Wednesday 30 May 2018

The Guernsey Literary and Potato Peel Pie Society

London, 1946.  A young author, Juliet Ashton (Lily James), is having difficulty coming to terms with her new found success and wealth at a time when so many are still suffering shortages soon after the war.  A letter from a pig farmer in Guernsey intrigues her and develops into a correspondence, with her sending him books.  He is a member of the eponymous book club, which she feels she wants to know more about.  Spurred on by the prospect of getting an interesting article to write, she takes the boat to the island to meet the club members.

When the pig farmer turns out to be the hunky Dawsey Adams (Michiel Huisman) it doesn't take much to figure out which direction this film is heading in.  He's backed up by a selection of eccentric and loveable characters, and the group are clearly hiding secrets from their recent wartime past.  Ashton starts investigating, quizzing, putting the pieces together, and the tragedy underlying the book club gradually emerges, with shame and guilt and regret mixed in.  But a happy ending is always on the cards....

With able support from reliable old stagers Tom Courtenay and Penelope Wilton, and an enjoyably fey performance from Katherine Parkinson, it's a pleasant enough watch and doesn't drag.  But it's largely predictable, 'goodies' and 'baddies' clearly identified, and with one of the most cliched and naff devices used in the ending, while the more compelling elements of the backstory to the club are glossed over all too quickly.  Central to the secrets of the group is what befell one of their members, Elizabeth, and how it affected the others.  Underlying that tale is the wider impact of military occupation on a small, close knit society and how the citizens react, be that resistance, collaboration or passive acceptance.  All are obliquely mentioned, and Elizabeth's storyline could so easily have been used to show that the line separating resistors from collaborators is not as clear cut as the histories wants us to believe.  I wanted to know more about her, but this is not a film looking to explore the bigger issues.

If you want the escapism of a feelgood melodramatic romance then this is certainly one of the better offerings in the genre.  And there is much to be said for the love of books and reading the script brings out.  But if, like me, you prefer something with a bit more substance, this feels like a frustratingly missed opportunity.  If someone wants to make a movie about the drama of Elizabeth they might come up something of much greater interest.

Wednesday 23 May 2018

Hans Theessink & Brooks Williams, Edinburgh Blues Club, Voodoo Rooms

Support came from Fifer Al Hughes, a stalwart of the Scottish blues scene.  Some classic songs, some of this own, in a well balanced set.  He's got a pleasantly gravelly voice, and solid blues guitar technique, never flashy but consistently enjoyable.  Hughes has a few stories to tell and had some funny lines in his introductions.  He's no mean songwriter either, standouts including the amusement of Dancing With Big Susie and the catchiness of Eddie Walker's Rag.  An entertaining start to the evening.

As a parting shot Hughes confessed that, after hearing the sound check, he'd been "shitting myself" to think his guitar playing would be compared with what was to follow.  He certainly had no need to think that, but it's equally true that gulf in talent was clearly huge.  Theessink and Williams look like they had guitars in their hands before they could walk, and playing comes as naturally as breathing.  Although the two had known each other for several years, they'd never played together until this tour.  One night of practice before they went on the road was enough to confirm that their experience, mutual love and knowledge of the blues, and deep respect for one another made playing together feel instinctive.

Dutchman Theessink has been playing the blues for around half a century and has played with many of the great names of the genre.  Williams comes from Georgia where the music was a part of his upbringing.  Both are in the top flight of guitarists in the world, and are excellent singers, Williams smooth and mellow, Theessink deep and penetrating, and they combine to great effect.

They played 2 sets, taking it in turn to introduce the songs and lead on vocals, but with constant interplay from the instruments in their hands.  Brooks played a conventional guitar, a steel bodied instrument, and the weirdly wonderful 3 string cigar box guitar.  Hans played some 12 string as well as 6, plus a bit of mandolin and harmonica.  No matter which of them was playing the lead the other would be adding far more than simple chords, with constant hand movements adding fills and embellishments that enhanced the main theme, both adding in slide guitar when needed.  Inventive, smart and empathetic, this was guitar playing at it's best.  Theessink playing more of a classic blues style, Williams adding some country influences from his background in the southern states, both happy to adapt to ragtime or rock inputs.

Williams, I already knew, is also a great songwriter, and the night featured several of his compositions, Gambling Man and Here Comes The Blues amongst the best.  Theessink can select material from a vast back catalogue and gave a wonderful renditions of Walkin' The Dog and The Glory Of Love.  Both were happy to encourage an enthusiastic audience to join in on the simpler choruses.  And, beyond the virtuosity, that's a pointer to what made this such an outstanding gig.  Both men have warm, engaging stage personas, the American a natural raconteur, the Dutchman's pleasantly accented English revealing a dry wit behind the twinkling eyes.  And they were clearly having a real fun time, each enjoying the other's playing.  A joy to watch, listen to, and join in with.  If you get a chance to see them together then grab it.  But neither on their own could possibly disappoint either.




