their set featured many new songs from their forthcoming album Restless Minds as well as earlier hits like Guilty Flowers and Cartwheels. In stark contrast New York 3-piece Fun Lovin’ Criminals took to the stage oozing charm and swagger. Singer and guitarist Huey Morgan was affable and appeared to be enjoying the performance immensely, complimenting the band on how tight they were sounding. It was justified; the drums were cracking with precision and the bass was rolling. From the opening of The Fun Lovin’ Criminal through Smoke ‘Em and Scooby Snacks the atmosphere was coolly electric.

Closing out the Garden Stage on Thursday night with a steady stream of hits was Amy Macdonald. As ever she delighted in playing to a home crowd, and was suitably nostalgic about her past Belladrum experiences, having first played the festival in 2007 before her debut album was released. Mr Rock& Roll lets rip with streamer cannons early on and the musical trajectory is set skywards from there. Run, This Is The Life and Life In A Beautiful Light lead to a naturally euphoric close to the first night’s proceedings with an encore of Down By The Water and Start A Band launching an almighty cloud of paper confetti over the mildly damp crowd. A light but persistent drizzle couldn’t dampen spirits and many carried on drinking, dancing and especially singing well into the wee hours. Back at the Grassroots Stage Rhythm N Reel served up a hefty mix of trad covers and dance tunes that bled into the campsite, so even the weary could squeeze every last ounce of music out of the night.

Friday

For many in the campsite, their nocturnal activities rendered them somewhat incapacitated well into the late morning/early afternoon. For the early birds however, mainly those with effervescent young children, there were tasty morsels on offer. Musical highlights of the afternoon included Aberdeen quartet The Little Kicks getting sweaty at the Hothouse Stage, Stirling songwriter Norrie McCulloch playing first on the Trailer Trash stage and later at the Potting Shed, and Zoe Graham flying solo on the Seedlings Stage. The always impressive Miracle Glass Company produced an ambitiously suave but all too brief psychedelic jam for an awed gathering at the Hothouse. Showcasing new songs from their as yet unreleased second LP, MGC showed exactly why they’ve grown a reputation as one of the best live bands in the country; a must-see on any festival line-up.

On the matter of new music Folda released their beautiful debut EP Lust on July 23rd and played only their first ever headline show within the week. Their dreamy electro pop songs perfectly matched the dark warmth of the Seedlings Stage and could have done justice to a later-than-5pm slot, perhaps nearer dusk. Equally so Pumarosa, across at the Hothouse, drew the crowd so deeply into their ambient rock universe that the outside world seemed to dissolve for a period.

The Grassroots Stage continued to deliver some of the finest songwriting and musicianship on the bill. Adam Holmes and the Embers‘ latest album Midnight Milk was recently longlisted for Scottish Album of the Year – his third nomination from as many releases. Surprisingly his set primarily focused on songs from his first two albums, though this may have been due to the constraints of a festival setup or availability of his usual band members. Musically it all flows together nicely and Adam is welcomed like the prodigal son. His dry humour is endearing and razor sharp, as he dedicates a song about day drinking to his 6-month old daughter. Is he joking? Is he serious? It’s impossible to know for sure, so deadpan is his delivery.

Way over yonder at the Free Range Folk Stage another local favourite plucked a devoted crowd out of the masses. Moteh Parrott‘s distinctive guitar playing and vocal came as a breath of fresh air in an otherwise steamy evening’s hectic schedule. The gifted songwriter has a natural easiness in front of an audience that belies his youthfulness.

For anyone parked at the Garden Stage for the duration, Friday’s was a delectable selection of musical treats; Edinburgh’s funk and soul ensemble The Katet brought their hugely successful Stevie Wonder show out into the open air. There was abundant dancing and singing along in the early afternoon sunshine. The spirited folk-pop of Tide Lines resonated deeply from the foot of Belladrum’s giant amphitheatre and their irresistible stomping beat consumed the crowd. As anthemic as all their songs are, their cover of Walk the Moon’s Shut Up And Dance proves a brilliantly buoyant festival favourite every time.

