Scotland

The Decemberists – O2 Academy Glasgow

Live music, Music Review

It’s an unexceptional Monday night in November that sees an audience gathered in the expansive darkness of Glasgow’s O2 Academy. It happens to be Bonfire Night which seems as good an excuse as any to stand around and listen to folk songs, and for this occasion you’d be hard-pressed to find a more literary story-teller than The Decemberists’ Colin Meloy. The communal spirit that his band embodies is alight in their followers too, and from the moment the band walk on stage there’s a warmth in the air. Fans haven’t just come to bear witness, they’ve come to take part.

A joyful opening set by Philadelphia’s Hop Along is encouraged despite the contrasting weight and density of the two band’s sounds. The overall energy is well matched and there can be no doubt the responsibility of the “warm up act” has been fulfilled.

With his harmonica poised Meloy gives a gracious welcoming salute as the rest of The Decemberists take up their positions.  Don’t Carry It All draws directly on the crowds in-it-together attitude with some vibrant singing and clapping along right from the outset. It’s apparent  early on that fans are elated to see the band again, as song after song is received in similarly boisterous fashion. The first half of the set builds momentum with some catchy choruses and powerful imagery. Blending new songs with the older catalogue happens around some of the more angular melodies; Cutting Stone into Shankill Butchers and despite wheeling out these darker themes early on the feeling in the room remains upbeat.

The Decemberists have a delightful knack for masking miserable tales behind jaunty mandolin and accordion but they also present honestly dour folk, as on the plaintive The Engine Driver which features two 12-string guitars for added pathos. This turns the midset into a rather gloomy interlude and yet the crowd responds with ever growing enthusiasm. “How about a song about the end of the world then?” offers Meloy before launching gleefully into Calamity Song. It’s a considered about-face of sorts, giving a glimmer of hope for at least sonic redemption before plunging deep into the grand tragedy of The Crane Wife 1 & 2. This song has possibly the subtlest build of any folk rock song to feature a xylophone solo and is followed unnaturally and yet obviously by The Queen’s Rebuke / The Crossing from 2009’s exceptionally heavy “The Hazards of Love”. The whole mood turns on this number as the lighting becomes dark and red, the sound is distorted and there is even a guitar solo!

From this point the brilliant synth-driven Severed introduces a suite of songs from latest album “I’ll Be Your Girl”. We All Die Young includes a necessarily tutored call and response bit of audience participation as well as an inappropriately uplifting sax solo. The band are beyond reach now, so elevated in their jubilation and commitment to giving a great performance. The grimmest tales of seduction, drowning and vengeful murder inside the belly of whale spur them on and the audience acquiesces with equal fervour.

Outside it remains an unexceptional Monday night in November but those in the dark of the Academy know it to be otherwise.

Kacey Musgraves – Clyde Auditorium

Live music, Music Review

“Born in a hurry, always late / Haven’t been early since ’88.” Could a truer opening line have been delivered? 20 minutes after she was due on stage the silhouette of Kacey Musgraves emerged behind a glow of goldenous light. With her band already positioned, distinctly indistinctive in their matching pastel suits, she set her pace with Slow Burn, the first song on her latest album Golden Hour.

The new record is mellow and even by pop-country standards and so it follows that its live incarnation, the “Oh, What A World Tour”, should be equally refined and engaging. It’s another 2 such gentle songs, Wonder Woman and Butterflies, before Musgraves visits any older material and when she does it sounds refreshed and renewed to her current mood. Keep It To Yourself leads in with a Springsteen-esque guitar tone before the pedal steel takes control and steers it into blatant country territory. More bitter than sweet, Merry Go ‘Round elicits the first big singalong of the evening and it’s hard to feel the isolated heartbreak of the song in a room full of voices. High Time is another crowd favourite and sees Musgraves stepping out of glam-mode, relinquishing her powder blue stilettos in favour of bare feet, then later some fluffy blue slides. It’s Casual Kacey time, despite the sequinned trousers and rhinestone-laden denim jacket.

On any scale a Kacey Musgraves show is certain things; honest, personal, fun. You can sense this from the flow of the songs and the onstage banter. While the music is perfectly polished, as it needs to be with a six-piece band behind her, Kacey is not above engaging with her audience in a way that makes her special among Nashville’s starlets. She feels her way between the songs as if the stage is smaller, the crowd is closer. It’s an intimacy that’s hard to pin down but it’s very real. She created the same atmosphere nearly 8 months back when she headlined the final night of C2C – Country To Country just across the way at the much larger SSE Hydro. Unlike then however, tonight she only has to play for her audience, rather than swaying a festival crowd, and she does so with much credit to her band. After taking time to introduce everyone on stage, and thanking all her crew behind the scenes, she brings the band together out front for a light-hearted rendition of Family Is Family.