Friday 18 May 2018

Kris Drever, Eden Court Theatre, Inverness

Support came from Hannah Read, a young Scots singer/songwriter now living in the USA.  Sweet voiced, at times reminiscent of Joni Mitchell in her tone and phrasing.  A self penned set of songs, with some nice lyrics, but unremarkable melodies, apart from one about her mum.  Decent guitar accompaniment, and some very nice fiddle, especially her pizzicato playing.  The one cover in her set, of John Hartford's Tall Buildings, was also the best, with wonderful fiddle accompaniment. 

The set as a whole needed an uptempo injection of pace, and her excellent rendition of a Swedish fiddle tune was the nearest we got.  The talent is certainly there, but as a live act there's a frustrating sense that Read could be so much better.

Which is certainly not something that could be said of Kris D.  I've reviewed several of Mr Drever's gigs before and it becomes ever harder to find superlatives that meet the steady upward curve in his performances.  On this occasion he was still recovering from some problems with his voice, so the set was carefully chosen not to overly strain his vocal chords.  The bonus to this was a stronger reminder of why he is recognised as one of our finest guitarists.

So many good songs to sing, he both writes and chooses well,and has a strong back catalogue to select from.  And the stories to go with them.  Funny, self deprecating, dry.  Standouts from the evening included a recent composition, Scapa Flow 1919, looking back at the famous scuttling of the German fleet from an ordinary sailor's viewpoint, and the wonderful Capernum.

But any chance to hear Drever singing and playing is always going to be one of the highlights of the year.  The man can do no wrong.

Thursday 17 May 2018

Sheesham & Lotus & 'Son, Tradfest, Storytelling Centre

I wrote a review of this wonderfully exuberant trio a couple of years ago, and the praise I doled out then has stood the intervening months.  It's a pleasure to see such simplicity on stage with just the one mike, meaning there are hardly any leads, and none of the usual paraphernalia of modern bands like pedal boards and speakers.  Instead there's a surprising range of old time instruments, now including a miniature whisky bottle, and (really) a turkey baster.  Eclectic hardly covers it.

Decent musicians, strong singers and proper entertainers.  They work a crowd well and their deceptively simple arrangements get the feet tapping and the face smiling.  There should be more of such silliness, but behind that facade there is a strong dedication to recreating the American music of the early twentieth century, and nobody does it better.

Wednesday 16 May 2018

The Persians (A Play, a Pie and a Pint), Traverse

Ian (Liam Brennan), a Tory government minister has invited 2 'colleagues' to his office for a meeting, although both are unaware that only they have been invited and the nature of the subject to be discussed.  Mary (Meghan Tyler, who also wrote the play) is a young MP from the party tenuously holding up the May government, the DUP, while Kirstin (Irene Allan) is called in to represent the views of the SNP Scottish Government.  A petition to reinstate the death penalty has been submitted to parliament and the Westminster regime wants to quietly assess the views of the devolved administrations.  The writer also wants to give a nod to all those old "There was an Englishman, a Scotsman and an Irishman" jokes....

It all starts very decorously with tea and biscuits.  But when the politicians find they've been rumbled by the press, and a discrete exit is impossible, they are forced back together.  They must agree on a standpoint if they are to escape.  Kirstin explains that the ancient Persians used to make their most important decisions only after becoming uproariously drunk.  And when tea and biscuits make way for port and brandy the 'meeting' turns into something far more outre, as the drunk phase later gives way to hangovers, then reflection.

A satire on the polarisation of politics, and of politicians whose decision making techniques isn't all that far removed from those Persians.  A world where rational debate of contentious subjects gets ever more difficult and where some people will even look for an answer in a self confessed sexual abuser and reality TV star.  While the Tory and SNP characters have elements of caricature about them, the DUP woman breaks the mould of her party with surprisingly progressive views and jokes about the dinosaurs.  It's very funny, and manages to hit out at several targets across the political spectrum with a chance to offend everybody! 

In many ways a sad reflection on what our politics has become, and the dangers posed by extremism.  And an acknowledgement that what might have worked in centuries past didn't have to cope with the hazards of the internet age....

And enjoyable end to the P,P & P series.

Tuesday 15 May 2018

Gnoss, Tradfest, Pleasance

I first saw Gnoss as a young Orcadian duo, and was impressed by their mature abilities as both musicians and in talking to their audience.   The original pair, Graham Rorie (Fiddle & Mandolin), Aidan Moodie (Guitar & Vocals), have since been joined by Connor Sinclair (Flute, Whistles & Backing Vocals) and Craig Baxter (Bodhran & Stomp), the four meeting through their studies at the Royal Conservatoire of Scotland. This enhanced line up has taken them a step further into joining the top bands on the Scottish folk scene and added variety and power to their sound.

