The National – Edinburgh Castle

Festivals, Live music, Music Review

No matter how many times you’ve seen The National live before, you never quite know what their next performance will deliver: Chaos; Ecstasy; Frivolity; Indignation; the Apocalypse. Just about anything is possible.

The darkly solemn lyrics of frontman Matt Berninger coupled with the delicately euphoric indie rock tones of his six bandmates are a heady mix on record but when given the large-scale flesh-and-blood treatment of an arena – or temporary stadium, in front of a castle, atop an extinct volcano – the experience is thoroughly intoxicating.

Their headline performance at Edinburgh Castle capped off a string of hugely successful summer festival dates and open-air shows across Europe and the UK including Primavera Sound, Montreux Jazz Festival and Glastonbury, and as testament to their still ever-growing popularity, fans travelled from all over to be in attendance, with some transient international visitors even buying tickets on the night.

Bess Atwell opened the night; her buttery, mellifluous vocal resonating over the Old Town in the early evening sun. The ease of her performance belied any end-of-tour emotions she may have been feeling, as well as the illness which she later disclosed via social media. Instead she played with an easy charm, drawing mostly on songs from her latest album “Light Sleeper” which was produced by The National’s Aaron Dessner. The opening 1-2 of “Everybody Who’s Not In Love With You Is Wrong” and “Release Myself” was even more devastating than on record and the building beauty of “Something Now” soared as the clouds broke to allow a little golden light onto the highest grandstand seating.

When The National arrived on stage Berninger was in a savagely playful mood, mingling and tormenting fans and occasionally spouting political quips. At times his voice came with more force than melody but as the set wore on he seemed to settle into the songs with a commanding -and less threatening- presence.

Throughout “Don’t Swallow The Cap” he focused his effort on collecting and arranging cardboard signs from the audience; an unusual recent phenomenon for anyone other than Springsteen but it seems this expression of fandom is making a welcome comeback.

The run of “I Need My Girl”, “Slow Show” and “Sorrow” drew a particularly adoring reaction from the crowd but the intensity was regularly offset by Berninger’s tangential introductions and he even maliciously disembowelled a soft toy with his teeth during “Alien”.

The set concluded with “Fake Empire” before the band returned for a five-song power-encore that featured a duet with Bess Atwell, a dedication to Scott Hutchison and Tiny Changes and Berninger testing the limit of his microphone lead as he roamed the audience during “Terrible Love”. The almost-traditional closer of an unplugged “Vanderlyle Crybaby Geeks” cascaded from all sides of the castle as Berninger gathered his cardboard mementos and exited the stage, leaving just acoustic guitars and a few hundred voices echoing their refrain.

10 Must-see shows at Celtic Connections 2023

Festivals, Live music, Music Review

Enduring the short, dark days of late December in Scotland deserves reward – deserves celebration, in fact – and the best way to celebrate any season in this country is with live music. In dark times, more than ever, we need this; coming together to listen and share stories, to dance, to sing, is the most human of activities. Our deep desire for communal experience is undoubtedly what’s made Celtic Connections an annual highlight of the musical calendar, worldwide, for the last three decades.

With the covid-19 pandemic causing immense disruption over the last two years it’s a joy and a comfort to see the festival returning to full capacity in 2023 for its 30th edition. The disappointment of last year’s late cancellations and the limitations on international guests remain in the past now, with the festival once again offering a vast array of world class talent for audiences of all persuasions. Here is just a selection of gems plucked from within the dazzling 2023 line-up, which may be particularly useful for anyone still wrestling with the paradox of choice.

For Americana fans:

Occasionally the “Celtic connection” inferred by an artist’s inclusion in the festival can seem a little tenuous but for country songstress Emily Scott Robinson, it’s abundantly clear; her latest release, Built On Bones is a collection of hauntingly beautiful songs written for the witches of Macbeth. The setting, tone and spirit of Celtic ancestry will be conjured in her performance, accompanied by collaborators Alisa Amador and Violet Bell.

