Pop Music

Party At The Palace – Linlithgow Palace

Festivals, Live music, Music Review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Belladrum Tartan Heart Festival 2018

Festivals, Live music, Music Review

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

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

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

Thursday

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

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

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

Friday

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

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

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

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

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

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

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

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

Saturday

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

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

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

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

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

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

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

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

The Little Kicks – King Tut’s Summer Nights

Live music, Music Review

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

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

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

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

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

Iron & Wine – O2 Academy Glasgow

Live music, Music Review

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

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

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

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

Haim – O2 Academy Glasgow

Live music, Music Review

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

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

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

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

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

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

Gengahr – King Tut’s

Live music, Music Review

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

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

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

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

Is This How You Love?

Heroine

I’ll Be Waiting

Bathed In Light

Before Sunrise

Embers

Dark Star

Pull Over (Now)

Mallory

Burning Air

Fill My Gums With Blood

She’s A Witch

Where Wildness  Grows

—–

Carrion

Fenne Lily – Stereo

Live music, Music Review

On a mellow and melancholy Friday 13th at Stereo, Fenne Lily took to the stage to give a live rendition of her debut album, On Hold, released a week earlier. The fresh-faced songwriter has been growing a reputation over the last couple of years for her delicate vocal delivery and intensely vulnerable lyrics. Her brutal, direct and openly self-deprecating onstage banter is also, somehow, a highlight of any show. Fenne Lily is a performer who brings everything into the moment; she is witty, honest and hyper-attentive in a way that engages her with every member of her audience at once. For as much as her set is rehearsed and professional, the whole occasion feels incredibly intimate, personal and unique, on a much smaller scale than the actual experience. It’s a bit like hanging with your new best friend for the first time.

Two supports in Millie and Alexander Alexander test the crowd’s attentiveness, with the latter drawing complete silence as he steps away from the microphone, relying entirely on the acoustics of the concrete bunker that is Stereo’s basement venue. The exercise goes exceptionally well and several bleak songs pass calmly before the headliner is politely welcomed on stage.

Fenne Lily’s set mostly follows the running order of her album, interspersed with small introductions to each song. The theme is fairly consistent though; relationships and expectations. You get the impression from these songs that Fenne is someone who has been a bit too generous with her emotional investment and suffered some harsh consequences. Yet in contrast to the sombre tone and vaguely dark details of songs like The Hand You Deal and More Than You Know Fenne comes across as quite relaxed, even if not entirely comfortable in her own skin. Her voice and guitar naturally dominate the room with the subtlest of accompaniment from her band. Credit to Dan and Joe, on drums and bass respectively, their restraint is an asset to the performance and while their contribution is simplistic at times the overall effect is grand. There’s nothing excessive, not a word or note is wasted. It’s just enough. Fleshed out with a cover of Angel Olsen’s Unfuck The World, the set concludes with an explanation of encore etiquette and album closer For A While as Fenne ducks comically behind a pillar on stage. She returns to the microphone momentarily for an emphatic solo performance of Top To Toe, and a brand new song Like That Man, that leaves a trademark bittersweetness lingering over her audience. Her disarming smile and charisma is so likeable you can only wish her well, but with sad songs this beautiful you almost hope her luck won’t turn. Almost.

Field Music – St Luke’s

Live music, Music Review

Like the turning of an old fashioned wind-up toy, there’s a kind of humble anticipation that precedes the first outburst of genius from Field Music; you know it’s coming, there’s a tension in the air. Still it strikes you with stunning velocity, a bubbling polyphony of cosmic sounds storming over a clinical backbeat. It’s hard to believe there are only 8 people on stage, such is the immense intricacy and variety of noises they create. The band is a self-contained orchestra performing uplifting and progressive pop music so exact in its conception that they feel the need to apologise repeatedly for their errors, however unnoticeable. But in the band’s own words “them that do nothing make no mistakes” and Saturday night in Glasgow is all the better for their efforts, flawed or otherwise.

There’s an elated ‘whoop’ from the crowd as cracking lead single Count It Up, from the latest album Open Here, begins. With pithy self-awareness David Brewis spins privilege and positivism superbly. Radio-friendly Disappointed receives a similarly spirited response from the audience but it’s clear throughout that fans aren’t only here for the easy listening. In an instant everything is angular; there’s racing, jolting piano and wirey bass synth. A cacophony of percussive clicks, pops, tings and shuffles lay out cross-rhythms too precise to be mere happenstance and yet the atmosphere remains one of spontaneity and surprise. Intense flute flourishes from Sarah Hayes compete periodically with waves of Pete Fraser’s wild saxophone. And subversive lyrical undercurrents delivered through the Brewis brothers’ signature short phrases are a testament to their wit and humour, as much as to their musical intelligence. Instruments are always changing between the two leads, with each displaying equal aptitude for drums and guitar whilst singing. That’s not to say the music is too irregular for comfort; there are persistent grooves, steady beats and meticulous bass lines. It’s just always interesting and never boring.

