T in the Park 2015 Review - Friday

With this year being the first in 18 that T in the Park has not been held at the beloved Balado site, I think it's far to say that the question on everyone's mind as they set off for Strathallan Castle is what would the new site be like?

And it's a question with many nuances, for example what will the drive up (and later home) be like, how will parking be, what will the layout of the stages be?  It's also a question that will provide different answers to different people, so for the purposes of our T in the Park reviews of each day, I'm going to focus on the music on offer, while saving my observations on the new site for a separate blog post later on.

Which means heading straight to the Main Stage to catch the band opening the festival and at the same time bagging the ceremonious honour of being the first band to officially play Strathallan Castle.  It's perhaps no surprise to see the polished synth-pop trio Prides adorning the Main Stage.  It's a trajectory they have been on for a while, and what with their debut album The Way Back Up  also released today (10th July) it feels like the stars are aligning for the band.

The crowd who have gathered at the front of the Main Stage get it.  Prides are here for a party.  And you know what, despite the early slot, despite the light drizzle, and despite the distinct lack of festival atmosphere, that's exactly what they achieve.  With tracks like Higher Love,  opener Out of the Blue,  and set closer Messiah  getting the full sing-a-long treatment, the obligatory balloons, and the crowd jumping and clapping along, it's a great start to the festivities.  What I particularly liked about Prides billing was that it was a Scottish act opening the Main Stage (something which was repeated with The LaFontaines on Saturday).  For the three guys on stage, who have collectively been to T in the Park 22 times between them, to open Scotland's biggest music festival, whether you like Prides or not, it shows the festival recognising the talent on it's own doorstep.

Next up it's over to the King Tut's Tent to see The Twilight Sad play practically the same booking they had last year.  With the success and rejuvenation that Nobody Wants To Be Here And Nobody Wants To Leave  has had for the band, it's perhaps a no-brainer to bring them back for another run at the festival crowd. 

Opening with There's A Girl In The Corner  lead singer James Graham is deep into his focused on-stage performance.  Throwing himself about with the belief of a man who knows his band and his music were built for stages like these and bigger.  Much of the set comes from the aforementioned album, but there's always a special place reserved for the ear-splitting I Became A Prostitute,  and the anthemic Cold Days From The Birdhouse,  which closes the set. 

Perhaps ear-splitting isn't the best description in this particular case, as the noise levels do seem - perhaps forcibly - reduced compared with past Sad gigs I've been to.  Such is the case with festivals slots however, and in all honesty it doesn't take away from what is a impassioned performance.  I had the pleasure of speaking with James afterwards and he extolled the virtues of letting your music do the talking.  As the tent got busier and busier during each track it's clear a lot of people are listening to what The Twilight Sad have to say.

After a brief bit of downtime, and the severe displeasure of having Duke Dumont attack my senses, I gathered again in the King Tut's Tent for Hot Chip.  I've not seen the band in a good few years - okay since they toured in support of 2008's Made In The Dark - so I was brimming with anticipation for this one.  So were thousands of others as the tent was suitably packed for one of the finest, and most consistent, indietronica bands of the last decade.

Yet while it was busy there was is a noticeable lull in atmosphere.  Personally I find it hard to pin that on the band, as they are flawless in their collective wizardry, and synchronized dance moves, dipping into their hit-laden back catalogue for tracks like Ready For The Floor  and I Feel Better.  No instead it feels like the crowd are - depressingly - gathering in anticipation of Fatboy Slim.  And then it hits me.  Over and Over  came out NINE years ago.  Whereas I was front and centre clubbing when the track dropped, for many 'newbies' in the crowd it was a hit from yesteryear.  God I'm old.  That feeling is forgotten though when the cowbell strikes and we all start to get "laid back".  The track is the band's opus and they use it to ignite the crowd into a frenzy with Joe Goddard shouting the infamous T in the Park chant from the stage.  He knows what he's doing that man.

Finishing their set - as they did at Glastonbury - with an incredible cover of Springsteen's Dancing In The Dark  which almost unnoticeably morphs into All My Friends by LCD Soundsystem is a stroke of genius.  At least to me and the other appreciative fans around me.  For many of the fresh-faced youngsters it's a tribute lost on them.  Cé la vie.

If the crowd at Hot Chip not appreciating the impromptu cover of the Boss annoyed me, then it was only a precursor to the feelings I'd harbour as we moved over to the BBC Three / Radio 1 Stage to catch American troubadours The War On Drugs.

With their album Lost In The Dream  earning plaudits the world over - the band found themselves rather bizarrely nominated for a Brit Award - their booking for the festival is well earned.  But while I applaud the DF Concerts team for snapping up the band, questions have to be asked about their scheduling between David Guetta and Afrojack.

The resulting quandary is a crowd made up of those looking to enjoy Adam Granduciel's tales of American woe, steeped in the traditions of Springsteen, Dylan, and Petty, those leaving from Afrojack, and those looking to get prime placing for headliner David Guetta.

Unlike in Hot Chip where the lack of appreciation seemed more generational than anything else, this setting is a straight up musical mismatch.  The apathy, and in some audible cases outright disdain, of large swathes of the crowd makes the whole set rather unenjoyable.  Which takes nothing away from the musicianship and professionalism of the band, who give it their all, either oblivious to the crowd or in defiance of them.  As much as I can pick them out highlights include Under The Pressure  and Red Eyes  both of which induce in me the vast potential of the open American highway.

Which brings me to headliner time.  A tough choice I'm sure you'll agree.  Guetta, Kasabian or Mark Ronson are the acts the festival organisers have booked for the main stages.  Luckily there's always another way.

I spoke already about how good it was to see Scottish acts open the Main Stage.  It was equally great to see Hector Bizerk being given the opportunity to close the Transmission Stage.  The band don't need any introductions around these parts, and in my mind this was lining up to be a highlight of the weekend.

Never ones to disappoint Hector delivered on expectations plus some.  From the moment Louie swaggered out on stage, casually mentioning to the crowd that this is indeed a headline slot at T in the Park the crowd are with him every beat, rap and bassline of the way.

Let's not pretend the tent was bursting at the seams.  It wasn't.  But Hector Bizerk shouldn't see this as a negative rather than a reality of festival puntery.  What should be more inspiring is those who came into the tent and left dyed in the wool Hector Bizerk followers.  Because on the strength of their set, anyone not already converted to the hip-hop band's music, was singing their praises after.

As for highlights?  Where to start.  Tracks Festival Boy,  Rust Cohle,  and Skin and Bone  from their latest EP are fresh and showcase the band in their current thinking.  Older anthems like Bury The Hatchet  and Colombus  also provoke en masse sing-a-longs making it hard to think when the band can ever drop these tracks from their setlist!  There's an unexpected treat as the band perform a 'festival' cover of Blur's Song 2  to the delight of the crowd.