The feel-good vibes carried over for The Charlatans‘ set, not that they couldn’t generate enough of their own buzz. Tim Burgess’ smile, bleached mop and boundless stage energy somehow absorbed every joy from the crowd, amplified it tenfold and projected right back over the audience. The band looked to be having a good time too. Things proved not so easy for Paloma Faith who had ongoing technical issues that resulted in her vocal fading out early in the set and, at least for the diehard fans at the front, it remained absent from the mix for almost 3 full songs before sort of being resolved. To her credit Faith carried on and never missed a note despite suffering early cold symptoms. If anything she worked extra hard to recover her hard-earned headliner title.

Meanwhile, at the Grassroots Stage, Boston’s Darlingside were making America great again (or at least reminding people what’s so great about America). Their immaculately crafted folk songs delivered with impeccable 4-part harmonies in the mould of CSNY, huddled around a single microphone, were the purest sounds heard all weekend. Having set an impossibly high standard to follow, the challenge then fell on English alt-folk singer songwriter Beth Orton to follow with something equally magical. With a vast catalogue of music to draw on Orton captivated her audience early on with just voice and acoustic guitar. It was a more subdued headline set than anywhere else on Friday night and that made it extra special.

One more “best bit” from Friday, possibly THE best bit of the entire festival, came out of the Venus Flytrap Palais; Tragedy: All Metal Tribute to The Bee Gees & Beyond was uproarious, shocking, sweaty, and so much fun! A truly unexpected delight and definitely deserving of a long lie in on Saturday morning.

Saturday

If Belladrum had sold out its 20,000 tickets then Saturday was definitely the day all 20,000 came through the gate; the site was heaving! Many fresh-faced daytrippers embraced the Bollywood theme, arriving in beautifully colourful saris. It was another day of contrasts and variety in the musical offerings to please the vast demographics of the Belladrum audience. Everything from good old-fashioned rock & roll, country, bluegrass, jazz and blues, indie, rap, pop and folk, to whatever you call Colonel Mustard & the Dijon 5.

The Sea Atlas aka Calum Buchanan, from the Isle of Lewis, writes angsty guitar-driven psychedelic folk songs. Often playing with a full band he struck out on his own for a set on the Seedlings Stage just after lunch. The power in his voice, coarse like Eddie Vedder, can sometimes overwhelm even the fuzziest guitar but it’s so effective at delivering emotion that you don’t mind being slightly knocked sideways by it. At the opposite end of the sonic spectrum sits Siobhan Wilson, another Scottish Album of the Year contender for her work There Are No Saints. Accompanied by cello and guitar, and occasionally taking to the piano herself, you’d be hard pressed to find a purer voice in all the highlands, yet her grungy side comes out too on set closer Whatever Helps.

Proving that live music can be both laidback and engaging, technical, personable, and still thoroughly entertaining, Martin Harley‘s soulful blues songs pulled punters in from every side of the Grassroots Stage. He talked calmly about songwriting and storytelling and, having opened the floor up to questions, described in detail the origins of his particular guitar (a Weissenborn made of Hawaiian koa). If anyone was still seeking a place to relax into Saturday afternoon, this was it. Facing down the frenetic pop rock of Edinburgh’s Retro Video Club at the Seedlings Stage was not the place to be. However if you were seeking some upbeat danceable songs to sing along to with your mates all summer long you would have been in good company here.

Away at the Ice-House Bar were Mezcla, a highly recommended jazz outfit who did not disappoint on the promise of highly skilled players and talented composers. While they amazed and inspired awe on one of the smallest stages at the site the largest crowd of the festival had assembled before the Garden Stage for acoustic popster Gerry Cinnamon and at the Grassroots Stage The Wandering Hearts lulled the crowd with their unique strain of English-tinged Americana and folk. Beyond this, Austin 5-piece Whiskey Shivers delivered a rousing set of high-energy bluegrass and folk-punk tunes, leading very nicely into You Me At Six‘s Garden Stage slot. Similar to Paloma Faith the night before, YMAS suffered a briefly catastrophic power failure that resulted in nothing but live drums echoing across the arena for a good 15 to 20 seconds. They had no idea and played through it, apologising after the fact despite the situation being beyond their control.

Back over at the Hothouse things were really warming up. Malian outfit Songhoy Blues provided one of the most exciting performances of the festival, elevating blues rock fusion to an all time high. On the groovy Sahara from last year’s Résistance  they had the crowd singing along and bouncing with total abandon. When the set reached its climax on Soubour the highland audience was completely under the spell of the desert music and the band, feeling all the love, came straight out to meet their new friends and fans face to face.

