Americana

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

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.

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.

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.

C2C: Country To Country – SSE Hydro

Festivals, Live music, Music Review

C2C: Country to Country returned to Glasgow this year, bigger than ever, finding a new home at the SSE Hydro. Previous events had taken place across the way in the SEC Armadillo but such is the reach of country music in the UK now that only the biggest venues can facilitate a line-up like this one. With 3 stages running throughout the weekend, Scottish fans were shown the full spectrum of what passes for country music in 2018, showcasing local and international talents through a carefully curated programme of rising stars and number 1 hit-makers through to bona fide legends of the genre. Compered by BBC Radio Scotland presenter and resident country music aficionado Ricky Ross, the 3-day festival  provided the city with yet another world class cultural event.

Friday

Taking to the main stage first up, the highly anticipated debut of Midland was met with huge enthusiasm from the crowd, as if they were already a headline act. Performing songs from their recent album On The Rocks they needed little encouragement to get the party started; their retro country rock sound paired with tight harmonies and ZZ Top-esque stage antics was exciting to witness and songs like Altitude Adjustment  and Make A Little had people dancing out of their seats. Drinking Problem saw many pints and fists raised in celebration.

On the Spotlight Stage at the back of the arena Lukas Nelson was warmed by the affection of the crowd and delivered one of the highlight performances of the weekend in response. Despite initial sound issues from the tiny platform, his 3-song set with just guitar and a singularly resonant voice captivated the audience in hushed awe.

Backed by a 5-piece band Margo Price built on her performance song by song, leading with latest album opener Don’t Say It she flowed through the range of her songwriting with a graceful command of the stage. Whether jamming it out behind the drum kit on Cocaine Cowboys or flying solo at the piano for the achingly good All American Made, her energy was 100% concentrated on delivering her best performance. A fun and furious cover of Proud Mary closed the set on a massive high.

In contrast to the main stage whirlwind Ashley Campbell centred a stunningly understated performance, a distant satellite elevated amidst the expectant audience. Dedicating her brief set to her father she began with a delicate medley of some of his best-loved songs. Bringing a flood of emotion to the surface for so many fans, she followed it with her own touching tribute Remembering. A heart of stone could not resist breaking at her exquisite voice and playing. She is a tremendous asset to country music and a credit to her family.

Outside the arena at the Acoustic Stage James Edwyn without his Borrowed Band mates was providing some great original tunes and top banter for those assembled in the pop-up record store and adjacent bar. Although fairly low key the standard of performances on this stage was as good as anything you’d hope to see at a bigger show.

While the fresh talent was trying to make an impression this weekend Emmylou Harris glowed with mature professionalism and calming restraint. She demonstrates strength in her delivery, good humour and vibrancy, that allows her songs to stand alone. Her voice remains blissfully clear, even over a full band, and her words evoke wide-eyed nostalgia, as much for the landscape and lifestyle she depicts, as for the tradition of music she embodies. In the live setting all music is equal and the crowd reacts to every song like it’s their favourite. The Pearl could have easily ended the night but for one final act.

Little Big Town took up the challenge of following a living legend; no small feat, but they are no small band. With 8 albums worth of material to choose from they put together something of a ‘greatest hits’ selection to fill their headline slot, and fill it they did. There wasn’t much time for chat, there was mention of shopping and very little else, but the set moved seamlessly between big hits and ballads, sing-along pop songs and old style country foot stompers. Little Big Town have come a long way, musically, from where they started out nearly 2 decades ago but still at the core of their sound is a dynamic 4-part harmony that equips them well for filling out large arenas. Taking time during Little White Church to move among the crowd, they made their way onto the Spotlight Stage where they performed a stripped back set that really emphasised the calibre of their voices. The crowd swelled around the tiny stage as the band conjured an incredible intimacy with their attentive audience, bringing “the living room out here”. The spell wasn’t broken when they returned to the main stage either. Better Man and Can’t Go Back ascend and hang in the air with potent majesty before they’re rumbled by Tornado and Day Drinking.  When Boondocks comes to an end the room is exhausted but satisfied.

Saturday

Saturday saw the largest attendance over the weekend as co-headliners Faith Hill and Tim McGraw played only their first ever show in Scotland, part of their Soul2Soul world tour. Saturday brought out further subtle variations in the realm of country music, also pleasing a wider audience. Ryan Kinder and Morgan Evans each delivered rousing sets on the Spotlight Stage; the former with his soulful melodies and “Sass Squad” backing vocalists, and the latter with his “American band” loop pedal. Evans introduced and endeared himself with 2 hefty sing-alongs including the catchy single Kiss Somebody and crowd favourite Young Again. It was hard not to be charmed by his effervescent smile and sweetly optimistic lyrics.

