Dave's Edinburgh Comedy Awards, Pleasance Courtyard, Edinburgh Festival Fringe

 Returning after a couple of years of pandemic related absence, this was a recording for Radio 4 to introduce the contenders for Best Show and Best Newcomer.  Each contender was given a three minute slot to give some inkling of their style and the content of their shows.  

Russel Kane, a previous winner, hosted, and did an excellent job.  Professional, calm, but swiftly able to whip an audience into laughter and improvise to fill in the inevitable gaps you get during a show of this nature.  But also moving thigs along swiftly, for time was tight.

The Best Show contenders were Larry Dean, Lauren Pattison, Seann Walsh, Amy Gledhill, Colin Hoult (as his alter ego Anna Mann), Alfie Brown, Jordan Gray, Josh Pugh and Sam Campbell.  And the Newcomers were Vittorio Angelone, Emmanuel Sonubi, Emily Wilson, Josh Jones and Lara Ricote.

You can't tell a lot from such short stints, but, for what it's worth, Dean and Pattison impressed me most in the first category, with Alfie Brown the most intriguing.  And Angelone, Sonubi and Ricote all made me laugh a lot.  While Hoult, Campbell and the timewasting Wilson seemed best forgotten.  But what do I know?  The results will be announced this Saturday.

Stand Up for the Bin Workers - Gala, New Town Theatre, Edinburgh Festival Fringe

 A benefit gig, laid on at short notice by mark Thomas and The Stand, to help fund the striking refuse workers.  A large audience were treated to ten minute sets from a star studded comedic line up.

The first half was MCed by Mark Nelson, always a reliable opening act to get the audience in the mood.  He introduced Kiri Pritchard-McLean, who talked about her plans to almost adopt and why four was better than one; Danny Bhoy with an alternative and much funnier speech for Queenie to come out with; Shazia Mirza on how little influence us older white men have in society; and the incredible Jason Byrne who riffed out a hilarious set from one audience interaction.

The acerbic Jo Caulfield took over the introductions after the interval, with her own take on the class distinctrions of Edinburgh - and Leith!.  First to be brought on was another local luminary, Vladimir McTavish, and his confessionally awful haircut; another Scot, Sisie McCabe, whose accent probably baffled a large section of the audience, which only enhanced the laughs for the rest of us as she talked about trying to bring her parents into the twenty first century; Rachel Fairburn on her Mancunian accent; and Mr Thomas himself venting his ire against the tory government by taking the piss.  The gig ended with an impassioned speech for solidarity and the upholding of workers' rights from Chris Mitchell of the GMB, and reminder of what the evening was all about.  

In Conversation With... Andy Burnham, New Town Theatre, Edinburgh Festival Fringe

 The interviewer was Neil Findlay, a Labour MSP until last year and seen as being on the left of the party.  The interviewee was Andy Burnham, now Mayor of Manchester but a Labour leadership contender not so long ago, and also seen as being on the left.  So this was always going to be more cosy chat than probing questioning.

Burnham's a good speaker, fluent and amusing, but always making his point.  He had valid criticisms of the current Scottish Government, especially over their mania for centralisation.  His plea for more cross party dialogue and cooperation, but excluding the tories, makes sense in our partisan times.  It was good to hear someone telling the truth about the disasters of the eighties and how we are now reaping the problems sewn back then by short termist populism.  And he outlined some of the excellent initiatives taking place in Manchester, particularly around homelessness.  His genuine hatred of the current breed of ukip-soundalike tories is something we need to see more of. If the Labour Party was a bit more in his image I might even consider them a viable alternative for my vote.  But it's not.

And sometimes what's not said is as important as what is.  Burnham has a dubious past voting record, such as favouring the Iraq War, and not voting to properly regulate fracking.  In questions from the audience he tried to glaze over Labour's refusal to contemplate negotiating with the EU to at least return to the single market, saying that those arguments were over - seeming happy to effectively disenfranchise the growing majority that favour reversing the 2016 disaster.

And there were hints of yet another southern politician who thinks he knows better what Scotland wants than the people who live her.  Funnily enough almost all of the audience members who asked questions came from down south - including the man weho welcomed Burnham to Edinburgh, having just said he was up here from Herts!  What strange times we live in.

I liked Burnham as a speaker, he has a lot of sound ideas in his social policies, and he would be a far better labour Leader than Starmer.  But he still feels out of touch with people in this country.