Rosanne Cash may be the only Grammy winner on this year’s line-up but you wouldn’t know it from the reserved manner in which she performs. Accompanied by John Leventhal on guitar and harmonies, she weaves stories and songs seamlessly into her narrative and builds a cool rapport with her audience along the way, so that everyone becomes fully invested in her performance. It’s magic to witness.

Legendary Scottish rockers Primal Scream filled the final slot at the Garden Stage on Saturday night, setting the mood to party right from the off with Movin’ On Up. They didn’t deviate much from the classic rock line and the audience seemed to appreciate it, at the end of a long 3 days of partying where they just wanted to have a good time. Loaded, Country Girl and Rocks accelerate the night towards oblivion. What could be a more appropriate end to the festivities? Oh yeah, fireworks!

It wasn’t actually over at this point; Broken Records had the honour of playing out the Seedlings Stage with bold and anthemic indie rock, layered with affluent guitars and essential fiddle, and Jamie Sutherland’s potent melodies and lyrics. While the festival is still hours away from silent planning is well and truly underway to make next year another wholly unique festival experience in the highlands.

The Little Kicks – King Tut’s Summer Nights

Live music, Music Review

In March of 2017 Aberdeen’s The Little Kicks released one of the year’s best albums, Shake Off Your Troubles. The record is perfectly mixed giving equal space to moody synths, shiny guitars and evocative harmonies, while drums and bass oscillate between buoyant and restrained with precision, sonically defying line after line of hauntingly honest and vulnerable lyrics. The band are renowned for their irresistible incarnation of melodic indie rock with a mature disco twist. Delivering on such a meticulous studio sound can present a challenge at times, trying to balance the intricacies of performance against the unknown variables of a live setting. Yet without much fanfare The Little Kicks seem to have mastered both studio and stage over the last few years, consistently proving to be the most enjoyable band on a club or festival line-up. Having graciously stolen much of the limelight when they last played Tut’s for 2018’s New Year’s Revolution festival back in January, they return to the iconic venue to headline as part of its Summer Night’s series.

With each band on the night contributing just 30 minutes of music, impressions are limited. The first of 3 supports is First Tiger, a band from Glasgow who draw on wide ranging influences to produce an equally diverse, thoughtful and full-bodied style of Scottish indie pop music. There’s a hint of southern rock – but think more early Kings of Leon than Lynyrd Skynyrd – it’s a little off the mainstream with some added late night vibes. It’s pleasing to see a good turn out from the outset, and especially to see different members of the audience singing along with their respective favourites.

Second support Zoe Graham is an outstanding songwriter, guitarist and front person. Sometimes flying solo with keyboard and loop pedal in tow, on this occasion she is a 4-piece ensemble and making the most of it. Blending catchy melodies with some jazzy accompaniment and her unique economy of words, Zoe captivates her audience with lucid musings on suburban life with friends and lovers. Hacket & Knackered is a polished, upbeat number that finds both crowd and band grooving away under the same spell.

Bringing just a touch of glam to proceedings, the charismatic Hamish Swanson leads The Vignettes through a high energy, bass-driven set of witty disco punk songs (formerly new wave; see Adam Ant, Squeeze etc) without ever really taking time to breathe. They raise the tempo and temperature in the room before flitting away like a handful of burnt out sparklers, leaving their indelible mark on the night.

When The Little Kicks take to the stage there’s no time to spare, no time for chat, they dive straight in the deep end with the eerily beautiful Before We Were Friends, the synth-heavy dance outro to their last album. Steven Milne is in fine form, his vocals hover sweetly above waves of chiming guitar, occasionally soaring to heights Robert Smith would envy. Don’t Get Made, Get Even features one of the most beautifully melodic bass lines you’re likely to hear this side of 1979, with sun-drenched harmonies lifted straight out of Laurel Canyon to match. The crowd is seduced by the guitar-soaked charm of heavyweight Bang The Drum Slowly and are completely entranced by the pulsating You And Someone Like Me. It is dance music, after all, why would anyone resist?! Closing the set, as they do, with Heartbreak Pts 1 & 2, the band are called back for a final song and give a breathtaking and tender rendition of Heartbreak Pt 3 (Hold On), stripped down to just 1 guitar and 3 voices. In only 30 minutes they’ve managed to showcase a generation of pop music, giving a masterclass in songwriting, through their undeniable talent and dedication both as composers and performers. 30 minutes is such a tease but for devoted fans and those just discovering their music, it’s better than nothing. In fact it’s better than just about anything a Thursday night in Glasgow could offer.

