Friday 20 May 2016

Kris Drever, Pleasance

There will be little point in reading this review if you're hoping for any hint of objectivity.  Having watched the man for more than a decade, if I were pressed to name my musical hero then Mr D's name would be the first out of my mouth.  And tonight did nothing to alter that.

Opening the gig was West Midlands singer/songwriter Dan Whitehouse and he proved to be a perfect warm up act.  He's talented, funny and his songs are interesting both lyrically and melodically.  Soft voiced vocals and some excellent guitar work, plenty of audience interaction including a bit of singalong, this was an enjoyable set and I'd like to see more of Whitehouse in the future.

Drever has put together a superb band for this tour, with three musicians who played on his recent album, If Wishes Were Horses.  On double and electric bass there's Euan Burton, and on the drums Louis Abbott, better known as the front man of Scottish indie band Admiral Fallow - a pretty decent pedigree for a backing singer!  Kris is recognised as one of the UK's finest guitarists, but the man completing the line up is his equal, Ian Carr having an impressive body of work behind him.

While the emphasis was naturally on his latest release, Drever sprinkled the set with tracks from his previous solo albums, with the odd surprise thrown in.  It's a reminder of not just how he's developed as a songwriter, but what excellent taste he has in choosing both traditional and contemporary material to interpret.  His latest collection includes some very personal lyrics, like the break up song When We Roll In The Morning, and more political themes like his commentary on our culture of greed in Don't Tell me That.

Of course there were disappointments.  The ninety minutes felt more like forty and there was no room in the set for Five Past two, a song that feels as if it echoes my own life.  Nor Poor Mans' Son, nor Wild Hurricane, nor....  You get the picture.  Another hour would have been nice!

If you get the opportunity to see Kris Drever live grab it immediately.  You won't be disappointed.

Thursday 12 May 2016

Southern Tenant Folk Union, Edinburgh Folk Club, Pleasance

Both sets opened with a trio of numbers from Orcadian duo, Gnoss (with, as they pointed out, a silent 'G'!).  Aidan Moodie on fiddle and Graham Rorie on guitar and vocals played a few sets of tunes and a couple of songs and impressed greatly in doing so.  Playing a mix traditional material, more modern tunes from the genre, and some self penned, they melded their sets well and served up constant variations and some imaginative arrangements.

There's no doubting their musical talent, and Rorie's voice is one you feel immediately comfortable with.  But my lasting impression will be of the confidence they projected on stage in explaining the background to their tunes and having a laugh with their audience, an ability often lacking in so many bands of their young age.  Gnoss have a surefooted grip on the climb to recognition and will certainly achieve greater notice in future.

 Southern Tenant's five piece line up comprises the solid rhythm section of Craig Macfadyen and Steve Fivey on double bass and percussion respectively, Katherine Stewart on fiddle, Rory Butler on guitar and lead vocals, and the banjo and vocals of band leader Pat McGarvey.  With six albums behind them they have a deep well of material to draw upon, but tonight also saw them airing a few of the new songs that will appear on their soon-to-be-recorded seventh record.

Butler's high pitched tones are a perfect match for the Union's country/folk style, but  with a distinct Scottish tinge.  Stewart clearly exhibits her background in Scottish folk music, countered by the tinkling bluegrass of the banjo.  Her instrumental set of traditional tunes gains a very different sound to the folk norm with McGarvey's contribution.  The new songs sound promising and there is every sign that the new album will live up to the strengths of it's predecessors.  Pat is a fine songwriter and his material deserves to be more widely known, especially his more political lyrics.

The band ended the night, as is their habit, coming down off the stage and playing acoustically to lead the audience in singing an old gospel song.  A great way to round of an extremely enjoyable gig.