And that is that.  Day one of T in the Park done.  Hector Bizerk have crowned a day of great music, but questionable crowds.

- Words by Neil Wilson / Pictures by Bill Gray

Gig Review - Withered Hand (Nothing Ever Happens Here), Summerhall - Friday 8th May

This evening's gig is part of Summerhall's much celebrated, and rightly so, Nothing Ever Happens Here season.  Organised by Jamie Sutherland, frontman of Broken Records, the series has been organised in response to Edinburgh Council's painstakingly slow reaction to Young Fathers' comments on Edinburgh's live music scene.  Fusing a programme that includes established and newer Scottish bands as well as groups from further afar, Nothing Ever Happens Here has reignited an excitement in live music Edinburgh has been needing.

Newcomer Eyes of Others, aka John Bryden, takes the first slop for the evening hot on the heels of releasing his eponymous debut EP.  Bryden's off-kilter electronic pop songs are reflective whilst still maintaining light hearted elements through their arrangements and production.  Cruel Romantic Dreams is a prime example, a downtempo and more serious affair, but littered with laid back and infectious synth lines.  The five songs on display widened Bryden's palette from the EP and let the hooks shine through.  The real strength of Eyes of Others is the production.  Vibrato-less, analogue-sounding synths hint at coldwave influences without ever sounding pastiche, overtly retro or ironic, but instead sit effortlessly side by side alongside more modern percussion and ambient washes.

Woodpigeon, who is currently embarking on a European tour with Withered Hand, strips his songs down to solo arrangements following the more band-orientated recordings that form Mark Hamilton's side of Song By Toad's recent split with Rob St John.  Opening with Knock Knock, Hamilton's voice was evidently struggling to carry over the increasingly busy, Friday night audience.  Towards the latter half of the song looped vocals begin to get lost in the haze.  After a false start to Canada, however, as well as an explanation for the lost voice, a softer approach was taken, with more gentle vocals and fingerpicked, rather than strummed, guitar.  Not only did this approach suit the broken voice, but also helped to carry the songs and focus the crowd.  Woodpigeon shares a skill with Adam Stafford, in taking to the stage with only a loop pedal without falling into the mediocrity and clichés so often associated with a loop pedal.  Although perhaps not as left-leaning as Stafford, the loop provided some of the set's finest moments, particularly in a haunting period of overlaid pitch shifted vocal harmonies that fused seamlessly with Hamilton's broken voice to create something altogether strange and wonderful.

Withered Hand, the man behind Scottish Fiction's 9th favourite album of last year, however, is undoubtedly what the crowd has waited for.  From connections with Edinburgh fixtures, Eagleowl, Meursault and SL records to Willson's history with Fence mean all ages are suitably well represented in the crowd, who welcome the band, as always in Edinburgh, with open arms.  Backed by a 5-strong band, the set sounds a lot more New Gods than Good News, despite being made up of slightly more of the latter.  The balanced set list had the feeling of a rounding off of the New Gods tour.  Now a year after it was released, it truly feels like both albums have settled to be firm fan favourites, meaning Willson is not required to push or promote either.  Singles Horseshoe and Black Tambourine alongside California are ecstatically received, perhaps even more so than old favourites Religious Songs, New Dawn and Heart Heart.  The set could have benefited from the intimacy brought from Woodpigeon, California would have suited the same solo treatment as Cornflakes, and No Cigarettes felt sorely missed but, after all, this felt less like a small celebration of gentle song and more like a victory lap after what has been a hugely successful year for Willson.

- Ashley Leiper

Gig Review - Hector Bizerk, Broadcast - 20th February 2015

Photo courtesy of Árpád Horvárth (www.arpadhorvath.com / www.glasgowstage.com)

With their recent announcement of playing SXSW next month, their fiery loyal fanbase, and the continuing acclaimed EP releases, one might have wondered why Hector Bizerk chose the 150-capacity Broadcast for their latest EP launch gig.  However one track into their blistering set and it's abundantly clear.  The sold out venue crackles with excitement, as hip-hop molds the packed crowd into one entity, upon which frontman Louie dives into just one song in.

Right from the first pounding beats of Audrey Tait's drums Hector Bizerk on Party At A&E ,  which results in the first chant of the night; "nobody seen nothing"; there's a party atmosphere about.  Quickfire crowd favourites Burst Love;  with it's shout along chorus; and Orchestrate;  complete with ska-infused bassline; keep the energy going.

Time for the first new track and taste of the EP which tonight is launching.  Rust Cohne  doesn't disappoint as it showcases Louie respected lyrical talents pulling down the veil on dark inner city problems.  Other new tracks showcased tonight include the dance-along Festival Boy, which expands the percussion to African tribal and reggae beats, and Skin and Bone,  the opener and standout from The Bell That Never Rang.   There's a menace and confidence in Louie's delivery, backed out by the rest of the band; Fraser Sneddon with a killer bassline, Audrey at home behind the drums, and David Calder with wild synths and additional percussion.  Such confidence is borne out because this is amongst one of the finest tracks the band have produced.

Also included in that bracket are Bury The Hatchet,  Colombus,  and Fingerprints On The Drumkit,  all of which get a vociferous reception, the former allowing Louie to spit at a ferocious speed as the crowd jump to the drum'n'bass sound. 

As last EP The Bird That Never Flew  explained the visual element of hip-hop is paramount to Hector Bizerk; and band artist Pearl Kinnear has spent the last 30 minutes on the stage turning the music into a piece of art, which gets centre stage towards the end of the night. 

Sweaty, bruised, and by no means done the band erupt into the jazz drenched The Bigger Picture.  As Louie shouts "it's nothing but hip-hop" with crazed elation he draws to an end the gig which by this stage has transcended.  The evening has been a tribal gathering; a celebration for the Hector elders, and initiation for the new comers. 

As Louie himself often says, genres are irrelevant in most cases.  What is relevant is that Hector Bizerk are one of the best live bands currently plying their trade in Scotland.  Soon they'll be back Stateside at SXSW and it's without doubt that along with Irn Bru and whisky, they are amongst Scotland's finest exports.  Scotland is convinced.  Time for the rest of the world to get on board too.

- Neil Wilson

Gig Review - Stanley Odd, Garage - 13th December

Fighting our way down Sauchiehall Street on a typical Glasgow Saturday night (umbrella inside out, face scrunched in annoyance), my companion and I breathe a sigh of relief when we are allowed into the cosy, grungy venue.  Swiftly shaking off the cold, we move into the happy crowd that is already abuzz – the support is on. 

Loki’s set is basic – just himself and his female guitar-wielding companion, Becci Wallace.  This simplicity allows his passion to shine through, and he has bags of it.  His fast-paced rap is full of pop culture references that have this friendly audience laughing and cheering.  Of course, he is full of banter too, and by the last song, Smile,  the people are nicely warmed up and raring to go. 