Over on the main stage Brett Young turned on a show that saw many in the crowd up standing for the duration. Piano-lead ballad Mercy showed a tender side to the young Californian while Sleep Without You set the bounce right for Old Dominion to follow with their R&B infused twangy pop sound. Featuring songs from their latest release Happy Endings the set was loaded with chunky distorted guitar solos and boisterous choruses. Album opener No Such Thing as a Broken Heart “feels really good to sing as loud as you can” lead vocalist Matthew Ramsey assured the audience and so they obliged with many merry voices. Never taking their audience for granted the band made every effort to engage, with Ramsey abandoning the stage at one point to run high-fives across the front row. It was the kind of priceless performance you want to see at every festival, when a band sees they have everything to gain, and everything to lose, so they deliver with inspired tenacity.

Katee Kross provided sweet respite over at the Acoustic Stage for anyone needing to catch their breath. Her direct and heartfelt songwriting has already set her on a path to stardom and her refreshing Johnny Cash medley only furthered her reputation as an imaginative and entertaining performer.

Sparkling from head to toe and positively beaming, Kelsea Ballerini took to the main stage with the excited energy of a pantomime hero. She wasted no time laying out her arsenal of hit singles, willing the audience to sing along with irrepressible enthusiasm. The young star took her role of warm-up act very seriously, working the stage constantly to connect with as many fans as possible. “Faith Hill let me borrow her curling iron yesterday so I think we’re friends now” she declared at one point, clearly elated to be part of the same line-up. Although there were moments when her voice seemed overwhelmed by the band, songs like In Between and I Hate Love Songs, from her latest album Unapologetically, were given space and balance and really stood out.

When the moment finally arrived for headliners Faith Hill and Tim McGraw to emerge the atmosphere in the arena had shifted with so much anticipation, it was like another entire gig was about to start. Sure enough the Faith and Tim show lasted a solid 2 hours with hit after hit after hit. The Scottish fans who had waited so long to see this couple play here could only revel in the performance they were given. A cover of I Knew You Were Waiting (For Me) opened the set as the pair took opposing positions on stage. They were rarely close, but for theatrical effect, yet they somehow owned the space between them, bonded despite the distance. On Like We Never Loved At All McGraw’s voice is almost indistinguishable from Hill’s, their innate harmony blending into one powerful sound. Break First provided another exquisite moment between them and as the show continued their strongest performances happened when they came together. Hill took the first half delivering some of her biggest pop country hits like This Kiss, Breathe and The Way You Love Me, even venturing right back to her very early years with Wild One. Putting everything behind her voice to rise above the very loud (10-piece!) band left her sounding strained and breathless so when McGraw returned for his lead it was almost a relief. Picking up the baton for traditional country he showed the crowd exactly how he earned his place at the top, giving as lively a performance as anyone half his age. And he had fun, pausing to absorb the energy of the audience between phrases, smiling eternally, signing autographs without missing a beat. He is a peerless professional in this arena. Humble and Kind and Live Like You Were Dying elicited almighty applause. As if more was required the couple closed out their performance with a spotlit duet of I Need You into a single microphone. Silence occupied the room as if a vacuum has consumed the audience right to the final note, the crowd errupting once more as the royal couple of country left the stage hand-in-hand.

Sunday

The final night of C2C: Country to Country was, for many fans, a crowd-splitter. While the previous 2 nights had walked a fairly thin line around mainstream country, Sunday’s line-up was a real stretch and showed a huge diversity of sounds. Lizzie Reid brought a quirky folk side to the Acoustic Stage while Catherine McGrath proved that Brits could do hook-driven country just as well as their American contemporaries. A heady blend of Appalachian folk and southern rock on the Spotlight stage gave just a taste of what Delta Rae could bring to a live show. On the brighter side A Long and Happy Life left a saccharine sweetness on the palate that could only be countered by the dark, brooding harmonies of Bottom of the River.

Luke Combs opened the main stage with his big and bashful country rock. Drinking with the boys, playing music, watching football, and inevitable heartbreak – it’s that kind of country – delivered with youthful directness by a guy with a drink in his hand; very convincing. Honky Tonk Highway, Let the Moonshine and Hurricane got the crowd fired up. It was fun, it was loud, it was early Sunday night.

