Scotland

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

Discovery, Live music, Music Review

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

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

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

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

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

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

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

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

Haim – O2 Academy Glasgow

Live music, Music Review

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

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

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

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

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

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

Gengahr – King Tut’s

Live music, Music Review

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

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

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

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

Is This How You Love?

Heroine

I’ll Be Waiting

Bathed In Light

Before Sunrise

Embers

Dark Star

Pull Over (Now)

Mallory

Burning Air

Fill My Gums With Blood

She’s A Witch

Where Wildness  Grows

—–

Carrion

Courtney Marie Andrews – Summerhall

Live music, Music Review

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

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

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

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

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

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

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

C2C: Country To Country – SSE Hydro

Festivals, Live music, Music Review

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

Friday

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

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

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

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

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

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

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

Saturday

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

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

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

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

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

Sunday

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

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

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

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

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

First Aid Kit – O2 Academy Glasgow

Live music, Music Review

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

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

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

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

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

Sam Fender – The Garage Attic Bar

Live music, Music Review

Sam Fender may be only 5 singles into his recording career but he’s already a veteran touring artist, having supported the likes of Bear’s Den, Daughter, George Ezra and Ben Howard over the last few years. 2018 finally sees him heading out on his first ever headline tour in the UK and it should come as no surprise to anyone that he’s really good live. Really good!

Support for this tour comes in the form of fellow gritty northern singer songwriter Brooke Bentham. Her songs are brutally direct and affecting, her voice gentle with an underlying richness that lends itself to soaring expression. The dynamic plays and intimate lyrics keep at least those in front of the stage captivated, while a majority of rowdy punters at the back have no idea what beauty they’re missing.

The crowd has almost doubled in size by the time Sam Fender and his band pick up their instruments and the energy shift in the room is tangible. The set kicks off with fast-paced tongue-in-cheek anthem Millennial but without much space to jump around band and audience are forced to face off against each other and embrace the intensity of the moment.

Like Bentham, Fender’s lyrics speak straight to the issue, whether it be social inequality, political frustration, mindless celebrity culture or some dark hometown heartbreak, the emotion is raw without hyperbole or embellishment. “Let’s learn to talk without the fear of being heard” he calls on Start Again, a rousing cry for youth empowerment. Similarly straightforward, his music is exactly everything it needs to be, bold, balanced and especially infectious. There are hints of War On Drugs, Real Estate and even U2 in the guitar sounds but it’s in Fender’s warm, soulful voice that his true magic lies. A single microphone is all that’s needed to get these songs across and Fender is an almost prodigious vocalist; power, control and maturity in delivery are skills he’s already mastered at such a young age.

The set is tight with minimal chat, the occasional tuning struggle, and no hint of an expectant encore. Fender delivers a solid 11 songs in around 40 minutes. He introduces the final song of the night, Play God, the single that launched his most successful professional year so far, with genuine incredulity and humility.

As well as being longlisted for the BBC’s Sound of 2018, Sam Fender has been popping up on “Ones To Watch” lists all over the music media in recent months, and from this performance it’s not hard to see what all the fuss is about.

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.