After a hearty, grateful bout of clapping we are left waiting for the main event.  The room fills up quickly now and we are stuck in place, amidst the hubbub of excited murmurings and eager faces.  Everyone knows they are in for a treat. Stanley Odd’s newest contribution to the Scottish hip-hop scene is their third album, entitled A Thing Brand New.  Over the years hip-hop collective have built up a dedicated following, and it’s clear to see they are here tonight to dance. 

The lights go down and a substantial cheer begins, spotlights and siren sounds precede the main event.  Stanley Odd frontman Solareye arrives on stage alone, his energy infectious as he raps alone with a charming confidence.  Slowly the rest of the six-piece band appears, taking up their instruments to provide the jazzy opening to the first track on their new record, Get Back in the Basement. 

The effect of the full band is electric; as people start to do the classic hip-hop upper body bob.  Female vocalist Veronika Electronika is mesmeric; her deep voice full of soul, complementing Solareye's swift slick words.  He rallies the crowd with chants of ‘I say Stanley, you say Odd!’ as the band smile at the close of an crowd favourite Chase Yirsel. 

One of the most striking things about Solareye is his undeniable charm, as he laughs and smiles with his fans he is aglow with genuine happiness.  Nothing gets you in the mood more than an artist who genuinely loves what he does. 

For me, one of the best things about music is its power to bring people together.  When you’re watching Stanley Odd you feel like you are among friends, you are in the club.  And what a cool club it is.  The crowd belt out Pastime; lovingly described as a ‘classic blues campfire sing-along’.  Unfailingly solid bass, provided by AdMac, heightens the quality of the sound.  I seriously love that bass.

Quieter, more subdued numbers reveal Solareye's massive talent as a wordsmith.  Draw Yir Own Conclusions is a remarkably eloquent sad story told powerfully.  It is aptly described by a fan nearby as a ‘heavy tune but heavy sad story’.  I must say I agree. 

There's some flexing of freestyle skills in a brief bout of impressively fast rap that gets the people perked up.  Catchy, jazzy and energetic sound fills the room as fun tracks Get Out Ma Headspace  and Her Name was Hip-Hop breeze by - made courtesy of the stellar band. 

Samson the Snake keeps the drums and electronics tight, whilst Scruff Le is tireless on guitars and T Lo on the keys is having a ball.  The subject matters of the songs are wonderfully diverse, and Solareye is eager to explain his thought processes. 

Monsoon Season – a song about inexplicable rage - captures this terrifically whilst also being an oasis of calm.  At the break the crowd are feverish and hungry for more, with chants of ‘One more tune!’ I find myself joining in as my companion and I smile. 

They return with massive grins and an even bigger tune, Son I Voted Yes.  Almost every person in the audience can recite the touching words by heart.  There is a tangible surge of unity as people sway, arm in arm.  Think of a Number  is the perfect cool finish to this dynamite set, as the crowd spend the last of their energy in exulted jumping.  So an hour and fifteen minutes after his entrance, The band take their leave, managing to deliver the full package: utterly engaging and entertaining performance packed with passion and intelligent words that get you thinking. 

This truly feels like a new experience.  The fans are a testament to the band: true and unfaltering.  Go and see what the fuss is about. You will be welcomed with open arms into the amazing Odd family… 

- Maura Keane

Gig Review - CHVRCHES - Barrowlands, 4th November 2014

Since the release of The Bones Of What You Believe,  in September 2013, CHRVCHES have been on a whirlwind and non-stop journey, touring across the world, appearing on radio and TV everywhere and will have racked up an incredible 134 gigs before 2014 is out.  It's perhaps no surprise then that Iain Cook, Martin Doherty, and Lauren Mayberry are delighted to be here, their home city of Glasgow, performing in a venue that holds massive significance to Glaswegian music fans.

Tonight is the second night in the Barrowlands as part of their UK tour, and the trio's third time in the legendary ballroom this year, having stopped off in March during their last UK tour.  Since then the band have stayed firmly in the public's consciousness with contributions to a re-scored Drive  soundtrack and the new Hunger Games  soundtrack.

Opening for CHRVCHES tonight is Minneapolis alt-rapper Lizzo, who cuts a confident figure onstage armed with good ol' US sass and party vibes.  Hip-hop, soul, R'n'B and pop are all mixed in the pot to produce a set which seems to resonate and go down well with the Glasgow crowd.  The general rule of thumb for out of town support acts is if you can keep the crowd away from the bar to watch your set, then job done.  Lizzo more than fills out the Barrowlands ballroom floor, even bringing one fan on stage for some twerking.

The cutting intro of We Sink  announces CHRVCHES arrival as a rapturous crowd explode partly drowning out Mayberry's opening vocals.  With singles Lies  and Gun  also aired in the opening batch of songs, CHVRCHES waste no time in setting out their stall.

The power and intensity of Cook and Doherty's synths are matched only by the euphoria inducing light show.  With military precision multi-coloured lazers cut across the stage and the band, perfectly complimenting the music.  Watching Mayberry and her band mates cutting shapes through the beams as they perform, it's like watching the band navigate the motion detectors as they attempt to rob a bank.

Last time I saw CHVRCHES play in Glasgow (10th October 2013, O2 ABC) there were small tell tale signs that the band hadn't quite got to grips with their meteoric rise.  A year on and any such suggestions can be quashed as Mayberry chats to the eager hometown audience with ease, almost forgetting at one point they are hear to play songs.  "Okay we should play some songs" she remembers following a long 'in-between' chat about McCormicks Music, the merits of a good curry, and Tuesday night student drinking. 

The band's set comprises of 14 tracks, drawn from their debut album and peppered with a few new ones, including Dead Air.  Highlights include Science/Visions,  which combines high tempo synths with Tron-like lazers to create a out of this world effect, and Under The Tide,  where Doherty gets his chance to go tonto on vocals. Saving the best till last, The Mother We Share  brings the curtain down on another fantastic show from CHVRCHES, before a two track encore ends the show officially with the tender and haunting By The Throat. 

A year on from the debut album release, and tracks from The Bones Of What You Believe  still sound fresh, inspired and vibrant.  CHVRCHES next trick will be to follow that album, but for now, it's clear they've made a lasting impact, and have earned their Barrowlands stripes.

- Neil Wilson

Gig Review - The LaFontaines - O2 ABC, 31st October 2014

It’s Halloween, and Glasgow's 02 ABC is about to hold host to the biggest party in the City – the 'Big Font Night Out' where Motherwell's finest The LaFontaines are about to play their largest headline show to date.  With very limited door tickets left for the show, two things are certain.  The queue for the bar will be massive and the ABC is already filled to the brim with 'Fonts fans eager and ready to party.