It’s hard to tell which is more endearing: William Prince‘s effortless, comforting baritone or his delicate weaving of words. In any case, when both combine over his steady but sympathetic guitar playing the result is a total envelopment within the moment.

The rare opportunity to witness the legendary, prodigious talent of Nickel Creek cannot be passed up. Band members Chris Thile, Sara Watkins and Sean Watkins – collectively and in various solo and collaborative endeavours – have been hugely influential on generations of musicians and music fans alike since the turn of the century, and their appearance at this year’s festival will undoubtedly ignite further adoration and inspiration well beyond the reach of their “neo-bluegrass” genre labelling.

For Blues fans:

Amythyst Kiah has risen through the ranks at Celtic Connections to find herself not only headlining her own show but making a guest appearance at the fabled Transatlantic Sessions. Armed with a powerful set of songs and the robust voice made to deliver them, her performances leave an indelible mark on audiences wherever she plays.

It would be rude to mention Fantastic Negrito without at least referencing the fact that his last three albums each won the GRAMMY for Best Contemporary Blues Album in their respective release years, but his talent and musical life force cannot really be reflected in any award or accolade. His live performance is part-sermon, part-therapy, part-rave, part-rock’n’roll exorcism. Those who have seen, heard and felt this music, believe.

For Folk fans:

Award-winning Australian duo Charm of Finches left audiences spellbound on their first UK tour in the summer of 2022. Through evocative lyrics and syrupy blood harmonies, the pair create a magic that lingers long after they’ve stopped singing.

One of the standout performances of 2021’s virtual Celtic Connections event, Dreamers’ Circus bring their sometimes-surreal, sometimes-serene fusion of traditional folk and jazz to light up Glasgow’s Royal Concert Hall stage for a triple billing with Finnish outfit Frigg and Scotland’s own Kinnaris Quintet.

If however, you only see one Scottish act at the festival (seriously, don’t limit yourself) it should be Talisk. The energy and intensity of their performance is only eclipsed by their immense talent, as anyone has seen them before can attest. For those folkies yet to be initiated: hold onto your flat caps!

For Indie fans:

A Celtic Connections favourite over the last decade or so, Aoife O’Donovan has two headline shows at the festival this year. The first night will see her interpreting the “songwriter’s choice” of Springsteen albums, Nebraska, while the following night will take in songs from her own catalogue including her latest critically acclaimed – and too-aptly titled – third album Age of Apathy.

Meanwhile Matthew and the Atlas will make their Celtic Connections debut in 2023, marking their first live appearance since wrapping up touring on 2019’s Morning Dancer. The band’s sonic evolution from indie folk, through more expansive alt-rock, soul and electro elements, bound to Matt Hegarty’s earthy vocal, brings so much atmosphere into any room they play.

For party fans:

In addition to this being the 30th anniversary of Celtic Connections, 2023 marks some milestones for some other significant musical collaborations and collectives within Scotland. The opening weekend sees the 10th edition of Roaming Roots Revue. The guest list features the return of many past favourites including Del Amitri frontman Justin Currie, the breathtaking Irish singer-songwriter Lisa Hannigan and indie rock powerhouse Field Music, all backed by one of the finest house bands in the land, Roddy Hart & The Lonesome Fire. The songbook is wide open this year but the sheer volume of talent present guarantees it will be another great night out.

The closing weekend is also stacked with anniversary celebrations. Scottish indie label Lost Map celebrates its 10th birthday with an afternoon-into-evening affair, encompassing multiple venues within Oran Mor, which will be lead by label founder, the incomparable Pictish Trail. A selection of upcoming and established artists will showcase throughout the event which promises to deliver value for money, both in the quality and quantity of music on offer.

The Isle of Mull’s iconic An Tobar venue will mark its 25th year with a special one-off performance featuring a who’s who of Scottish artists well-kent to its stage including Roddy Woomble, Karen Matheson, Seonaid Aitken, Duncan Chisholm and former Makar Liz Lochhead, among many more of the finest musicians.