Sunday 8 May 2016

Talisk, Pleasance

Enthralling from the off, Talisk are a highly talented young Scottish folk band playing
with verve and imagination.  With Craig Irving on guitar, Hayley Keenan on fiddle and Mohsen Amini handling that oft-underrated instrument, the concertina.  A mix of traditional tunes and more modern work from the genre, the sets are well chosen to provide a mix of the familiar and surprising.  Well thought out arrangements and clever variations make even the familiar sound fresh.

There were also hints at the sort of musical direction they follow in the future.  For me the multi layered approach to Echo provided the highlight of the gig and showed their willingness to experiment and look beyond the boundaries in which they have developed their skills.

I'd have liked a bit more interaction with the audience, a bit more background to the tune, but stage craft can be learned in time.  For now their talent must do the talking and the results are hugely impressive.  There were some delightful slower passages, but for most of the evening this was foot tapping, thigh slapping, body moving, grin inducing high energy music that had the whole room rocking.  Of all the new (to me) acts I've seen so far this year, Talisk are my favourite by far.

Saturday 7 May 2016

The Men from Leith - Blue Rose Code, Dick Gaughan, Dean Owens, Queens Hall

Three headline acts for the price of one featuring three musicians from the port of Leith.  One up and coming, one of Scotland's greatest legends, and one now closely associated with both Leith and Nashville USA.

First up was Blue Rose Code, aka Ross Wilson.  With a backing band of guitar, keyboard and bass, he sang a good mix of songs with varied styles and tempos.  The melodies are solid, though not conventionally 'catchy', but the lyrics are far more memorable.  Wilson is a storyteller who can conjure up images from his words.  He also said he usually talks a lot more between numbers, but was conscious of time pressures on the night - a shame, for he had much of interest to say.  (Even if he tell us that he usually 'talks shit'!)

But my abiding memory will be of his love for his job, the joy he takes and gives in his work, and the humour that runs through lyrics and chat.  He just seems like such a lovely guy.

Following Ross came the immediately recognisable gravel tones and intricate guitar of Dick Gaughan.  A legend in the folk world, he has recorded what many regard as the definitive versions of so many Scottish classics.  The voice might be a smidgin less powerful nowadays, a touch shakier, but it remains an impressive and expressive instrument, his presence commanding attention from the audience.  Dick delivered a slow paced set, with many tales to tell in between, ending in a spellbinding Freedom Come All Ye.  Superb.

Dean Owens and the Whisky Hearts closed out the show with their infectious blend of American rock and Scottish folk.  Probably the most closely identified with Leith of the three acts, Owens has written some excellent songs and deserves to be more widely known (which recent appearances on Bob Harris' Radio 2 show may have helped).  With many of the lyrics drawn from personal experiences, there's an immediate emotional connection to the audience.  Owens' smooth voice and talented band had the place rocking, the Leithers joyous, and the whole of the Queens Hall singing Raining in Glasgow to round off a great night.

Friday 6 May 2016

Gol, Storytelling Centre

Edinburgh based Scots/Iranian band Gol take Middle Eastern and other world music rhythms and themes, and filter them through jazz and electronica influences to create their own sound.  Last night's set was introduced as something of an experiment, both in terms of line up and material, so this may not have been a typical Gol gig, and the experience didn't accord with my expectations from watching videos of their previous work.

Fronted by Roxana Vilk on vocals, a three piece band on guitar, keyboard/electronics and drums/percussion, there was also some associated film footage playing during the opening numbers, and couple of short films, in which Gol had worked on the soundtrack.  So not quite your conventional gig then.

The music is complex, imaginative, with a fascinating mix of rhythms.  Vilk's voice is deep, hypnotic, although at times disturbingly flat on the lower notes.  The overall effect is interesting, but too often slow and disjointed to the point of tedium.  There were a couple of excellent guitar solos, and the varied percussion was always intriguing, but the keyboard player's experimentation could feel at odds with the rest of the band.

I can't comment of the songs written in what might have been Persian, but there were times when the English lyrics appeared to have been written by a teenage Adrian Mole in one his high minded phases.  For a band with such clear pretensions to high art the quality of the language is shockingly poor and simplistic.