First on stage is Gerry Cinnamon, the Glasgow based singer-songwriter who has seen his fan base rise exponentially in the wake of the referendum after uploading his song Hope Over Fear  to Facebook.  The single then went on to reach number five in the iTunes singles chart, leading the singer down a rabbit hole that seen him play to 15,000 people at George Square, bagging his own King Tut’s headline show on December 6th, and tonight opening the show for The LaFontaines.  Cinnamon's material walks that self aware singer songwriter path trod by the likes of Bob Dylan, but with a good modern Scottish twist.  It’s definitely worth listening to.

Next up are Vukovi from Troon.  Coming on stage dressed as skeletons it's evident the tone for their set is going to be somewhat darker.  Opening with Thick Skinned,  they take things up a gear.  Unfortunately due to some difficulties with the sound it took a little longer for things to take off, however once the sound picked up and they found their feet, the ball kept rolling.  Three songs in Vukovi hit out with their latest single So Long Gone  which has just been released on First Run Records and has been getting regular air-time on KerrangTV.  Their interesting use of rhythms make each and every song recognisable at an instant and yet somehow distinctive and, better still, standalone in their own right.  Vukovi have found a great blend when it comes to finding the middle ground between writing something angsty and penning a great pop song.  All in all a great performance, as their energy on stage is hard to rival.

Whilst the crowd gears up for The LaFontaines a large white sheet covers the stage adding a sense of foreboding mysticism to the evening.  As the lights drop, a video is projected across the screen which shows a zombie infested, apocalyptic Scotland in meltdown very cleverly put together with shots of familiar places and faces including a press release with David Cameron.  It then ends with the band running up the stairs to play their ABC headline because, let's face it, Glasgow doesn't let anything stand in the way of a good night out!

The LaFontaines are at home tonight and from the very first beat the band have the undivided attention of the packed out crowd.  Picking from songs such as All She Knows,  their latest single Under The Storm  and older fan favourites like Shark In The Water,  tonight's show sees the airing of a good mix of oldies and new tracks from their upcoming debut album, which, according to frontman Kerr Okan, has just been finished.  Exuding confidence, and rightly so, Okan teases, "See you all at the Barrowlands", showing that this is a mere stopping point on where the band's sights are set next.

The LaFontaines are well known for their energetic live shows, their dedication, the hard work they put into every show as well as everything they do, and for their undeniably unique image, sound and personality.  Tonight's show is no exception, and The Fonts live up to their reputation and then some.  Their set ends in the only way it possibly could; a wall of sound, smoke cannons and a barrage of confetti. 

With talks of their debut album floating around, these are exciting times for the Motherwell outfit and it looks like 2015 is already shaping up to be a bigger year for them than 2014.  Keep your ears to the ground for the waves The LaFontaines are about to make.

- Shaun McCluskey

Gig Review - Tenement Trail, 4th October 2014

Photo Gallery by QuickGallery.com

You have to take your hat off to those wonderful people at Tenement TV, the concept of the Tenement Trail isn’t new by any means – 5 venues providing a day of great music and all within walking distance of each other in Glasgow – it’s been done before for sure.  So what is the difference?  The difference is the sheer quality of Scottish talent on show, and all for only £14 entry fee.  The key difficulty becomes immediately obvious when you look at the line-up.  Who can you bear to miss out on?

My day started early with The Rockalls.  And what a way to kick off the day.  With the darkness of the basement at Nice 'N' Sleazy’s contrasting the sunshine outside on this Saturday afternoon, as did the mood, you would be forgiven for thinking that midnight had arrived as The Rockalls – grown by one from a standard five to a six piece for the gig – burst the Tenement Trail into life.  With an explosion of accomplished garage/punk noise, one could be forgiven for feeling that The Cramps and The Damned were having a set-to on the stage.  Encouraging the crowd to squat down and to explode onto their feet at their very command, signalling a refreshing arrogance and command for the first band of the day, they romped through their set with No Comin' Back  a particular standout.  The band also included a cover of Kraftwerk's A Model  which had both a familiarity and new edge at the same time.
Next up were Acrylic who painted a more familiar sound, drawn from the Glasgow indie/pop pedigree, but none the less captivating for it.  Having recently received justified praise from Hector Bizerk, the five piece ensemble delivered their very own brand of sailing close to the edge indie pop, in the well-trodden footsteps on Franz Ferdinand and Dogs Die in Hot Cars. 

With the shortest journey of the day between Broadcast and Sleazy’s, once Acrylic finished I found myself next door in no time, watching Vladimir storm the space with their Dundonian brand of near anthemic punk thumping rock.  With an already impressive list of support slots including the magnificent Fall, and a sound reminiscent of Deerhunter and Radiohead, and an eerie cover version of Born Slippy,  the foreboding and sinister sound hung well in our small collective cell.  The set ended with a reverberating chant of "We are Vladimir" as the band left the stage, and even as the crowd filtered out, we were left in no doubt who we had just seen.  Headline slots are in the wings and deservedly so.

Back to Sleazy’s for the last in the venue's hat-trick of openers.  Deathcats suffered slightly due to a crossover of start times, however the venue soon filled and the band had the crowd dancing with their own brand of pulsing pop and latchkey lad lyrics.  The form and sound is both convincing and compelling and all that was missing was a few 'Gabba Gabba Hey's' and their cover would have been blown.

Back across in Broadcast, and next band TeenCanteen are just too lovely for words.  A set of simple soaring soft centred pop perfections see the girls enter even the toughest heart in the room.  Beautiful melodies and kissing harmonies delivered in a pleading local lilt make TeenCanteen one of the gems in the Scottish-pop jewellery box.  Each time they take to the stage, they seem to add shine that little bit brighter, and from an array of tracks, the pick of this set was Vagabond.  Having recently performed at Wickerman, T in the Park and on our very own Scottish Fiction Sessions, they are now commanding the attention of a larger fan base and the wider media.

Advertised as 'The Birth of Roxy Agogo' on their Facebook page, it was with baited breath and stellar recommendations that I dropped by to catch the band's first ever gig.  I was not to be disappointed.  Such freshness from such obvious musical references and a star quality which shines like a beacon, Roxy Agogo delivered a mesmerising short set of 5 songs: Crocodiles,  Saturday is Dead,  Pink Performer,  Fake Forever and When You Dress Up,  and in doing so both reignited the flame of Bowie/Pop/Murphy/Numan in a new age, and touched down effortlessly on the stage which has been lit and waiting for some time.  Rozy Agogo are the real deal and it was a delight to watch them take first breath.

Tiujana Bibles are the complete rock band in every sense of the word.  Touring hard and performances at both Wickerman and Belladrum were the foundations on which this gig at the O2 ABC 2 would prove to be a showcase for just how accomplished they are, and with a set list of infectious tunes, this environment was bound to be a triumphant arena for them.  From back to front they nailed every track, each individual member commanding their space as an individual and collective force alike.  The crammed playlist began with the single Crucifixion,  and the momentum continued through Toledo,  Last of the Go Getters,  6 2 Midnight,  Runnin' Red Fruit  and finishing on Wild River.   When it comes to live music, they are a 'must see'

So, with the end of the night approaching came the real difficult decision of the day, how to end it?  With Hector Bizerk, Friends in America, Randolph’s Leap and Campfires In Winter all justifiably demanding attention, it was a given that someone would miss out. 