Finally – always finally – Transatlantic Sessions returns to Glasgow’s Royal Concert Hall. For first-timers or twentieth-timers, this is the must-see of festival staples. With a house band comprising some of the most experienced and well honed players in the trad and folk scenes from either side of the water, and guests covering the full spectrum of roots music, this two-night event is the epitome of “Celtic Connections”, in theory and in practice. If you want to understand why a festival in Glasgow, in the middle of winter, has become a 30-year international musical phenomenon, the clues are all here.

Advanced booking is always recommended for shows during the festival. For more information and ticketing visit the Celtic Connections website.

Belladrum Tartan Heart Festival 2019

Festivals, Live music, Music Review

Driving south on the A9 through heavy rain and roadworks, the euphoric sunshine of the past 3 days seems almost otherworldly. Through the misty grey comes a flood of memories; of music, dancing, food; friends, family and strangers – aliens – and did I see a polar bear? Only at Belladrum!!

In its 16th incarnation the Highlands’ biggest music event remains one of a kind, not just for the region but within the global festival community. Boasting an extensive yet eclectic line-up of domestic and international talent, Belladrum Tartan Heart Festival is renowned for being a festival for all ages and musical interests. Nearly every genre is represented across its programme and the festival site itself accommodates multi-generational entertainment through everything from puppet-making and zorbing, to extreme sports, slam poetry, yoga, stand-up comedy, even burlesque workshops. And all that is without mentioning any of the chart-toppers on the bill. Anyone who thinks there isn’t much going on north of the central belt needs to get out more!

It’s not possible to single-handedly give a fully comprehensive rundown of the magic that played out over the course of this year’s Belladrum so here instead is simply 10 of the best bits.

1. The Sunshine

If you’ve been to a muddy festival before then you can already appreciate what a difference a little sun can make. The absence of rain throughout the duration of Bella meant not only that the ground was pretty stable to get around on, but it was also blissfully comfortable above 19°C for most of the day. Perfect conditions for hanging out with friends and family, having a picnic or a wee gin cocktail (because when there’s a dedicated Gin Palace how could you not?) and listening to great music in the warm evening air. It’s not always like this, as the veterans hasten to point out, so top mention has to go to mother nature: she nailed it this weekend.

2. The Sci-Fi Theme

Each year Belladrum gives itself over to a specific theme, designing areas of the site to reflect a certain aesthetic or attitude and inspiring patrons to expand their knowledge base in a particular direction. The theme for 2019 being Science Fiction, fancy dress took in all sorts of creative endeavours with Trekkies and Wookies, and even more abstract creatures popping up around the site. I spied Marty and Doc heading into the Venus Flytrap Palais while I was queuing for risotto. In addition but on the flipside of that was the Bella Boffinarium, set up to showcase “Science Fact” with presentations on astronomy, technology, rewilding and modern environmentalism. There was even an interactive aviation drama roaming around. Belladrum is special for a lot of different reasons and its dedication to presenting a theme that is engaging on so many levels is definitely one of the things that sets it apart.

But then, some music.

3. Fat Suit

This funk fusion ensemble brought the sunshine inside the Hothouse on Thursday afternoon with radiant sax and trumpet, glittering guitar and soulful keyboards. From the moment they walked on stage the crowd was down to boogie and the band delivered just the right grooves to keep them moving. If yoga wasn’t your thing, Fat Suit could do plenty to loosen you up.

4. Wildwood Kin

What more can genetically perfected harmonies bring to the British Americana scene that we haven’t seen before? Perhaps not a lot, even with gifted multi-instrumentalists Wildwood Kin. But there’s absolutely nothing more enjoyable than hearing brilliant songs performed well. With the audience hanging on their every gorgeous note you couldn’t help swooning for the Devon trio. Latest singles “Never Alone” and “Beauty In Your Brokenness” were both shimmering and powerful.