Iron & Wine – O2 Academy Glasgow

Live music, Music Review

If so-called “Monday Brain” is having its way with Sam Beam tonight then blessed is anyone who sees him play on any other night of the week. Not only is his performance quite spellbinding but his stage presence is also warm, generous and endearing. Glasgow’s O2 Academy is all dressed up for the occasion as patrons are treated to an intimate, seated concert in the historic theatre. The distant ceiling is draped in white while the stage sits beneath a collection of puffy white clouds, creating a rather dream-like atmosphere, as if floating in a hot-air balloon.

Dreaminess and drama is first provided by Scotland’s own Kathryn Joseph. Expert in casting her beautiful dark magic over any audience with little more than her piano and voice, tonight she is accompanied by her musical partner and wizard of other noises, Marcus Mackay. Together they envelop the audience in eerie melodies and subtly beguiling rhythms. The title track from forthcoming release From When I Wake The Want Is introduces Joseph’s iconic vocal over gentle piano, while The Mouth and The Weary immediately heighten tensions in the room with thunderous piano and haunting lyrics. The highlight of her performance comes in the final new song, the gorgeous and heart-breaking Tell My Lover which renders the audience momentarily stunned before erupting with earnest applause. Ever gracious and humble, the duo share a grateful embrace as they depart the stage.

Beneath the clouds appears Iron and Wine, a five-piece ensemble vehicle for the music of singer-songwriter Sam Beam. It’s been a few years since Beam performed under this name in Scotland but he’s welcomed almost like family by his adoring audience. Despite almost stumbling into position he appears relaxed and comfortable as he starts into mellow opener The Trapeze Swinger. Performing with him are Beth Goodfellow and Eliza Hardy-Jones on percussion and keys respectively, Sebastian Steinberg on electric and double bass, and Teddy Rankin-Parker on cello, all providing vocals throughout the show. This combination of instruments and voices is a picturesque setting for Beam’s songs; his eloquent storytelling navigates listeners through yearning and regret, joy and passion, and so many feelings in between. The music alone is mesmerising, as in On Your Wings and Lion’s Mane which Beam complains has “so many chords”. He fumbles his fingers over his guitar and afterwards offers “…apologies if you’ve been waiting a long time to hear me play that song.” He appears to be enjoying himself though, laughing with Steinberg while the rest of the band take a break, and jesting with the hushed audience, saying “It’s hard to concentrate when y’all are being so respectful and quiet.”

His playing alternates between the most delicate and fluid finger-picking and some instinctively emphatic strumming. Several songs have been reworked to match the atmosphere of last year’s Beast Epic, the latest Iron and Wine release that this tour is showcasing. The performance overall is quite enchanting with some very pretty moments pulled from all previous albums. Arms of a Thief is dark and swampy with classical overtones; Muddy Hymnal features a honky piano solo retaining its true alt-folk character and Fever Dream is so magnificently restrained that even the cello sounds breathy. The show climaxes with the spell-binding beauty of House By The Sea with North African-influenced drumming and pseudo-Arabic modes, the room feels like it should be twirling towards ecstasy. Beam conducts the final strain of About A Bruise and when all five voices combine they jolt the audience into full consciousness. The entire audience is on their feet within a split second demanding an encore. The band oblige after a minute or so of rapturous applause, leaving the crowd still a little dazed and awestruck by all that they’ve just witnessed. Tonight will be remembered happily, fondly, as in a dream.

New Worlds; Bill Murray, Jan Vogler & Friends – Festival Theatre

Discovery, Live music, Music Review

“I swear to you there are divine things more beautiful than words can tell.”

Critiquing performance requires an open mind. Sure, some understanding of form, style and genre will help. Context is important; knowing where and how a piece fits within an artist’s catalogue can provide insight into what is being presented. In the theatre or concert hall a trained eye will scrutinise presence and movement, the ears will assess vocalisation and technical proficiency, and the mind will follow storylines and characterisation. Critiquing performance requires a wealth of experience and knowledge of the subject. In this respect I am not qualified to pass judgement on Bill Murray and Jan Vogler’s “New Worlds” production but with an open mind I have observed this:

The show draws links between Johann Sebastian Bach and Ernest Hemingway, Van Morrison, Mark Twain and George Gershwin. It pairs comedy with classical music. It is rooted in the deep love of literature, poetry and performance. It is not a play, or a musical, or a recital, or a reading yet it draws on all of these performance types, creating a sort of cabaret experience that is at times abstract and entertaining, while otherwise being complete, immersive escapism.