In the end I opted for Randolph’s Leap at King Tut's, or as Adam indicated during a brief interlude “It’s only old folk that call it King Tuts Wah Wah Hut isn’t it?”   Aye that’ll be me then.  Randolph’s Leap are a delight to behold.  Lyrically endearing and musically sweet, their previous album/EP releases The Curse of the Haunted Headphones,  As Fast As A Man,  Real Anymore  and Introducing…  were all beautiful collections of angst ridden humour.   Earlier this year the band released Clumsy Knot  on Lost Map Records and they have delivered one of the albums of the year.  Three songs in, and having delivered Goodbye,  Foolishness of Youth  and Nature  to an enthralled crowd, a broken bass guitar proved a potential stumbling block until, as if by magic, a replacement was offered and after some tuning, we were back on course again, partying with Microcosm,  as if you could do anything else to such a tune!  Following older singles News  and Hermit,  the now iconic and trademark I Can’t Dance To This Music Anymore  had the swelling crowd in sympathetic voice as we swayed and gazed into our emptying plastic glasses and contemplating journey home.  Light of the Moon  finished the set as each member took it in turns to reduce the stage presence by an eighth and downed instruments and walked off to a building applause.

And so we all followed suit, a wonderful end to a wonderful day of the best of Scottish talent.  Tenement Trail is the best thing to happen to the Glasgow music live scene in many years, and I should know, I’ve seen many years.

- Words by Bobby Motherwell,  pictures by Hannah McMillan

Gig Review - Nieves - King Tut's, 20 September 2014

Nieves opted to deliver an acoustic set last night at King Tut's, and with resonant and pulsating beat box metronomity and soaring piano, vocals and guitar, they underlined the reason for the majority of the crowd tonight who turned up to see them alone.   “This is probably all my family in here tonight” Brendan suggests.  Well, not exactly. I sense a following growing for them.

With three uploads onto SoundCloud this year and airplay on BBC Radio 1, Neives could well be the embodiment of the popularist need for a indie/folk band which takes the baton from Admiral Fallow and Frightened Rabbit. 

A six song set was perfectly chorographed and arranged, and included the full SoundCloud compliment of Winter,  Symmetry  and newest track Straight Lines.  A performance which was beyond criticism, it was honest and wholesome, and delivered with a real sense of belief and humility which will bode well for their integrity as greater things undoubtedly come.

As a band, they have all the component parts to be something very big.  Which way the path takes them is entirely within their own hands at the moment.  A new release on the horizon and a very promising future beckons.

- Bobby Motherwell

Gig Review - TeenCanteen - Broadcast, 13th September 2014

Photo Gallery by QuickGallery.com

TeenCanteen are a very unique four piece group, forming a perfect mash up of folk music with their flawless all girl harmonies, and blending this with a '70’s vibe both in sound and appearance.  Paired with a knack for writing insanely catchy songs, TeenCanteen are a truly enjoyable affair.

Having played various festivals across the country this summer, tonight's headline gig is aimed at giving their fans one last performance before they disappear into the studio to record their debut album.  As such, it is perhaps unsurprising that the venue was jam-packed with people digging the TeenCanteen vibe. 

Support came from fellow capital dwellers Birdhead, a wonky pop duo with Krautrock tendancies who offered a different musical style to our headliners, drawing material from their much acclaimed album Pleasure Centre.  With Birdhead having thoroughly warmed the crowd up, TeenCanteen took over, continuing in a equally strong fashion.  Perhaps it was Saturday night, perhaps it was TeenCanteen's pop sensibilities, or more likely a combination of both.  What ever the cause the crowd lapped it up, with one jovial man encouraging the rest of the crowd to join his dancing.  

Whilst being well versed in providing marching beats, and swaying pop melodies, TeenCanteen also know how to pen a great song, with lead songwriter Carla Easton displaying a knack for clever word-play and intelligent story-telling.  Paticular highlights include You're Still Mine  , the band's second single released in June earlier this year, and the sugar-sweet How We Met (Cherry Pie).  The latter simply so infectious it is guaranteed to nestle in your head all night.

On the basis of tonight's showing and with the girls now retreating to work on that aforementioned debut album, the next time TeenCanteen are gigging will mark a must-see.  All we ask is that they don't keep us waiting too long!

- Words by Martina Salveta, pictures by Hannah McMillan
 

Gig Review - A Night For Scotland

The Usher Hall in Edinburgh has played host to many a crowd.  The rows of seats and grand decor are used to the shuffle of anticipation and the pangs of excitement.  Perhaps though, it has never quite experienced the sea of belief and hope swept through on Sunday evening.

A Night For Scotland featured an array of Scottish musicians, drawn from across genres and eras.  There's not many occasions when one finds Amy MacDonald sharing a bill with post-rock titans Mogwai, yet there's a sense that tonight music and political celebration are intertwined.

What follows therefore is not so much social commentary and not so much live music review, but an acceptance that this evening was both of these things and none of these things all at the same time.

Having been around the political game a while, Eddi Reader is no stranger to a well placed slogan.  "I love all the No voters too.  I love them so much I want to give them a country" she gushes amidst a well chosen set of new song Named We Are Everything,  the sentimental Wild Mountain Thyme  and the optimistic Perfect.

First half compére Ricky Ross, a man who has to be admired for airing his politics in public despite his weekly slot on BBC Radio Scotland, joined forces with his wife Lorraine McIntosh for a short set as McIntosh Ross, before perhaps the most overtly political band, in terms of their music, is introduced on stage.

Hip-hop arguably overtook folk music as the musical vehicle for protest some decades ago, and Edinburgh's Stanley Odd have continued the tradition in the finest of manners.  Front man Dave Hook, a.k.a. MC Solareye, explains that their three song set represents his, and the bands, journey to a Yes vote.  Anti-heroics  kicks off, armed with the astute observation that "putting an X in the box says you're watching back", whilst a round of "Bed tax!  Fuck that!" gathers pace during second track Chase Yirsel.  It's the emotional charged ode to Hook's one year old son Son I Voted Yes  which gets the biggest reception of the night on a political basis, striking right to the heart of why many in the crowd are here tonight.  It's also the one song I felt which drew together this Bombay mix of an audience musically too, the hipster youth, the elder statesmen and women, and as Fred Durst would say the rockers and hip-hoppers.
 