^{Wildwood Kin}

5. Man of Moon

Still yet to release their debut LP, the Edinburgh two-piece are evolving from a mildly psychedelic grunge act into some glorious electro-rock outfit with heavy shoegaze undertones. Drawing comparisons to Depeche Mode and The Twilight Sad doesn’t quite do justice to what they deliver in the live setting. The dynamic between singer/guitarist Chris Bainbridge and drummer Michael Reid is in constant flux and, without being unsettling, songs like “I Run” and “Skin” play out with exciting twists and turns. Consistently one of the best live bands of the last few years, they proved their sound is ready for the big stages.

6. Boy Division

Being moved from the Bella Bar Stage to the Seedlings Stage made this performance feel even more intimate and special for Divisionists (every great pop act has to have a name for their fan collective, right?) and the upgrade seemed to benefit Chris, Noah and Kieran as well, as they delivered note-perfect harmonies with seamless choreography throughout their brief but breathtaking performance. Pop music is streaming forward with unparalleled levels of self-awareness and these guys are already cresting the wave.

^{Boy Division}

7. Ferris and Sylvester

Like every great song that finishes too soon, Ferris and Sylvester’s Grassroots stage set left their audience wanting. From the high energy blues-folk of “Burning River” to the aching sweetness of “Flying Visits” with one microphone between them, they commanded attention in the kindest possible way.

^{Ferris and Sylvester}

8. Glasvegas

Given the honour of headlining the Hothouse Stage up against fellow Glaswegians Chvrches, Glasvegas were the perfect antithesis of their Garden Stage peers. Mere silhouettes against a wash of red and white lights, they allowed their songs to swell and cascade out over the enormous crowd that couldn’t be contained by the walls of the sweaty tent. Spontaneous singalongs erupted frequently and singer James Allen noted that the audience participation on acoustic track “Whitey” would go down as his highlight of the festival. It was spirited and emotional from start to end, and heartening to see the band still at the top of their live game.

9. Self Esteem

Probably the most impressive and enjoyable performance of the whole weekend, Rebecca Taylor as Self Esteem is everything pop music should be in 2019; witty, honest, fun. With her band dressed all in red and working through some sultry tongue-in-cheek dance routines, while singing poignant and catchy songs about sexuality, relationships and identity, she is the musical role model you wish mass media was championing instead of the next vapid internet fad. Emphasis on the fun.

^{Self Esteem}

10. Lewis Capaldi’s Reception

With a genuine talent and charm like Capaldi’s there’s not much point discussing his performance. It was great, as expected. The atmosphere when he came onstage however, that was something else. It’s hard to say accurately how many of Belladrum’s 20,000 capacity crowd was actually in front of the Garden Stage at 8pm on Saturday night but it was a majority. Like a big majority. An unprecedented volume by all accounts. And the atmosphere was incomparable. I’ve been to plenty of festivals and stadium shows and I’ve heard some screams. Capaldi’s arrival was met with the kind of noise that makes you think defenders over your earplugs would have been a good shout. Tinnitus on command. It was equally the most terrifying and exciting moment I’ve experienced in the photo pit; I wouldn’t like to do it again but I’d recommend it to anyone. And what’s more it was sustained. It was as if the crowd had been sparing themselves all weekend waiting for this one set. Even if you didn’t like the guy’s music you couldn’t help but stand in awe of what he brought to the event.

^{Lewis Capaldi}

All that said, there were a few weak spots; the overcrowding around the Garden Stage for Lewis Capaldi created tension as security had to restrict access while some folk tried to reserve spaces with hazardous camping chairs or blankets. Arguments on the periphery and discomfort in the middle felt very much like a catastrophe waiting to happen. At the same time Peat & Diesel were letting rip in the Hothouse and that too required added crowd-control measures that felt about as dangerous as the crowd crush itself with punters corralled inside the tent.