Velvet Elvis sees sections of the stalls up dancing which Musgraves encourages, “This is a better party like this”.  It’s a gentle momentum to maintain with songs like Happy & Sad and the sweetly melancholic Space Cowboy but the crowd carries it on, finally arriving at the upbeat empowerment anthem Follow Your Arrow. Leaving the crowd in a jubilant state, Musgraves and band make a swift exit and remain obscured for several minutes before returning to frenzied applause.

It’s a mixed bag encore opening with the achingly delicate Rainbow before detouring into a humorous but ultimately unnecessary cover of NSYNC’s Tearin’ Up My Heart. The only redeeming aspect of the cover is that it features the support act, the very talented indie singer-songwriter Sophie Allison, aka Soccer Mommy, in a choreographed dance routine. Nevertheless, the mood is lightened sufficiently to close the night out with brilliant rainbow strip lights and a dazzling mirror ball as High Horse wraps the night in its fuzzy disco charms. In the last twinkling light before the stage fades to black Kacey Musgraves waves a sincere farewell to her adoring audience and they respond with mutual gratitude; each wants to thank the other and no-one wants to say goodbye. It’s the way every show should end.

Villagers – The Garage

Live music, Music Review

On Villagers’ most recent album The Art of Pretending to Swim Conor O’Brien has got his groove back, and then some. The nifty studio magic that gained his band a raft of followers through their first two releases has been distilled by a master craftsman, O’Brien himself, and blended with the raw potency of 2015’s Ivor Novello-winning Darling Arithmetic. The result is a heady concoction; harmonically vibrant and playful with subtly textured rhythms, and laced with O’Brien’s always intriguing lyricism. It tempers listeners with bold satire and heartfelt musings on where we place our faith – in love, humanity, religion, ourselves – all served over luscious layers of acoustic guitar, piano, strings, brass and occasionally low-key EDM.

Bringing an album of this sonic complexity into a live setting presents those same old challenges from the earlier recordings but O’Brien has assembled a fine musical collective to support his endeavour, most of whom toured Darling Arithmetic and later crafted the live recording Where Have You Been All My Life. He also has a breathtaking opener for this run of shows in Billie Marten, whose heart-on-sleeve songwriting and bare-bones delivery softens and diffuses any pre-gig tension, melting anxiety whilst gently building anticipation for the main event. A kind of Julia Jacklin wit by way of Lucy Rose delivery. Poignant and ethereal. Also she brought cake – lemon drizzle – as a sort of apology for having not brought any merchandise “because I’m a terrible person”. She is not terrible; nor is her cake, nor her performance. All are quantifiably sweet.

Villagers’ arrival on stage is met with an almost stupefied enthusiasm, as if the crowd are unable to fully grasp their own excitement. It’s been over two and half years since the band last played in Scotland. A heightened sense of expectation is inevitable. Breaking through that energy, the band lay down four new songs to open the show; Sweet Saviour and Again wind the new sounds out slowly, growing through O’Brien’s impeccable finger-picking before blossoming with pulsing piano and swirling synth. The jovial, swinging melody of Fool defies its bleak message and sees the audience bopping along unassumingly, while the Moby-esque Love Came With All That It Brings recounts a tragic tale over a hip-hop backing track, held aloft by flugelhorn and cornet. It also features the gentlest delivery of “motherf**ker” you could ever imagine as O’Brien’s lips conjure all the venom that melody will allow (consider Beck’s Asshole but more tender).

A concerted look between O’Brien and pianist Mali Llywelyn cues the flourish that begins I Saw The Dead and rouses the crowd further – they could hardly be more excited about hearing an old favourite. Another four songs from the new album follow; Hold Me Down, more or less the only quiet moment of the set, draws breath and displays a calmness within the band. There’s joy and playfulness apparent in their performance, but also control, restraint, focus. The weight of expression in O’Brien’s voice is offset by the intuitive spontaneity of the musicians around him. This only becomes more enlightened as the set continues; the R&B-infused lead single A Trick of the Light matches O’Brien’s distinctive annunciation with Danny Snow’s emphatically funky bass line.

“This is a groovy number; your hips better be shaking. It’s about procrastination.” O’Brien introduces one of his most soulful compositions to date, Long Time Waiting. He’s not lying, it definitely has a feel-good vibe, uplifting yet meditative, and catchy as all get-out. The song builds gradually with an irrepressible, boisterous vitality, flowing naturally into the thumping Real Go-Getter. Marcus Hamblett’s jubilant smirk throughout is indicative of the fun had in crafting these songs, as much as in delivering them with sonic precision. His role at this particular moment comprises two critical sounds that shape the whole tone of the song and he’s taking it very seriously…whilst smiling.

The back end of the set sees a few “hits” pulled from the catalogue; the iconic Becoming A Jackal is still one of the most interesting pop songs to emerge in the last decade and here it assumes a jazzier identity thanks to Gwion Llewelyn’s creative drumming that leads instinctively into the moody, stirring Memoir. Perhaps it moves a little too swiftly as O’Brien loses his words after the first verse and calls the band to stop. Running lyrics between the audience and the band over the longest 20 seconds he resumes, then forgets again on the next verse but improvises. This only lightens the atmosphere further with a splash of endearing humility and O’Brien confidently progresses to the end with the captivating Hot Scary Summer and album closer, an epic ode to the work of Ada Lovelace, simply titled Ada. The latter swells, spirals and cascades well over the five-minute mark and leaves the crowd hanging on to the final note before erupting with applause and cries for more.