Friendly and funny, their patter and interactions keep the show moving, but it's always the music that matters.  They still play a mix of traditional and modern material, with some surprising song choices too, with Dylan in the mix.  The addition of wind and percussion allows for a deeper range of arrangements and they have developed their own unique interpretations of some weel kent tunes and songs.  Baxter's excellent bodhran work is a key element in the overall sound, and makes for an almost trock feel to the sound at times.

One of the best bands around at the moment.

Monday 14 May 2018

Woody Pines, Tradfest, Traverse

A very different line up to the last time I saw Woody with a very different feel to it, despite the material being much the same.  The man himself on guitar and vocals, plus a double bassist and a reeds man on clarinet and sax.  Woody himself remains an excellent front man, an always engaging and engaged personality, enthusiasm and his very own singing style.  But somehow the line up never quite gelled as that one of a couple of years ago.  The songs are still enjoyable though, and his mix of old time and modern numbers shows a real feel for the music of the Woody Guthrie tradition.  Always worth a look.

Saturday 12 May 2018

The Fretless, Tradfest, Traverse

Not your usual string quartet.  The line up - cello, viola and 2 fiddles - might be the same, but the heritage, and the music, is far from Mozart.  Drawing on folk music from various Canadian and American traditions, as well as Ireland and other sources, mixed with blues and country influences, and The Fretless - 3 Canadians and a cellist from Vermont - have developed a strong sense of their own identity and a unique sound.

Much of the material is traditional, some self penned, but the arrangements are very much non-trad, and often experimental, with a resulting freshness that removes any sense of predictability.  The viola gets passed from Canadian to Canadian between numbers, all four instruments and musicians take their turn delivering melody, harmonies and rhythm, and all four take turns to introduce the numbers and provide some laughs.  It's a well balanced set, a mix of tempos and styles throughout, with some beautifully melancholic slower pieces, and foot tapping dance music to raise the spirits.  The cries of encore were genuine enough because this is a band that definitely knows how to collect with their audience.

A highly recommended live experience.

Thursday 3 May 2018

Rant, Tradfest, Pleasance




With this showing being held in the Pleasance Theatre it was a surprise when the opening act filled up the full size stage.  The Young Tradition Touring Group from Vermont consists of a couple of dozen teenagers, backed up by half a dozen adult performers.  Massed fiddles, harps, guitars, mandolin, banjo, cello, keyboards and piano accordion all featured.  They play music from a mix of traditional sources, with tunes from Ireland, Canada, the Vermont area and the southern US, plus some original material, and a well constructed set also brought in ensemble singing, Quebec-style podorythmie, and step dancing.  Plus some well choreographed changeovers between numbers as musicians changed places and instruments.

The arrangements might not be overly complex, but there's a high standard of playing and there was certainly no sense of 'school band' syndrome.  These youngsters have a great deal of talent and I'm sure many of them will go on to make a career in music.  The keyboard and accordion player stood out as particularly proficient.  An enjoyable and lively introduction to the evening.



Just over a year on from the last time I got to review the band, the line up remains the same, with Anna Massie now confirmed as a welcome, and oft humourous, permanent member.  She joins sisters Jenna and Bethany Reid, and LaurenMacColl in a line up of four fiddlers of finesse and fun.  Playing a mix of traditional and modern, fast and slow, the arrangements belie the apparent simplicity of four people playing the same instrument.

There's a strong bond of understanding and sympathy running under the playing, and they clearly enjoy their interaction on stage.  Each member of the band takes a turn at introducing tunes, and providing some background to their choices.  From haunting slow airs to foot tapping reels they provided plenty of variety, but after an hour there is a sameness to the sound that made me grateful they were only playing one set.  Sometimes less is more.

Ryan Young & Jenn Butterworth, Edinburgh Folk Club, Pleasance

Support came from young singer/songwriter Kieran McGee (sp?) with a competent set of his own songs and guitar playing.  A better than average support act.

Young and Butterworth are in a different class of musicianship though.  Ryan is one of the most talented young fiddlers to emerge in Scotland in recent years, and his obvious virtuosity is matched by a strong musical imagination in the variations he plays.  A mixture of traditional and modern pieces, all delivered with the same dexterity, and a disarming smile at the end of each number.  He can be amusing too, in a self deprecatory manner.

Jenn is the perfect foil, never overshadowing but able to provide rhythmic variety that enhance the melodies.  She was particularly impressive on the slower numbers, where her carefully chosen little fills add depth to the fiddle sound.  Butterworth also performed a couple of songs, showing off a sweet voice and modern style of delivery.

Very obvious was the mutual admiration between these two of their respective talents.  When one or the other was performing solo their companion strongly approved.

Both together and in other acts this pair are well worth seeking out.  The future of folk music in Scotland is in good hands.