With a huge following already Kip Moore joined the party with his feel good drinking anthem Beer Money and immediately had the arena behind him. His husky tone and driving guitar on recent album opener Plead the Fifth suggests he is a far more matured songwriter and performer now, and the way he kept the audience hanging on his every note of Pretty Little Girl and Guitar Man is further evidence to that. It was more than just entertainment.

The return of Sugarland after a 5 year hiatus provided the perfect buffer in Sunday’s line-up. An equally joyous contrast to all that came before and all that would follow, Jennifer Nettles and Kristian Bush were on top form, adding unassailable flair, glamour and soul into the mix. Nettles’ rendition of Stay was arguably the highlight, but mainly because it came at the end of a set where every song was as good as the last.

It would have been near impossible to top Sugarland, except by being nothing like Sugarland. Gratefully, Kacey Musgraves is nothing like Sugarland. And unlike any other headlining artist at the festival, rather than playing the ‘best of’ her catalogue, she used her set to showcase songs from her forthcoming 3rd album Golden Hour, not released until the end of the month. It was a bold move, even for a Grammy winning artist, yet it proved to be just what the night needed. Musgraves was completely herself; raw, poetic, sensitive and down-to-earth, she radiated from beneath her sparkly exterior. Older songs Silver Lining and It Is What It Is pulled at the heartstrings but it was the likes of Space Cowboy and the breathtaking Rainbow, with simple piano accompaniment on the Spotlight Stage, that were the real gut-punchers. In case Follow Your Arrow wasn’t a jubilant enough conclusion to the event, Musgraves returned for an encore that pushed right to the boundaries of country, finishing with the disco-infused number High Horse, which featured confetti cannons and giant luminous balls bouncing into the audience. It was an accomplished performance by the young artist; honest, funny, warm and uplifting. Very modern and very country.

First Aid Kit – O2 Academy Glasgow

Live music, Music Review

Klara and Johanna SÓ§derberg are a powerful pair; as songwriters they have crafted some of the finest radio-friendly folk pop songs of the last decade, and as vocalists the force of their pitch-perfect familial harmonies is beyond compare. Having sold out most of their ‘Ruins’ UK tour dates months in advance, the anticipation of this first show couldn’t have been higher.

Opening for First Aid Kit on their dates across North America, LA’s wonderful Van William brings his warm up act to Europe, playing a brief but jubilant set of delightfully honest, reflective, upbeat pop songs. The beautiful heart-on-sleeve lyricism of Cosmic Sign and Never Had Enough Of You are stand out moments for their simplicity and directness as much as for their catchy melodies and pleasant harmonies. It’s a tidy sound; positive energy, without sounding saccharine. He’s definitely one to watch.

Emerging onto a darkened stage, lit only by an ominous red heartbeat projection, the band are welcomed with an intensity rarely felt in modern audiences. Warming into the environment with new songs Rebel Heart and It’s A Shame, the sisters endear themselves to their adoring Scottish fans by talking up their love of Irn Bru and congratulating the nation on its Calcutta Cup win mere hours before the show. Drawing one of the loudest receptions of the night from this, the band launches into a rousing King Of The World.

It’s a richly sensuous performance by the Swedes; visuals imbued with wanderlust, yearning, sentimentality and cosmic solitude accompany a set that pulls heavily on the heartstrings. Tender acoustic moments give way to fierce rock manoeuvres. At one point Johanna is down on bended knee thumping away at her bass, in another instant both SÓ§derbergs are flanking the drum kit and thrashing tambourines. Emotions swing from bitterness and anger as Klara addresses the recent global media attention shift to issues around sexual harassment, victim blaming and rape culture. The explosive delivery of You Are The Problem Here may have a few people shifting uncomfortably in their seats but that’s entirely the point. Johanna brings the focus back to the personal but no less universal struggles of “loneliness and desperation and how to live a life”.

Tinted by overwhelming sadness at times, there is also great euphoria and release among these songs with the glorious crowd singalong on Emmylou epitomising the joy that the song itself celebrates; a love of singing in harmony and a -sometimes latent – fondness for country music. The set closes, as the latest album does, with the flawless Nothing Has To Be True as white noise washes over a spellbound crowd. Within a few short minutes rapturous applause brings the sisters back on stage for a four-song encore which includes a collaboration with their tour support and “best friend” Van William on his song Revolution. After an hour and forty minutes pouring their hearts out before two and half thousand people My Silver Lining ends the show. First Aid Kit finally take their leave, acknowledging a standing ovation in the balcony, blowing kisses, smiling, waving and bowing gracefully as they go.