The impact of crowding was further demonstrated in traffic queues entering and, especially, leaving the site with some patrons reporting waits of 3 to 5 hours to vacate the carpark. A good service of shuttle buses from Inverness city centre helped to manage the flow of day visitors but delays could be further alleviated with the addition of a park and ride nearby to reduce the volume of cars accessing the property directly down the tiny roads. Density on site meant mobile functionality was reduced. It wasn’t the lack of Snapchat and Instagram so much that was frustrating, but trying to find friends or family to coordinate meals, transport and basic welfare was a bit of a nightmare. For the most part these were minor gripes and the overall feedback around the festival grounds was naturally very positive again this year.

The one major blight on Belladrum is still the masses of rubbish it generates in an otherwise pristine community. The use of disposables at a festival of this scale is unnecessary and does nothing to encourage respectful or resourceful behaviour. It’s 2019; dropping plastic cups anywhere is unacceptable.

Hopefully these are matters the new owners will look to address moving forward with the festival, to maintain the safety and sustainability of their wonderfully warm, family-friendly event. For now, with the many musical blessings of this year playing over in our minds, as the rain sets in to soothe and cleanse the grounds the countdown to Belladrum 2020 can begin.

The National – Castlefield Bowl

Live music, Music Review

On the third night of Manchester’s Sounds Of The City open air festival music fans who defied the forecast of evening showers were rewarded with an immersive and exhilarating performance by one of American indie rock’s keystone bands, The National. Opening their European summer tour with a one-off headline show ahead of some festival dates provided the band with a unique opportunity to showcase latest album I Am Easy To Find, while polishing up some old favourites, in front of an enthusiastic 8000-capacity crowd.

While many punters were still arriving the early support slot was filled by Nashville-based artist Adia Victoria. The singer spared no effort getting the crowd warmed up under the densely humid afternoon sky. Her sometimes-husky voice and sultry melodies, accompanied by occasional twirls and a sway of hips infused the performance with a powerful sensuality that contrast to the themes of songs like “Devil Is A Lie” and “The Needle’s Eye”. Finishing on the creeping groove of “Different Kind Of Love”, Victoria makes it clear she’s here for a good time, if not a long time.

When the headliners take to the stage there’s a peculiar feeling of anticipation. Singer Matt Berninger appears to be in a light-hearted mood, ducking behind the piano as the crowd erupts in applause. The feeling shifts almost immediately to one of serious concentration as the band lead off with a string of songs from their latest album. It’s always a shock to the system when an established band comes to tour new material. That initial excitement and apprehension about what they will play and how it will flow weighs on both the performers and their audience. In this set of 25 songs 12 come from I Am Easy To Find. It’s a lot to take on and there are some sound issues throughout the first half of the set where Berninger’s vocals are occasionally drowned out by guitars, synths and horns. There’s a lot of words and a lot of voices and on no fewer than 3 instances the frontman concedes he messed up his part. Exchanging melodies and harmonies with 3 stunning female vocalists in Eve Owen, Mina Tindle and Gail Ann Dorsey gives the new songs like “Oblivions” and “Where Is Her Head” a much stronger sense of collaboration which stands out against some of the older tracks like “Bloodbuzz Ohio” and “Apartment Story”.

*The National performing at Castlefield Bowl, Manchester*

There’s a defiant sense of progress about the setlist too; not only are there a lot of new songs but there are fewer and fewer very old songs. One of the things fans love about seeing The National live is that, yes there are certain favourites they will always play but no 2 nights will ever be the same. The band change up their set for every single show and there’s always some unexpected treats from the catalogue. In Manchester these included “Green Gloves” and “All The Wine” which bookended some amusing chat from Berninger about capitalism after he exchanged his seemingly unpleasant drink with a fan in the front row.

Another standard of The National’s live show is the moment of insanity that ensues every time Matt Berninger wades into the crowd. It’s as exciting as it is terrifying and yet he does it so regularly that the band almost don’t notice, but that wingmen/guitarists Aaron and Bryce Dessner intuitively know when to occupy front and centre stage. “Day I Die” sees one such moment, after which Berninger appears quite dishevelled, his crisp white shirt untucked and his glasses skewed. Yet he returns again during “Graceless” where the microphone is all but lost to the crowd and his voice is barely heard over the shout-singing of those around him. His antics are especially jovial late in the set. During “The System Only Dreams In Total Darkness” he interferes with Aaron Dessner’s guitar change and finds himself flirting with the edge of the stage before running and leaping into position for the opening lyric. At one point he coaxes a phone from someone in the crowd, taking it on stage to film his perspective before tossing it back into the melee.