The audience reflects this diversity; there are ladies in pearls and gentlemen in suits, there are students and retirees, celebrities, a couple down the front of the stalls in iconic red “Zissou” beanies. This collaboration clearly has broad appeal. It’s delightful to witness so many different people gathered in one room and once the show gets going everyone is off on a journey together.

The concept for the show is quite simple: American actor, Murray and German cellist, Vogler met a few years ago and became firm friends over their mutual interests in classical music and American literature. In 2016 the notion for a performance combining these came when Vogler heard Murray’s public reading of a Walt Whitman poem. The task of connecting the dots between music and words across continents is equally ambitious and exciting and the two leads, joined by Mira Wang on violin and Vanessa Perez on piano, are invested in delivering something that is both entertaining and enlightening.

The programme begins with an extract from an interview with Hemingway, Murray acting as interviewer and interviewee – acting as all characters throughout the evening in fact, his is the only voice heard from the stage. This isn’t as confusing as it sounds since he is an accomplished voice actor; later he portrays three separate French characters within a single scene to humorous effect. The Hemingway piece functions as an introduction for Vogler and his instrument.  His playing is delicate and precise and in an instant the audience understands – this is a world class performance. There is a sort of thematic chronology to the programme. Overall the tone is quite light, romantic, with vivid language setting the mind to distant places and periods.  On Ravel’s “Blues” the playing is especially jovial as Wang shines, both in her playing and appearance. The stage is minimal but glamorous, set before a grand piano, the respective performers in their suits and gowns. There are no distractions, the focus is always on the music or the words. Yet it’s not an entirely static or regimented production; audience participation is welcomed on “It Ain’t Necessarily So” as Murray’s naturally gruff vocal is revealed for the first time. His contributions are mainly spoken but as the evening progresses he becomes more inclined to melody. To be clear, Bill Murray is not a fantastic live singer. Anyone expecting him to pull off a Bing Crosby screen-to-stage transformation will walk away disillusioned.  That’s not where his strength lies. In the lower register his voice is sweet and expressive, his accent softened slightly for added sensitivity to dynamics but as a skilled, dramatic performer he knows how to use his full range of voice to convey sentiment. He uses, or rather brutalises, a Van Morrison number to really stretch those vocal chords before laying into an utterly captivating reading from “The Adventures of Huckleberry Finn”.  Vogler’s tender rendition of Henry Mancini’s “Moon River” elevates this beautiful piece of storytelling and even as Murray speaks Vogler, a metre or so to his right, sits spellbound in silent rapture. Like a parent reading to a child, putting on different voices and accents for the characters, Murray holds his audience in this most intimate and calmly intense moment. Suspense in the story translates to suspense on the stage, emphasising how well crafted this showcase truly is.

The partnering of music with verse is confounding and revelatory to the very last. Songs feature towards the end of the set with an amusing medley from “West Side Story”. Indeed it’s part of the greater narrative of the show but doesn’t necessarily add anything besides humour – an opportunity for Murray to shake out some inner silly that’s obviously been bubbling below the surface all night. He’s done well to stay assuredly serious this long. The performers all take their leave but are hastily beckoned back with admirable vigour. “We got nowhere else to go” Murray tells the audience wryly and the ensemble proceed to run through a spontaneous repertoire of songs and poetry as diverse as the preceding event. There’s tittering among the audience in response to Murray’s pronunciation of loch before a “Loch Lomond” singalong ensues with the house lights illuminating the crowd and drawing them into the production once more.

This surreal evening closes with Bill Murray ambling through the stalls tossing long-stemmed roses to patrons. And a standing ovation. I’m still not entirely sure what we’ve just witnessed; something fun, intriguing, special, musical, unique, creative, inspiring, something beautiful…more than words can tell.

