Blue Rose Code, Queens Hall

For Ross Wilson, aka Blue Rose Code, this was his Homecoming gig, marking his return to residence in Edinburgh after many years in London.  So no surprise that it was near enough a sell out, with many old friends in the audience.

Both halves were opened by Ryan Van Winkle, an Edinburgh based poet originating from Connecticut.  An engaging and self deprecating personality, he can raise a laugh with his introductions, but loses his audience once the actual poetry begins.  Not that he's a bad poet.  But performance poetry requires an immediacy, an ability to instantly conjure up images and situations and characters, the capacity to get the quick laugh, the brief moment of anguish, the empathetic connection.  This work felt more contemplative, the kind of verse you want to absorb slowly, words to be pondered on.  It's poetry to be read, not heard.  Although his description of a job he once had scooping up roadkill was an honourable exception.

The musical support act was Zervas and Pepper, a duo from Cardiff.  Paul Zervas and Kathryn Pepper are self confessed fans of the Laurel Canyon school of music, the soft folkrock of 60s and 70s west coast America.  More usually playing as a full six piece band, tonight it was just one guitar and their two voices.  Good voices too, with excellent harmonising, and Zervas is more than just a strummer on the six string.  Their self penned material is lyrically interesting, but melodically unmemorable.  A quick look on YouTube suggests that this would be improved with the full line up in play, but as a duo they felt more suited to an intimate folk club setting, and were just too underwhelming to convince in one of the city's major concert venues.

Which can't be said for Mr Wilson.  OK, there was the advantage of a welcoming home crowd, but he clearly has the charisma and confidence to project his music and persona into a bigger venue.  And the songs.  Much of the material is very personal, looking at past mistakes, failed relationships, but also positive about the future, and his own strong connections with his Scottish roots.  A varied mix of tempos, from contemplative to full on rocking, and an ever changing line up on stage.  Ross solo, on guitar or piano, through duo, trio and full band line up with pedal steel guitar, lead guitar, bass and piano and/or drums.  There was some added folkiness from the accordion of Blazin' Fiddles keyboard man Angus Lyons, and an all too brief appearance from innovative cellist Graham Coe of Jellyman's Daughter fame.   One thing Wilson failed to do was properly introduce, and credit, his fellow performers.  I recognised Lyons and Coe from past experience, but couldn't catch the muttered name of the excellent guitarist and don't think the pedal steel man was ever mentioned.  A shame as they were a tight and effective outfit.

For the big finale on came the massed ranks of the Edinburgh and Glasgow Contemporary choirs to add a rich gospel feel to 'Grateful', a hymn to being alive, and 'Oh North', Wilson's take on the Caledonian diaspora's longing for home.  There looked to be a few too many to fit on the stage, but their contribution was worth the cramped conditions.