A brief absence from the stage punctuates the set before a swift encore caps the night off with the crowd singing in unison. Intimate anthem Courage sounds authentically country in this setting with O’Brien’s delicate strumming so precise you can hear every string resonate beneath the exquisite range of his dreamy vocal, now at peak mellifluence. Squeals of relief and delight meet the opening of dichotomous favourite Nothing Arrived as the band deliver a buoyant rendition, charming yet raucous, and always bittersweet. It’s a fitting close to the night, where all is not but exactly what it seems. Conor O’Brien has never looked so resolutely content and confident on stage as he does right now, and while showcasing these new songs, with this band, he very much deserves to.

John Butler Trio – Barrowland Ballroom

Live music, Music Review

John Butler Trio’s latest album Home is an introspective detour on the Australian songwriter’s journey. While many artists start off their careers drawing on their internal struggles and gradually looking outwards John Butler, whilst being outspoken on public matters of social, political and environmental significance, has kept his innermost self quite private. The new album, released on September 28th, touches on subjects close to the songwriter’s heart including the joyous miracle of finding his soulmate in the middle of nowhere, as well as his developing battle with anxiety. Sonically and thematically it’s a substantial step away from his previous work, showcasing a more polished pop aesthetic with synths, drum machines and especially charming melodies. Some critics may have been disappointed but it is undeniably refreshing to hear a new development in any artist’s catalogue, particularly one with as many influences as John Butler has synthesised in the last 20-odd years of his career.

Within two weeks of the album’s release the band opened their European tour at Glasgow’s Barrowlands. Fellow Australian-Samoan singer, songwriter and multi-instrumentalist Bobby Alu set the show up beautifully in support, with his laidback ukulele tunes and warm, soulful voice. He was well received by the early crowd who seemed to grow in size, evermore endeared to the gentle sway of his songs whether in English or Samoan, there was a very natural enjoyment to his being on stage with some people even calling for more when he took his leave.

It seems ominous then that when John Butler reached the stage he was nervous, however the crowd were elated and generous in response and the music flowed easily. Jaunty Tahitian Blue and the heavier Wade In The Water introduced the new material before Butler let slide on Betterman. “I don’t know why I’m so nervous tonight” he declared as he positioned his banjo before flawlessly fingerpicking his way into Better Than. Perhaps debuting so many new songs in one live session had him on edge but it hardly showed, only his minimal conversation suggested he had things on his mind. Eight out of the eighteen songs on the setlist came from Home but there were plenty of crowd-pleasers in the mix too. The earthy, slow blues jam Blame It On Me had the crowd so mesmerised that by the time the solo had wrapped up and every possible kind of effect had been wrung from the guitar, there was a delayed eruption of applause. Pickapart brought the audience out of their daze and saw limbs flying as bodies failed to resist its funky bass line. A fifteen minute rendition of Ocean was delivered solo with as much tenderness and passion as an orchestra could summon; an epic guitar odyssey in open C, filling the night with the simplest of dazzling green lights. It’s the highlight of any John Butler performance. Expanded to a five-piece for this tour (billed as John Butler TRIO+) the band switched instruments regularly and made good use of the extra hands particularly on the title track Home which featured four of the five drumming in unison over dark synth and bass. Funky Tonight left the crowd begging for more and the band obliged with a two song encore; between the resonant, swirling acoustic guitar and communal drumming circle, latest album closer We Want More displayed its tribal colours, before Butler invited the crowd to sing their hearts out with him on the rootsy hit Zebra. “It doesn’t have to be pretty, it just has to be loud” he encouraged. That it certainly was, albeit in a very relaxed, casual and organic kind of way. You wouldn’t expect more from a John Butler Trio audience really, just an abundance of peace and love, and that was exactly how the night ended.

John Grant – Edinburgh Playhouse

Live music, Music Review

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

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

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

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

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

Setlist

You Don’t Have To

Outer Space

Marz

Grey Tickles, Black Pressure

Global Warming

TC and Honeybear

It’s Easier

GMF

Pale Green Ghosts

Love Is Magic

Glacier

Queen of Denmark

___

Vietnam

Caramel

It Doesn’t Matter To Him

Sigourney Weaver

Black Belt

Party At The Palace – Linlithgow Palace

Festivals, Live music, Music Review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Belladrum Tartan Heart Festival 2018

Festivals, Live music, Music Review

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

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

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

Thursday

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

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

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

Friday

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

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

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

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

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

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

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

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

Saturday

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

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

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

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

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

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

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

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

The Little Kicks – King Tut’s Summer Nights

Live music, Music Review

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

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

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

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

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

Iron & Wine – O2 Academy Glasgow

Live music, Music Review

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

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

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

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