Following Stanley Odd were Mogwai, famously a band of few words, a least in a live sense.  Clad in a 'peace sign' t-shirt, front man Stuart Braithwaite keeps his political observations to a minimum, claiming people are hear to listen to music not people talking.  For me as a Mogwai fan that was true.  For the few older people covering their ears during Mogwai Fear Satan  and shitting themselves at the reprise, perhaps it was not quite the music they expected!  The band are every bit as ear splitting, bombastic and powerful as expected, the noise of their set perhaps a well placed metaphor for the noise being made by grassroots Yes Scotland campaigners.

After a short interval, we're in the hands of actress, comedian, and prominent Yes campaigner Elaine C. Smith, fresh down the road from Stirling and a BBC Referendum Debate.  Having played her part in a fair share of pantos over the years, she knows how to score points with the audience, and expectantly gains boos by mentioning the 'baddies' Douglas Alexander and Ruth Davidson.  The next act Amy MacDonald, returns things to an acoustic level, playing through a small set including her hit This Is The Life  and a freshly penned song about optimism and change. 

What was the purpose of the evening you may ask?  There may well have been a few undecided voters, perhaps even the odd No voter there purely for the musical delights on offer, but by and large this was a partisan crowd, their minds already focused and made up.  The true purpose of the evening I believe was a celebration, of all that has been achieved so far, and of all that can still be gained.  That feeling was evident as Glasgow's Franz Ferdinand took residency of the stage.  The band embody the phrase 'shut up and play the hits', running through tracks like Take Me Out,  Michael,  Do You Want To  and Dark of the Matinee  in a blitzkrieg flurry of angular guitars and punchy drums.  It shouldn't be lost on the crowd that three of Franz Ferdinand are native born Englishmen, who have called Glasgow home for some time.  Taken with the multi-lingual and ethnic crowd drawn from all walks of life, this should show that this evening was not a misty eyed tartan draped love affair, but in fact a celebration of culture from wherever it hails.

With one last rousing interval speech from Elaine C. Smith, it's time for our evenings headliners, Frightened Rabbit, to bring things to a close.  The band speak of their pride at being here, and their hope of what can be achieved before launching into another hit packed set, firing out Living In Colour,  The Modern Leper  and Swim Until You Can't See Land  to a receptive crowd.   Lead singer Scott Hutchison notes that on occasions like this, songs can take on different meanings before playing Old Old Fashioned  with the line, "back to how things used to be" illustrating his point well.  Scottish Winds  although less well known, is an apt addition to a passionate set, and while Frabbit don't quite have the same mainstream appeal and hip-shaking riffs that Franz Ferdinand do, they manage to close the evening with a heart swelling version of The Loneliness & The Scream  culminating in a mass singalong which even Elaine C Smith can't resist.

Perhaps I'm being picky, but my only quibble with the evening would be the name.  'A Night For Scotland' is all well and good, but this night was for Yes Scotland.  There should be absolutely no suggestion that the music on show is not for those of a different political persuasion, or that those who do vote No are not part of the future that will involve us all.  Inclusivity is what we need, especially that this juncture, and while all should respect the will of artists to make political statements should they wish, music must always transcend and be something that all can enjoy. 

There were two notable events in Edinburgh this weekend.  Both involved mass crowds and both involved music.  Up to 15,000 Orangemen marched past Holyrood displaying in their words, the 'passionate' case for the union.  3,000 people gathered at the Usher Hall to celebrate in a different manner, for a different cause, and a different future.  I'm not equating one with the other, and most certainly would not suggest that Yes voters are progressive indie music loving liberals, whilst No voters are steeped in Protestant tradition.  The only observation I wish to make is that all too often music is the forebearer of real social change.  Look to any major political or social change over the last 100 years, and you'll find songs by Woody Guthrie, or Bob Dylan, or Public Enemy, or The Specials, or Billy Bragg.  Notably missing from the songbooks of history are the songs supporting the status quo.

- Neil Wilson

A Night For Scotland can be streamed again via Kiltr.

For more information on why Scottish Fiction supports a Yes vote read here. 

Doune The Rabbit Hole - Saturday Review

"If you've got a good pun, you hold onto it!"  That was my answer to why the festival, which had moved from it's origins at Doune back in 2012.  Truth be told, whilst it is a great pun, the name serves as a descriptive warning/preview of what to expect from Doune The Rabbit Hole (DTRH).  Pass through the gates and you'll find a meeting of people from all sorts of alternative lifestyles; hipsters mixing with druids, hippies swanning about with punks, circus performers mingling with face painted kids.  You're in wonderland now Alice.

This year is the small fledgling festival's fifth year, with punters returning to sample the eclectic mix of music, arts, and spoken word on display across three days.  Sadly our review kicks off on Saturday, as that small pesky matter of work meant I was unable to attend on Friday meaning I missed out on catching Hector Bizerk.  Never mind, there's always next time!

With the sun behind me, I caught the closing few tracks of troubadour Jamie Flynn, a man I had met purely by chance a couple of nights prior - life is strange like that!  Playing the Fruit Stage and armed with a bottle of Vimto; drink of champions so we are told; he entertains with a range of acoustic tracks, supplemented by some loop pedals, as well as tipping a hat to influences with a cover of Withered Hand's Religious Songs.

There's a few bands on the bill who can sum up the ethos of DTHR and SambaYaBamba are one of those.  Bringing their unique blend of carnival vibes and samba in kilts, they certainly know how to get the crowd up for it.  Musically things are a little bit same-y as each track has the tendency to blend into the next, but as you look across the crowd, there's Wonder Woman dancing with an old bearded guy, mixed in with Spanish dancers, all having a great time without a care.  Fun by the barrel load.

A quick hop, skip and a jump from the Jaberwocky stage and you'll find yourself in the darkened realm of the Baino stage.  It's there that we find ska legends The Amphetameanies with throngs of people enjoying some ska-throwback.  As the band start, the crowd swells with dancing and revelry of youth and memories, which seems to be a mutual feeling as lead singer Jane picks out familiar faces in the crowd, which is impressive given that almost everyone has dark sunglasses on!  Older fans are joined in their pogo-ing by those unfamiliar with band when This Boy  (of course made famous a band named after an Archduke led by alumni Alex Kapranos) starts playing. 

Mixed in with the above music, I spent much of my afternoon running after two kids (don't worry they were my kids) who had a great time playing with circus toys, making origami, seeing the various animals, doing woodcraft and just running around in general.  DTRH bills itself as a family festival, and it has to be commended for providing ample entertainment and things to do for youngsters.

PAWS kicked off their Baino set later than advertised as the three piece took time to get the sound and set up ready.  Kicking off with a Jellyfish -  Catherine 1956 opening salvo before launching into an impassioned and raw version of Sore Tummy  the band were three of their biggest tracks down within 15 minutes of their set starting.  It soon became clear that all was not quite  right, with snippy comments aimed at the quality of the sound, and Philip's erratic onstage manner, spending most of the time with his back to the crowd.  Quite what the problems were, I'm not sure, but none the less, the show did go on with drummer Josh providing some sweet drum fills, allowing Philip and Ryan to build their mid-set jams into an epic climax.  Bloodline,  Owl Talons Clenching My Heart  and War Cry  are also played, before Philip takes himself off stage, sitting at the side of the stage and embarking on a 15 minute shoe-gaze outro which brings the set to a close.