For me the highlight of the event was the seven minute film about the poet Ghazi Hussein, now an Edinburgh resident, once a victim of torture and imprisonment in Syria.  His humanity and suffering, and the quality of his poetry, were beautifully conveyed.

Gol's performance may be something of a work in progress, but for now it has more about it to admire than to enjoy.

Monday 2 May 2016

Blueflint, Pleasance

Deborah Arnott and Clare Neilson have been singing and playing banjo together for over a decade, either as a duo or fronting their band Blueflint.  The latter have three excellent albums behind them, with a fourth on it's way later this year, and won exposure to a wider audience when they supported The Proclaimers on tour a couple of years ago.

For tonight's gig they were accompanied by their solid rhythm section of Ruiaridh Saunders on drums and Hugh Kelly on double bass, with Jo Jeffries guesting on fiddle.  The arrangements were kept simple, bringing the quality of the songwriting to the forefront.  With influences coming from country, folk and pop, they have mastered the art of writing catchy melodies and lyrics, the latter showing both depth and humour.  Subjects range from the personal to social comment to the odd murder ballad.

Both Debs and Clare have pleasant voices, at their best when combining to create some beautiful harmonies, and both regale the audience with enjoyable stories about the origins of their songs.  A Blueflint gig is always a guarantee of a satisfyingly entertaining night out.

Sunday 1 May 2016

Moishe's Bagel, Pleasance

Where else can you listen to Jewish wedding tunes one minute and Argentinian Tango songs the next?  Moishe's Bagel play an infectious mix of musical styles with strong influences from Eastern Europe, the Jewish tradition and a side helping of North Africa, India and South America.  Throw in the jazzman's willingness to experiment and you have a five piece band that generates excitement and unpredictability.

Keyboard and accordion player Phil Alexander does most of the talking, explaining the origins of the tunes being played, whether traditional or penned by the band.  He's a joy to watch at work, full of passion and energy in his playing.  On double bass is Mario Caribe, originally from Brazil, underpinning the rhythms with his own complex melodies.  Sat cross legged on the floor, Guy Nicholson plays an eclectic mix of percussive devices with stick, brush and hand.  His his eccentric style often looks completely unrelated to the melodies, but his musical judgement is impeccable and continually enhances the overall sound.  Pete Garnett is an understated presence on piano accordion, although at first glance you do wonder when Donald Sutherland took up the instrument.  Completing the line up should have been regular fiddler Greg Lawson, but he had damaged his hand only three days before the gig.  In his stead appeared Jani Lang, from the wonderful Dallahan.

Joining the band on stage for a few South American numbers was Chilean folk singer, Valentina Montoya Martínez, a strongly sensual voice with a dramatic way of phrasing lyrics.

The band delivers a delightful mix of tempos and styles, from emotionally charged slow melodies through to wild dance music.  There is considerable complexity to the arrangements, each band member bringing a huge variety of knowledge from their respective backgrounds, which has given them their own distinctive sound.  A Moishe's Bagel gig could never be boring and the audience were enthusiastic in showing their appreciation.

A special mention is due, as Alexander and co emphasised, to Jani Lang for a truly amazing performance.  Totally unfamiliar with any of the tunes, he had only two days in which to learn enough of the band's music for a full length gig.  Lang played from the page, aided by timely visual cues from Phil and Mario, and looked mightily relieved after each number.  When the quintet returned to the stage for their encore they replayed the tunes they had played to end their first set - because they'd run out of pieces Jani had had time to learn!  And he was visibly more confident for the chance to do so.

Talking to him afterwards he said he was happy to have got through without too many mistakes, and at least they all started and finished together.  Which greatly understates what he achieved.  Fiddle frequently plays a leading role in the band's repertoire, and he fitted in brilliantly.

To round off the night, in what is the Tradfest club for the coming week, after a bit of a wait there was a set from Scottish folk fusion band Shooglenifty.  That's some double bill.