Marjolein Robertson : Thank God Fish Don't Have Hands, Stand 2, Edinburgh Festival Fringe

 What's this show about?  Robertson is good at telling us what it's not, but doesn't reveal the real point until near the end.  Along the way she chats to the audience, tells of her childhood on Shetland and student life at uni, the year of the men and the best and worst of lockdown, and a diagnosis that helped her make sense of her world.  Several good visual gags, plenty of decent punchlines, and a flirtatious energy drive the show along.  And yes, the show title does get to make sense, sort of.  Far from a waste of an hour of your time.

Marjolein Robertson : Thank God Fish Don't Have Hands is on at 16:00 in Stand 2 until the 28th.

Myra's Story, Gordon Aikman Theatre (George Square), Edinburgh Festival Fringe

 Myra's in bed and under the covers.  Myra's being told to get up and leave the hostel.  Myra isn't too keen on leaving that lovely warmth - but she needs her 'medicine'.

So begins Brian Foster's one-woman drama with Fíonna Hewitt-Twamley as middle aged alcoholic Myra, and several other parts besides.   She's out on the street, begging from strangers, and ready to tell us the tale of the life that brought her to where she is now.  Her father an alcoholic, so it was in the blood.  Her life strewn with obstacles to be overcome, until the biggest of them all arrives and she can no longer cope without the bottle.  Father, husband, neighbours, friends and a stolen garden gnome people her life, and Myra brings them all to life in her storytelling.  There is comedy, tragedy, sadness, accompanied by the underlying knowledge of where this story will end up.

It's an impressive performance from Hewitt-Twamley, not just for providing so many different voices, but melding into the physical attributes of each, with every character well delineated. The script is direct, with little subtlety or ambiguity.  More polemic than conventional drama, it makes it's point by wielding a sledgehammer and a ten inch spike.  It's theatre for people who don't usually go to the theatre, and, by attracting such big audiences and highlighting just how easy it can be for people to fall prey to addictions and/or homelessness, none the worse for it.  (I did see one critic suggest that the humour was Mrs Brown's Boys level - but it was never close to being THAT bad!)  Myra's Story is a message that comes across loud and clear.  And manages to throw in an effective dig at the British military for their part in creating the violence in Northern Ireland in the seventies.

Deserves to be seen for the strong performance and a truth that deserves to be spoken over and over.

Myra's Story is on at 13.00 in the Gordon Aikman Theatre (George Square) until the 29th.

George Egg: Set Menu (The Best of George Egg), Piccolo George Square, Edinburgh Festival Fringe

 Egg has developed a very specialist niche in the stand up world, showing audiences how to cook proper meals in the most unlikely of environments.  This show builds upon three of his past successes using the sort of items you might find in your own workshop, or on a train, or in a hotel room.  He cooks as he speaks as you laugh.  A non stop parade of gags and physical comedy, with the bonus culinary tips and tempting aromas.   

So George turned out kippers and poached eggs using workshop tools; grilled aubergine salad (featuring his own very special 'laptop') as you would do it on Avanti; and pancakes with hazelnuts and blueberries as done in a hotel room.  Proper recipes too, with some flair to the presentation - not easy to manage when you have to keep up the comic patter at the same time.  So it's impressive as well as very very funny.  

Best of all, the audience gets to try out his creations as they leave.  Bon appetit.

George Egg : Set Menu is on at 16.25, in the Piccolo in George Square Gardens, until the 28th.

The Ballad of a Great Disordered Heart, Filmhouse, Edinburgh International Film Festival

 The audience entered to live music from Aidan O'Rourke (fiddle) and Brìghde Chaimbeul (Scottish smallpipes), followed by an EIFF introduction and Aidan talking about the background to the film and the neighbours who has inspired him in lockdown.

He lives in a part of Edinburgh's Old Town which was once known as Little Ireland.  Lockdown, and the break it gave him form the life of a touring musician, allowed him to connect with people around him, especially the Three Margarets, who had lived in the area for many decades and were from the Irish immigrant community that provided the label.  It's a place set right by the main tourist trail, but comprising a warren of closes and courts that outsiders rarely venture into. 

These stories from the past got O'Rourke thinking about his own Irish connections, and what traditional music meant to communities.  The film takes us on his journey, from making those initial connections, through to a small community concert for the neighbours, in one of the sheltered wee courtyards their residences overlooked.  