Prog quintet Secret Chiefs 3 clearly took their name to heart, wearing long Jedi style robes to guard their faces.  Filling the time between bands, I decided to stick around and invest more in their set on the Jaberwocky stage, which soared with nice melodies, intergalactic guitars and supplemented with out of this world keys.  There's a sizable element enjoying what's on offer here, but for my tastes, things just lose their way too much too often.

In a rare non-Scottish band moment, I headed along to check out Grumbling Fur, who had made the trip up to DTRH from London.  For reasons unexplained they had been shifted to the Fruit Stage, which seems to have had ongoing implications.  With quite an intricate and complex set up, moving stages was never going to be an easy task, and sound issues seem to plague the band throughout.    Moving away from these 'issues', the band plod on with a trippy, wonky and glitchy set, mixing violin, synths, keys, guitar, drum machine, along with an smorgasbord of samples and pedals.  Singer Daniel O'Sullivan's vocals are feed through heavy reverb, which with the low rumbling bass and at times ethereal violin layered over, create a psychedelic trip that is fitting of the surroundings.

It's been a while since Errors have been out on the live circuit, an appearance at The East End Social at the start of August, their first for a considerable time.  Something the band are all too aware of as they introduce themselves; "Hi we're Errors.  It's good to be playing again."  I mentioned earlier that progsters Secret Chiefs 3 had a tendency to lose their way mid tracks.  Well Errors have no such problem.  They should be heralded from on high as the perfect example of how to make engaging instrumental *mostly* music.  With tracks such as Pleasure Palaces  and Earthscore  demonstrating perfect how to build and layer, utilising repetition until finally at just the right moment unleashing the crucial beat drop or change in melody.  Pleasure Palaces  with it's monastic chanting creates an eerie hypnotic atmosphere, whilst A Rumour In Africa  electrifies the crowd.

Darkness falls, disco lights stream out, and before long the euphoria is close to an end as Errors announce, "this is our last song." 

"Maybe.  We'll see how you react to it."  Challenge accepted.  And as the obligatory 'one more tune' chant follows, Errors know the score.  "Ok, we'll play one more" they tell the rapturous crowd.  A glorious ending to a great set and a good day.

Gig Review - CHVRCHES - O2 ABC 10th October 2013

Image courtesy of JayJay Robertson

Generally speaking the journey to headlining two sold out home town shows at a 1300 strong venue is fraught with sweaty basement gigs, half filled bar venues, and battling against the noise of a drunken crowd.  However CHVRCHES are not a band who should be tarred with generalities.

In the space of a little over 18 months, the trio have exploded in a way that whilst bloggers and muso maybe predicted, the bands humble nature couldn't, or wouldn't, have imagined themselves.  During that time, they have released a couple of singles, an EP, bagged fifth place on the BBC's Sound of 2013 and put out their eagerly anticipated album The Bones Of What You Believe.  Yet Glasgow shows have been few and far between.  So needless to there was a buzz in the air amongst the throngs packed into Sauchiehall street venue.

London duo Thumpers were first on stage, entertaining the early attendees with their brand of alt-pop which has seen them signed to the Sub Pop label.  Having chosen a pre-gig pint over getting into the venue early, I only caught the tail end of their set, but there was enough of interest in those few songs to suggest they may be a name to keep an eye out for.  No matter how good touring buddies Thumpers were though, tonight remains all about one band.  CHVRCHES.

Opener 'We Sink' showcases the catchy synth hooks that have enabled their meteoric rise.  Former The Twilight Sad touring Martin Doherty continues to blare out drum loops with a passionate and energetic display behind the keys as recent single 'Gun' sends the crowd into a rapturous fever. 

It should be noted of course, that all three members of CHVRCHES have served their time in the dingy basement gigs mentioned at the start of this review.  Mayberry with previous bands Blue Sky Archives and Boyfriend/Girlfriend, Cook with Aerogramme and other band The Unwinding Hours, and Doherty with The Twilight Sad.  They are no strangers to putting on a live show, and it's clear that back in from of a Scottish audience they can relax a little and do what comes naturally.  The interaction between band and crowd is always that bit easier when they can understand the Scottish tone.  As Lauren chats in between tracks we are reliably informed she's never been sick on the ABC dance floor, and she lets slip a little exposé concerning an ex-boyfriend, nightclub bathrooms and wandering hands.

There's a couple of moments where it's perhaps admissible the band let the occasion get to them, a few vocals not quite hit and some shaky interludes between songs, however this is a minor quibble in an otherwise amazing gig.

'Lies' is the track the started the CHVRCHES ball rolling, and as the jagged synth beats of the track blare out and we watch Mayberry's silhouette punching the air amidst a smog of smoke, it's a chance to just fathom how far this band have come. 

Mayberry seems cool and collected in her delivery, but when Doherty takes over vocal duties for the brilliant 'Science/Visions' he bounds across stage, exuding enough joy and passion to whip the crowd up another notch.  The track, which is one of the best from the album, is recreated on stage perfectly, and one of many highlights of the set.

It was always going to be the behemoth 'The Mother We Share', with its '80's infused synths and rhythm, that allowed the band to leave the stage triumphantly before returning for a much welcomed encore.  A fantastic Whitney Houston cover, 'It's Not Right But It's OK', and a uplifting final track 'By The Throat' complete the evening.  Bring on the Barrowlands in March!

Doune The Rabbit Hole - Review

Review by Bobby Motherwell

 
Friday

When asked if we would like to attend the annual Doune The Rabbit Hole festival for Scottish Fiction, both myself and Peter had no hesitation.  As someone who is not known for festival going – a one day visit to T in the Park during the Strathclyde Park years being my only foray – I was delighted to sacrifice my festival virginity for such an interesting line up.

And so it was that I set off on Friday morning to take in Friday afternoon’s festivities on my own, to be joined later in the day by my wife Arlene and son Louie, and on Saturday by Peter.  Having decided to pitch the tent in the family section in the hope that a more peaceful sleep would be assured, I set off to catch the first act of the day and settle into the cosy, laid back zone that this quirky festival creates.

With my programme in hand and a time slot allocated to each act – which I’m led to believe is a welcome structure new to DTRH – I grabbed my beer, fended off the wasps and sat down to take in Lori McTear.  Lori is a Glsgow singer songwriter who creates some fine melodies and crafted lyrics and was not in the least fazed by the dubious honour of opening the main Jabberwocky stage, even managing to engage the small afternoon audience in some lyrical participation.