Each song offers a glimpse into the world of its composer. No King No Princess addresses gender stereotyping and equality through the tender eyes of a parent. It’s more fun than it sounds thanks largely to the joyous addition of Liz Corney’s voice. The banter is top notch too; tongue in cheek comments about the rugby have the crowd on side but there is genuine praise and gratitude to the venue and audience for being so lovely and warm on an otherwise very chilly St Patrick’s Day night. Not only are Field Music obscenely clever musicians, they’re also nice guys. The show concludes with an unplanned 2-song encore, one each from David and Peter in the interest of “fraternal equality”. The whole evening is a monumental delight to the very last note, credited to the rare alchemy of this incredibly talented collective; perfect despite their imperfections.

Time In Joy

Them That Do Nothing

Count It Up

Disappointed

A House Is Not A Home

Goodbye To The Country

Let’s Write A Book

Checking On A Message

The Noisy Days Are Over

Share A Pillow

No King No Princess

How Many More Times?

Just Like Everyone Else

Stay Awake

(I Keep Thinking About) A New Thing

It’s Not The Only Way To Feel Happy

Natalie Imbruglia – Oran Mor

Live music, Music Review
Natalie Imbruglia on stage in Glasgow

Last year Natalie Imbruglia enjoyed her acoustic tour so much she set out to do it all again in 2018, visiting cities and venues she hadn’t reached with the previous shows. The Australian-born singer toured Europe extensively in celebration of the 20 years since the release of her debut album Left Of The Middle. The first of two Scottish dates landed her in Glasgow, a city and audience she particularly enjoys. The feeling is clearly mutual as the 550 capacity venue is sold out with punters still looking for tickets only hours before the gig.

Italian singer-songwriter Kiol delivers more than adequate entertainment as support for this tour. His songs, a combination of jaunty folk-pop and hard-strummed, upbeat earworms, are delivered with the hunger and joy of an A-grade busker. Playing mostly songs from his 2017 EP I Come As I Am he offers himself to a new audience, describing how he was introduced to folk music in Ireland and worked with members of Paolo Nutini’s band on his recent single Hard Things. His charm is enough to get the crowd clapping and singing along for more than just the odd chorus (Broken Up Again is a particular highlight) and he leaves the stage with a big smile on his face, after the obligatory “Look I’m on stage” photo is done.

Imbruglia’s set opens with her 3-piece band taking to the stage moments before she emerges, shimmering in sheer black with gold sequins, and that iconic wide-eyed, dimpled smile. She appears as radiant as ever and is met with enormous enthusiasm so that the first lines of Wrong Impression are drowned out by applause. Surrounded by fairy lights and vintage lamps, the band appear cosy and at ease. “I want to bring you into my world a little” Imbruglia explains of her setting, “…it looks just like my lounge room”. Indeed it is beautifully intimate and unfortunately some fans get a little too relaxed, chatting away constantly as if the performance on stage is somehow aside to their evening’s entertainment. She draws them back in though, time and again, with her unwavering eye-contact, playful dance moves and of course, irresistible songs.

Her voice has a huskiness to it but the notes and words are delivered with absolute clarity and precision. She lets out a belter on Counting Down The Days at full voice and for just a few seconds you think this might be it, the moment of elevation, but sadly it doesn’t last and she returns to a gentle delivery. Early songs like Beauty On The Fire and Pigeons And Crumbs work this to their advantage and, of the latter, the singer muses on the transportative quality of music to draw you back to a very specific time and place. It’s true; these songs do have a certain tone and energy about them, lyrically, from a time when pop music could be intellectual, emotive and catchy all at once, without feeling contrived or insincere. This is especially apparent when Imbruglia invites her long-term songwriting collaborator and Scottish musical legend, Gary Clark, to perform one of their songs Butterflies from 2001’s White Lilies Island. Born out of Imbruglia’s “angst” phase, followed soon after by the lead single That Day from the same album, these songs are heavy on words that encapsulate coming-of-age naivety and romantic anxieties. Looking at the singer today you could almost forget how long ago these songs were written, or how young she was when she penned them; her performance is timeless and the integrity of the emotions is buoyed by the quality of her voice, even if the urgency of That Day is lacking slightly for the sake of breathing.

The set winds toward a natural ending with big singles Shiver, crowd favourite Smoke, and Torn before finishing with a cover of Daft Punk’s Instant Crush from her last album, 2015’s Male, which has fans singing along and dancing in spite of the acoustic beats from the cajon. Not getting away without an encore, the band returns to the stage for 2 final songs, the spirited and optimistic Intuition and venomous hit Big Mistake.

This isn’t a nostalgia tour. It’s a varied set showcasing some of the finer moments in pop from the turn of the century but unmistakeable at the fore, always, is that voice, as classic as the pop songs themselves.