It's a very intimate film, both in subject matter and in the tightness of the filming, with talking heads filling the frame.  There are some sequences from old Edinburgh, when the Margarets might have been young girls, but mostly it's shot in those closes and courts.  There is graffitti and dirt and untidiness, all a welcoming contrast to the fakeness of the tourist tat that abounds just a short distance away.  Aidan is joined by several musicians, who treat us to solo songs and tunes (with baffled passers by coming in and out of shot...), and come together for the concert.

Lockdown affected us all in different ways, and the changes it brought to O'Rourke are resonant for us all.  If you are interested in how experiences change lives, or the link between traditional music and community, or friendship and creativity, or simply seeing a bit of the city you might not have investigated before, then this is very much worth seeing.  This was a one-off showing, but I'd recommend seeking out a screening or seeing if the film becomes available online.  

Visiting Cézanne, Hill St Theatre, Edinburgh Festival Fringe

 "The whole is greater than the sum of the parts" is a phrase often attributed not quite correctly, to Aristotle.  But it's one that works well in describing this play.  It was a performance that's easy to criticise, but manages to overcome the flaws to deliver something that lingers in the mind for some time after.  The acting is very competent, but without anyone threatening to turn in a really notable performance.  The script has plot holes aplenty, and flags a bit towards the hour mark.  The accents are all over the place and it isn't always clear if the characters are meant to be speaking in French or English at some points.  And the lighting effects look cheap and tawdry.  But when the end came round suddenly I was genuinely surprised that ninety minutes had flown by, and felt impressed by what I'd watched.

We begin in a Degas exhibition in a New York gallery.  Among the famous artist's works lurk two portraits by the almost unknown Paul Cézanne, as examples of the kind of work which influenced the great man.  The paintings, one a self portrait (Mark Coleman) and the other of his gardener (Fergus John McCann), are in conversation.  The selfie persuades the other to mingle with visitors, choose one, and present them with a few quickly written notes and a special paint brush.  He chooses Nora (Elaine McKergow), a painter feeling bitter about her own lack of success.  She receives the notes, takes the brush and... is transported back to Aix in 1900, in Cézanne's studio.  Once she and those she encounters get over the shock the impact of the notes come into play.  Will the Frenchman understand his own voice from the future?  Will Nora ever make it back to her own time?  And what part does Bessie (Serena Doran), an American writing about French artists, have to play in the proceedings?

The plot holes are excusable in the complex issues that time travel raises.  The lighting effects were no doubt constrained by budget.  And the audience quickly settles into trying to understand the relationships between the four protagonists and how their futures are influenced by one another.  The time travelling trope is well worn, but feels fresh here by looking at the impact of outside influences, even the smallest of changes, on artistic endeavour and the drive for creativity.  We wonder how the intervention of Nora will turn Paul from an unknown in the 2016 she left, to one of the most famous artists of his period in our reality.  And are left with some answers and fresh questions.  Along the way there are laughs, there is sadness, and a real sense of humanity.

Very definitely greater than the sum of those parts, and well worth seeing.  I get the feeling this is one of the Fringe shows that will still be in my head when the month comes to a close.

Visiting Cézanne is on at 14.50 in The Hill Street Theatre until the 28th.

Jim Smith ; The Hills Have Ayes, New Town Theatre, Edinburgh Festival Fringe

 ales from a farming life, with punchlines.  Perthshire's Smith wants the 'City Slickers' to understand more about the 'Teuchters', and vice versa.  So there are plenty of jokes about farming, and family life on the farm, often at his own expense.  And a few explanations of the Teuchter terminology along the way.  He's good at impressionsd and accents, and his Andy Murray doing an advert for potatoes was lovely.  It's all amiable stuff, funny without ever becoming hilarious, but enjoyable nonetheless.

Jim Smith's run at the Fringe has now ended.  

Lemn Sissay : My Name is Why, Parliament, Festival of Politics

 Posing the questions was Parliament's Presiding Officer, Alison Johnstone.  Not that she had to do much, for it took little to set Sissay off in full flow.  And sometimes he even managed to answer the questions!  His passion for his subject was obvious, and kept the audience enthralled.  His treatment within the care system as a child, what that has meant for his later life, and how our society continues to let down children in care were the main themes.  Not from any desire to be pitied, but because sharing his experiences helps others, and is important in campaigning for improvements.  Scotland's First Minister came in for individual praise from Sissay for her statements on children in care, and how well that reflects on this country compared to the rest of the UK.  