Haim – O2 Academy Glasgow

Live music, Music Review

“I wore a f**king prom dress for this show” declares bassist and eldest sibling Este Haim. It’s a steamy Sunday night in Glasgow and the Californian sisters are “feeling the girl power”. They’re here for a dance party; the soundtrack draws beats and harmonies from Destiny’s Child-era R&B, with shredding guitars and synths lifted from a Kenny Loggins theme tune. 2500 people are in for a good time.

Support on this leg of the Sister Sister Sister Tour comes in the form of pop songstress Maggie Rogers. With a swag of cleverly crafted songs, her catchy melodies, hypnotic rhythms and intimate lyrics pull the politely enthusiastic audience under her spell as she bounds and twirls across the hazy stage. Rogers appears to enjoy her band as much as the crowd does; understandably so, they’re a tight unit and the backing vocals especially lift her delivery, particularly on latest single Fallingwater. In the past Haim have had the opportunity to open for some incredibly talented acts and it’s heartening to see them now offering their audience to a future star in Maggie Rogers. She sets the tone beautifully for what is to follow.

The members of Haim have nothing to prove, they simply own the room from the moment they enter it. Their 2013 debut LP Days Are Gone landed like a greatest hits compilation, every song strong enough to be a chart success. The arrival of sophomore release Something To Tell You last year brought another batch of top shelf pop rock anthems, infused with more funk, soul and new wave sounds, and growing their fanbase to the volume of a sold-out UK theatre tour.

Opening with an impressive drumming sequence as each member of the band takes their position on stage, they roll seamlessly from old to new songs and back and the crowds responds with equal – 100% – excitement to every song. It’s so slick, like band and audience have scripted the whole thing together to create a perfectly balanced high. The songs keep coming and the fans keep dancing, and singing. There’s a whole lot of singing. When there’s chat on stage there’s lots of chat, like when Alana gets to tell the story behind writing lead single Want You Back from the new album and it descends into sibling rivalry. It’s important that each band member has their chance to speak although when Danielle is put on the spot she’s left speechless by the Glaswegian reception. There is so much love between this band and their audience.

The visual is really on point. The groovy bassline of You Never Knew is paired with a subtle Tequila Sunrise tinted backdrop and the lush harmonies are framed in golden flashing lights. When the sisters put their instruments aside in Walking Away there’s a glorious moment of choreography. Sure, Este’s so-called prom dress, in frilly pink satin, might be susceptible to the occasional wardrobe malfunction but overall the look is classy. Nothing about their presentation is over the top and that makes their incredible musicality even more apparent. Reduced to a 3-piece for title track Something To Tell You, Danielle switches blistering guitar solos for drum duties with enviable skill. The more simplistic instrumentation also showcases their superb vocal harmonies.

Wrapping up the set with back-to-back hits Forever and The Wire even has the bar staff dancing and ensures the crowd are adequately jived to demand an encore. Two thunderous rounds of stomping pass through the balcony before the band return with reciprocal energy still to burn. In a moment Alana embarks on a solo tour of the barrier and the party concludes as it was begun, with a 3-way drumming spectacular. From a performance like this there’s no questioning why they’ve won the NME Awards Best International Band twice in the last 5 years.

Gengahr – King Tut’s

Live music, Music Review

On a dreary Monday night in April Gengahr bring warmth and vibrancy to King Tut’s and, with two equally effervescent bands playing before them, the intimate crowd is treated to a steamy night on the dancefloor.

It’s not customary to talk up support bands but tonight is one of those rare nights of extraordinary value and every act is out to make the best impression. Indigo Husk bound onto the stage like children to a waterslide. Dressed as a bunch of early 90s skater punks they masquerade behind an air of casual inadequacy and slacker cool. But they’re actually brilliant! Energetic and technically proficient with a swag of clever upbeat tunes, delivered with an irresistible vigour and enthusiasm.

Low Island are a more politely polished but no less enjoyable outfit. Tidy drums and guitars layer over dense bass lines. At times it becomes a little synth-heavy but they really know how to work it, countering with passive vocal melodies that are almost too ambient to be lyrical. Lead singer Carlos Posada possess an effortless falsetto of enviable clarity that sparkles and illuminates their lush sonic landscape gently like a fine crescent moon. Hypnotic single The Whole World Tucked Away leads into Holding It Down effectively closing out the set just as it gets going.