Next on the main stage were Garden of Elks, a wonderful 3 piece from Glasgow who really stepped up the tempo with their brand of indie/pop and offset conflicting harmonies.  By this stage the sun began to make and appearance and I was settling into my new surroundings just fine.

In the Baino stage, The Skarsoles were pumping out their very own mix of ska and balloon modelling, yes you read that correctly, balloon modelling.  A talent which is not only unique, but one which went down well with one young chap who wielded a balloon sword for the duration of the gig.

Back to the Main Stage to catch We Are The Physics.  And very glad I was too that I did.  Announcing in advance that they would like to “apologise for the racket” and that they were “so sorry”, they then produced a magical pop set which reminded me of a Devo for the modern age.  Brilliant pop/punk mixed with great chat, energy and at times hilarious lyrics blended into songs which so gloriously de-constructed themselves, the band went on to announce that the Beatles were the third best band.  Then they burst into Goran Ivanisovitch. Lovely stuff!

During the course of the day, I managed to flit between stages trying to take in as much as I could and managed to catch some of No Island, Man Get Out and Haight Ashbury before settling myself down to catch the four big fish I had been waiting for: Rick Redbeard, Meursault, PAWS and Miaoux Miaoux.

Rick Redbeard, returning to DTRH this year but without the rest of The Phantom Band which he fronts as his day job, opened his set to an almost empty Baino stage.  The notes rang out from his guitar finger-picking around the grassy spaces and within seconds the tent had filled up.  Rick proceeded to enthral us with his beautifully crafted tunes and lyrics from his 2013 album No Selfish Heart – a stick on contender for album of the year.  With tunes like Old Blue and Any Way I Can, this was by far the best of the festival so far. Excellent stuff.

Meursault, in the meantime began their set at the Jabberwocky tent, so a quick shift across the field was required, stopping only to pick up a beer from the beer tent.  It has been some time since I last saw Meursault – a Jonnie Commons gig at the old Captains Rest when the Deskjob album was released - and much water has passed under the bridge as they say.  Now quite comfortably steeping up to the festival mark and out of the dank cellar venues, Meursault performed a stellar set with Lament for a Teenage Millionaire a stand out, received and responded to by the adoring audience.

PAWS. What can you say about a PAWS set?  It rocked and bucked and threatened to obliterate all that encroached upon it.  A fabulous riot of a sound which complimented the ensuing darkness outside.  With critical acclaim received around the release of their 2012 album Cokefloat, PAWS are undoubtedly a band on a mission and with the creativity and kick ass attitude to execute said mission with some aplomb.  A raucous set which was topped with a fabulous rendition of Meursault's William Henry Miller, PAWS are now a 'must see' on any gig list.  A quick chat with Phillip after the gig revealed that he was waiting for a lift from Rick Redbeard to head straight to the airport, Stuttgart the destination, for some gigs.  I’m sure it went well.

Miauox Miaoux closed the day on the main stage and by this time the excitement of the day and the far too close proximity of bar to stage, was taking its toll on me.  A more perfect end to a festival day you could not wish for.  Julian Corrie was in the company of a festival crowd who were ready to dance and sing their socks off.  And they did.  An utterly stunning set, culminating in the mesmeric Hey Sound, the crowd begged for more before the sound dispersed and the troglodyte retiral to the canvas cave beckoned.  It did for me.  Arlene, Louie and I headed to the tent.  My first festival day over, and another two to go.  It was going to be a long and wonderful weekend!


Saturday

As I said before, Peter joined me on Saturday.  Highlights of Saturday for me were Panda Su and John Knox Sex Club.  I was gutted to have missed Beerjacket, Washington Irving, and Shambles Miller.  Some due to conflicting time slots, some due to a simple inability due to indulgence.

Taking the stage on the Fruitstand tent early on Saturday, Hailey Beavis played a lovely set with an intriguing mix of melodies juxtaposed by lyrics which have a weighty harder edge.  An artist who has evolved into a talented singer songwriter, Norwich born but Edinburgh based, Hailey is going into the studio to record her first full length album which she hopes to have out around Christmas, one to look forward to and definitely an artist for the future.

What can be said about Colonel Mustard and the Dijon Five?  They just might be the perfect small festival Saturday night band!  This lot would not have been out of place on the main stage but only once all of the kids are safely tucked up in bed.  Their blend of crowd pleasing comedy lyrics with music played with genuine talent had the Baino tent audience bouncing and crowd surfing.  Songs like Ginger Girl and How Many Manys Are Too Many Manys, were belted out by their uber confident front man who, whilst wearing half a disco ball as a hat, had the revellers clasped firmly in his grip as he worked them up into a frenzy.  Ok they are never going to win the Mercury music prize but would I book them for a festival?  Absolutely!

One of the highlights of the weekend as already mentioned, were John Knox Sex Club who played a storming set in the Baino tent.  Their songs have beautiful folk music structures twisted to give them a contemporary edge that layers complex melodies driven hard by angst ridden lyrics.  This was the first time I had seen them and I was blown away!  Their singer is the perfect front man who fires out his lyrics with feeling and paints pictures of anger and bitterness whilst engaging the crowd and giving out hugs. I urge to check out their album Raise Ravens and lose yourself in folky perfection.


Sunday

Given a mid afternoon main stage slot on Sunday, Jo Mango played a beautifully compelling set which highlighted her wonderful voice and perfectly crafted songs. The Doune The Rabbit Hole setting was perfect for Jo who treated an adoring crowd to tracks from her recent Murmarations album with The Black Sun, a personal highlight.  If anything her set could only be improved by moving it into the more serene and atmospheric marquee of the Baino tent where her voice would have carried wonderfully!

Up and coming songbird Soibhan Wilson was showcased in the Fruitstand and Takeover tent on early Sunday evening.  Although perhaps not yet a house hold name it is surely only a matter of time before more punters are flocking to watch her shows.  Cutting a diminutive figure alone on stage with her electric guitar Siobhan‘s breathy voice complemented her songs which have undertones of jazz and country and western with All Dressed Up highlighting this perfectly.  Unperturbed by a short power cut Siobhan picked up her acoustic guitar and walked amongst an attentive audience treating them to a fantastic rendition of Bet Orton’s If I’d Never Seen The Sunshine.  A lovely moment from a lovely singer.

There is not a lot that can be said about Rachel Sermanni that hasn’t been said already.  This folk stalwart from Carrbridge in the Highlands is flying high at the moment on the back of her debut album Under Mountains, and her non-stop touring schedule.  Her strangely situated set in the Fruitstand and Takeover tent (surely a main stage act!) was the highlight of my festival and well worth waiting until Sunday night for.  A hugely engaging talent she conversed with the audience and was happy to play tracks requested of her (she played Eggshells for me!)  Lyrically her songs are a joy and her voice is beautiful.

And with that my weekend was done.  Doune The Rabbit Hole was my first weekend festival, needless to say, it has been my best.  And I will go back!