The band close out the set with “Fake Empire” and a new crowd favourite “Rylan” just as the heavy sky starts to give way to a light mist. Berninger’s protracted departure from the stage sees him handing a bottle of wine from his personal stash into the crowd, followed by some cups. “Now I don’t even have time to pee before the encore” he complains. Not leaving without playing a final couple of songs from the new album, they push on with the encore as Berninger enters the crowd one final time during “Mr November”. He emerges at the end of it a somewhat changed man, mainly in that he is unable to hear the band clearly or keep up with “Terrible Love” until well into the bridge, at which point the Dessner’s take over and drown out whatever vocals remain to be heard.

Shenanigans have cost them time and as they set up the final songs, a typical crowd singalong with “Vanderlyle Crybaby Geeks” the venue hits its 10.30pm curfew and all amplification is silenced. Lights come on as the crowd leads line after line, drowning out all but a faint tambourine on the stage that keeps time until the last note is sung. Rain falls heavier, the louder the chorus rises until finally the gathering disperses by mutual agreement. Another one-of-a-kind night for fans, if not quite an auspicious show to kick off this tour.

Black Deer Festival Preview

Festivals, Live music, Music Review

The First {Festival} Day of Summer

In 2018 I was incredibly privileged to be able to attend more than a dozen festivals throughout the UK and Europe. Some I volunteered for as a photographer or reviewer, some as stewarding crew, but most I committed to as a regular punter. It’s taken me well over a decade to realise that I absolutely LOVE festivals. I love open air, indoor, multi-stage, single room, camping, inner city, grassroots diy, community-funded, corporate-sponsored, independent, label-driven, industry-hosted Live Music Events.

By far the most complicated event on my festival schedule last year, in terms of logistics and accessibilty, was the inaugural Black Deer Festival in Kent. Buying a ticket was the easiest part of my plan. The festival takes place on an enormous patch of undulating countryside just outside of Tunbridge Wells. Getting there from my home base in Scotland would be an epic journey by any means, however, in 2018 I was not travelling from home. The opening night of the festival coincided with my being in Berlin to see The Rolling Stones. That’s not a problem worth complaining about but it did present a few issues that negatively impacted my experience of the first festival.

My unwillingness to fly my festival camping equipment from Glasgow to London via Berlin meant a compromise in the form of a “luxury” Bed & Breakfast stay in Tunbridge Wells – exceptional accommodation for a festival in a field. (This was actually a cheaper option than taking hold luggage on my flights.) The downside to staying somewhere off-site (with an ensuite and cooked breakfast) was the lack of transport to the festival. Shuttle buses were provided for the return journey which was a great help but having read information on the festival’s website saying the location was “just a short bus or taxi ride” from the train station I, as a seasoned budget traveller, attempted to reach it by public bus. A mile-long walk across fields in the baking hot southern sun not only left my water bottle empty after 15 minutes, but meant I had another hour to walk around the perimeter of the site as I could not get access at the production entrance – my first point of contact with the festival. This was not a great introduction for me and Black Deer.

All that said, what a lovely time I had there there! It was without question my hottest UK festival weekend of the year, with a mix of outdoor and tented stages and near limitless daylight there was really no escaping the summer vibes. When the sun did eventually set on the Saturday night it painted the sky in neon orange and red as Iron & Wine played out a most beautifully chilled set on the main stage. The family atmosphere during the daytime made it feel like a bit of a play park with the added novelty of constant world-class entertainment, between the live music, food and beverage samplings, craft demonstrations and cultural displays, it was a fantastically busy and interesting place.