Showing appreciation with all the energy they can muster this late on a Monday night, the crowd welcomes Gengahr like old friends. Both band and audience are in the groove right from the outset, which is never fully indie rock nor disco, but stands somewhere eternally sunny between the two. Bright, jangly guitars fall side by side with slick melodies and lyrics, at once delicate and beautiful as on the unfortunately titled Fill My Gums With Blood, becoming progressively more harsh and distorted. It’s a nice performance but something is missing; as the applause ends quickly after each song there’s an awkward pause as if some interaction is expected but never materialises. The songs alone are delightful and mostly joyous but the lack of banter renders the set a bit flat by the end of the evening. Even still, no-one can dispute the quality of the music and the band’s passion for playing it. Where Wildness Grows is simply stunning and would have been a satisfactory finale, had the band not wanted to play an encore. Instead the rough and raucous Carrion sends punters on their way into the night and back to the less inspiring reality of cool, spring rain.

Is This How You Love?

Heroine

I’ll Be Waiting

Bathed In Light

Before Sunrise

Embers

Dark Star

Pull Over (Now)

Mallory

Burning Air

Fill My Gums With Blood

She’s A Witch

Where Wildness  Grows

—–

Carrion

Courtney Marie Andrews – Summerhall

Live music, Music Review

From beginning to end, the intimate authenticity of Courtney Marie Andrews’ live performance is astonishing. There’s a rare, indefinable quality in the room; it’s warm, it’s dark, and somehow the stage and crowd feel closer than close. It’s one of those instances where artist and audience are engaged in a perfect symbiosis that results in transcendent gratification. The experience seems not to be confined within the walls and high, angular ceiling of Summerhall’s Dissection Room, in fact it seems not to take place within any defined space or time.

Opening the show is Virginia native Twain, aka Mat Davidson, with a softly spoken stage manner that belies his intensely emotive songwriting and delivery. Reminiscent of early Bright Eyes or Jose Gonzalez’s more plaintive moments, he offers up his gentle soul to those gathered and is received with a mix of tender patience and awe. The audience is drawn in to his memories of youthful folly and reflections on the daily challenges of living in America right now. It’s a brief but sweet encounter that leaves the heart tethered slightly to the final note, hoping to hear just one more song for closure.

Since her last visit to Scotland Courtney Marie Andrews has released an album of overwhelming lamentation with patches of hope and humility. May Your Kindness Remain is an externalised view of loneliness, longing and regret delivered with heartbreaking conviction. Leading off where that album ends, the sorrowful hymn-like Long Road Back to You articulates precisely the solitary troubadour lifestyle Andrews has been living for the last decade. There’s an aching distance in her relationships with both people and places, and a weariness at independence. Two Cold Nights in Buffalo, Kindness of Strangers and bluesy Border each speak to the sense of community, co-operation and respect that underpins so much of Andrews’ songwriting, imbuing her music with an honest and defiant nostalgia.

In the haze of golden orange lights and barren desert imagery that emptiness and longing become physical sensations, resonant in the rumbling thunder of bass and drums in the confessional Near You. It’s getting very warm now. When Andrews moves to the piano for a set of three songs the intensity of emotion is almost too much to take. Two lines into This House sees the show halted dramatically as a man in the crowd faints right in front of the stage. After a brief interlude for medical assistance (we’re assured the man is alright, much to everyone’s relief) Andrews resumes her set and runs through song after song with minimal explanation, leaving her music and lyrics to do all the talking. Gospel-infused May Your Kindness Remain is as much a life lesson as any parent, ex-lover or friend could wish upon the object of their affection; everyone should be reminded that “a kind heart don’t cost a dime” now and then. It’s the perfect message to close out the set.

Courtney Marie Andrews has been called an ‘old soul’ on account of her wise-beyond-her-years songwriting, and it’s true there is a vintage familiarity to her. That angelic white dress worn on the cover of May Your Kindness Remain, and at every show of this tour, possesses sleeves fashioned out of your great grandmother’s lace curtains, and her comfortable conversation flows as if from a childhood friend. But beyond that she crafts deeply relatable, mature and endearingly human songs. She is often compared to classic country and folk singers of the 60s and 70s such as Joni Mitchell and Emmylou Harris but based on her recent albums and shows like tonight’s, generations of female artists will one day aspire to be likened to Courtney Marie Andrews.

“All I’ve ever needed was a little time to grow” she claims on Honest Life and tonight the young singer songwriter demonstrates admirably just how much she has.