Fascinating, disturbing and compelling

This was the final event of the 2022 Festival of Politics.

Mark Thomas : Black and White, The Stand, Edinburgh Festival Fringe

 Most of Thomas' recent Fringe shows have been beautifully crafted theatrical polemics, with clever audio-visual segments intricately woven in.  This isn't.  This is Thomas back to his roots, raw stand up with no props or screens, just one man and his mike.  And his anger.  

The initial few minutes can be summed up, quite appropriately given the almost still PM's love of 3 word slogans, as Fuck The Tories.  Any of them daft enough to be in the audience could go and get a refund as they weren't wanted.  While Scotland (and Wales) would be better off running away asap.  And that set the tone for the rest of the hour...

The vapid emptiness of Truss and Sunak and tories generally.  The nonsense the right spouts about immigrants.  The importance of strike action in combatting the spiralling cost of living.  And why he's not overly keen on Mr Starmer either.  There are some inspired comparisons and images in the midst of these explosive sweary rants - if Johnston is Posh Spice then Putin must be Sporty?  

All this while also having to deal, patiently and hilariously, with one of the most stupid hecklers on the Fringe.

There's a brief singalong musical moment (yes, honest), but otherwise it's all expositions and mockery of the evils of the right, inspiration to fight on, and non stop laughs.  

If you hate what the tories are doing to our society you will love this.  Utterly brilliant.

Mark Thomas' Black and White is on in The Stand at 13.30 until the 28th.

Jack Badcock, Acoustic Music Centre, Edinburgh Festival Fringe

 The Dallahan front man has produced several solo releases over the past few years, highlighting his song writing ability and purity of voice.  Tonight's set was mostly self penned, including a couple of songs derived from poems by others, and a Euan MacColl number in there too.  He's chatty, with interesting explanations of what lies behind his compositions and choices, and sings beautifully, with clarity and excellent phrasing.  More than decent guitarist too.

A small but appreciative audience joined in when requested and the hour ended all too early.

There are gigs on in the Acoustic Music Centre throughout the month.

Aidan Goatley : Tenacious' ZOO Playground, Edinburgh Festival Fringe

Once upon a time a middle aged man had a dream of becoming a stand up comedian.  He could see himself up on stage of London's Apollo, before an adoring crowd.  So how's the dream going?  Might there have been a few obstacles along the way?

A show for anyone who wants to follow their dream, even if it does mean moving to Middlesbrough.  He talks about the big break that wasn't quite what it seemed, the trials of real life getting in the way of his comedy career, and how he's haunted by the now big TV star who got his first break into comedy from Goatley.  You get the sense of frustration of someone with all the talent, but not enough of the luck, and there's an edge at times that stops any blandness creeping.

Aidan is an immediately welcoming performer, chatting to his audience as they arrive and swiftly building a rapport.  He has some great stories, an engaging delivery and a well crafted routine.  I laughed far more than I have at some big name comedians' shows and he deserves to be much better known.  

Goatley is a Fringe veteran now and reckons this is his best show yet.  He's probably right.  You really, really should go and see it.  (Unless you're a fan of Gammon Broadcasting or the Daily Fail, in which case it's best avoided.  In fact just stay away from Edinburgh please...)

Aidan Goatley's Tenacious is on in the ZOO Playground (Infirmary Street) at 19.00 every day until the 28th.

Breaking The News, BBC Spiegeltent, St James Square, BBC at the Edinburgh Festivals

 A recording of the BBC Scotland comedy panel show, on one of the hottest days we've had this year.  There was no warm up act (warming up was the last thing the audience needed!), but one of the producers explained what was going to happen, what was expected of us, and read out a few funny comments to get the laughter going.

Then on with the show, and chair Des Clarke promising to get it over as quickly as possible to get everyone out of the sauna.  A few sound checks for applause levels and bring on the guests.  Jim Smith and Sophie Duker 'against' Val McDermid and Andrew Maxwell.  All weel kent faces.

The show's well established format brings up recent news stories in various forms and asks the panellists to comment.  Today the subjects included the Scottish schools exam results, the cost of rising energy bills and much more.  Plus a lot of Liz Truss gags (but they almost write themselves).  You can listen to the half hour edit of the show from tomorrow to get a flavour, but there was so much more to the live version which lasted well over 90 minutes.