I can’t lie; when the 2019 line-up was first announced my heart skipped a beat. My first impressions really put this festival in the “too hard” basket. Too far, too complicated and too expensive. It was hard to imagine putting myself through that stress again for the sake of a “fun” midsummer getaway. But my lasting impressions … and that line-up, even only half-formed … I’m taking a chance; I’m going back to the park this Solstice!

There’s a bunch of artists playing the festival this year who I’ve seen before, some I’ve seen several times. A few are old favourites, particularly as festival sets go. Band of Horses headlined the first year I went to Green Man; like the novice I was I got a pitcher from the Rum Shack right on my way to the Mountain Stage and spent most of their set jumping and dancing ferociously at the back of the crowd, charging down to the front occasionally to snap a photo. The last two times I saw them live was during the summer of 2017, at Haven in Copenhagen and at End of the Road in Dorset, where Ben Bridwell held the sweetest on-stage conversations with fans in the crowd, playing requests and having the apparent time of his life. I have never seen the band deliver anything but the most joyful performances. I basically bought my ticket just for Band of Horses.

John Butler Trio are another festival favourite from my uni days when I volunteered at Groovin’ the Moo to get event management experience. I completed 3 hours of wristbanding and got to see some of the biggest Australian bands of the time. My love for JBT goes back a lot further than that though; they were the first band I ever snuck into when I was underage. When I say I “snuck”, I mean my Mum wanted to see them and didn’t want to go alone so she took me to their gig at the Yamba Bowling Club when I was 17. They played a 3-song encore that lasted around 30 minutes (1 song was an 18 minute epic)! My tiny mind was blown and I’ve been an awe-filled devotee ever since. I’m hoping for similar weather to last year to create a really authentic Australian heat in their performance.

In early 2011, at my first Celtic Connections festival, I stumbled upon the unfathomable magic of The Staves. I followed them obsessively from that first encounter and they were responsible for introducing me to one of the biggest influences on my musical taste in the last decade; Communion. They also provided the soundtrack to one of my favourite roadtrip memories; driving across Tennessee from Knoxville to Lynchburg and on to Memphis, in early winter when “Dead & Born & Grown” had just been released. That album, to me, is quintessential English Americana and it makes perfect sense to see them high up on the bill at Black Deer. Always good fun, down to earth people but completely surreal performers.

If I’m going to talk about incredible performers and “English Americana” then I have to mention Yola. “Walk Through Fire” is going to be on every “Best Of” list this year. The songs on this album are deeply personal and that comes across in Yola’s delivery each time; she means every word, but they’re also extremely listenable. Yola treads a fine line between being absolutely unbelievable and completely relatable, and the live setting is where she connects those identities in front of the audience. Her voice is more powerful and her personality more raw when she’s on stage and I adore being in the crowd when she goes to work. Paul Cauthen is another force of nature when it comes to live performance. He doesn’t need to play up his smooth Texas accent to make you weak at the knees, it’s all there in the boom and bass of his voice. He draws on soul, gospel and traditional country with little sparks of southern rock, funk and R&B thrown in; it’s a heady blend, man! Irresistible.

There’s some big names on the bill, some actual legends, and I’m obviously not going to miss those artists but one of the best things about festivals, for me, is the “discovery” moments. Martin Harley was one of mine at Belladrum last year so of course I’m thrilled to have another chance to see him play. Lucy Kitt impressed me with an early afternoon set at Ramblin’ Roots Revue in April and again at Red Rooster Festival earlier this month. I’ve lost track of how many times someone has asked me “Do you know William Crighton?” over the years. I don’t know him. That is to say, I’ve never seen him live. I don’t even know how it happened but I’ve been following The Hungry Mothers online for a while now and I’m excited to see what they bring to the stage.

Really, there’s too many highlights to mention right now, and it’s all futile speculation pending some kind of timetable, but needless to say I’m very excited for this year’s instalment of Black Deer and I’m looking forward to a smooth journey in and out of that faraway park in the deep south of England. There’s nowhere else I’d rather spend my first days of summer.

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.

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.