Smith was his usual laconic self, relating everything back to farming (handy hint - if you can't pay for your heating in the winter take in a cow or sheep, instant heat and you can cuddle them as well...).  Duker remained bubbly despite the oppressive atmosphere, and produced some unexpected slants.  McDermid was sharp, almost sensible compared to the others, but threw in some great one liners.  And Maxwell was... Andrew Maxwell.  Rambling non sequiturs, firing off at tangents and occasionally saying something that actually related to the question being posed.  And so, so funny.  He talked and talked and his 20 plus minutes of comedy should make for a wonderful 25 seconds in the final edit!  But long before the end he was beginning to flag from the heat and that gave rise to some of his funniest comments.  

That was the show.  There are plenty more BBC shows on this month, but most will have had all their tickets allocated by now.  If you are going to the Spiegeltent I'd advise getting there at least 90 minutes before the show and get registered early; find somewhere to go for a while, out of the sun; and if it's still anything like this hot, take water in with you.  Lots of water...

Alasdair Beckett-King : Nevermore, Pleasance Dome, Edinburgh Festival Fringe

 We enter to find ABK already on a semi-darkened stage, sat on a deck chair and casually waving to arrivals.  But if you miss a more traditional entrance, well he has those as well.  He also has a suitcase, of a size that might belong to Paddington Bear.  

The seaside, swimming and going on holiday are constant themes in a rambling monologue full of call backs and recurring punchlines.  Plenty of decent jokes, red hair, self deprecation, and frequent video interludes, including a beautifully worked cartoon.  All in an unthreatening yet slightly off centre delivery that rewards careful attention.

On the day there was a bit of a technical issue (self inflicted, as he readily admitted), quickly resolved, but which could easily have thrown the structure of the show.  No such issues and he was swiftly back into his stride and delivering the laughs.  He's such a likeable performer anyway that you'd forgive him most things.

Very enjoyable, if less surreal than past ABK shows.

Alasdair Beckett-King's Nevermore is on at 19.00 in Pleasance Dome until the 29th (not 22nd), and there are two performances at Pleasance Courtyard at 22.40 on the 19th and 26th.

Fun Lovin' Crime Writers, New Town Theatre, Edinburgh Festival Fringe

 Let's face it, the audience weren't there for the quality of the music, but to see some of their favourite authors letting their hair down.  So it seems fair to review this as an entertainment, rather than a music gig.  The FLCW are six well known authors of, obviously, crime fiction.  Mark Billingham on acoustic guitar, Chris Brookmyre electric guitar, Stuart Neville lead guitar, backed by Doug Johnstone as drummer and Luce Veste bass, all finished off with Val McDermid giein it laldy on vocals.  

They play covers of well known rock and pop songs from several decades.  But mostly the seventies.  Almost entirely the seventies.  Some sixties, some eighties, and one foray into the twenty first century with the Kaiser Chiefs I Predict A Riot.  Bowie, Stones, Alex Harvey, Pretenders, Proclaimers and many more.  All with some link to crime, however tenuous.  

Intriguingly the set began with an unaccompanied solo from McDermid, the classic Scots murder ballad The Twa Corbies, but quickly ramped up the pace and energy from there on.  Wordsmiths are good with words, so there were some amusing moments, and plenty of effort to get the audience involved.  Above all else, fun.  They had fun, so we had fun, and the calendar slipped away.

What of the music?  Johnstone is an impressive beat anchor, and Neville showed off some fleet fingered finesse with his solos.  It won't have Jimmy Page looking over his shoulder, but still better than we might have expected.  The same goes for the singing, Billingham, Brookmyre and Neville all taking their turns at lead vocals.  And none of them were remotely close to terrible!

Go for the craic, be surprised at how good the music is, and enjoy the fun of the whole thing.  Recommended - if you remember the seventies.

The Fun Lovin' Crime Writers are on in the Stand's New Town Theatre every day at 21.15 until the eleventh.

Stewart Lee : Snowflake, New Town Theatre, Edinburgh Festival Fringe

 This show should have been at the Fringe in 2020.  But we all know what happened to that.  So it's now three years old, has been performed many times, and been updated along the way.  There's a neon sign with the word itself, a backdrop of stylised snowflakes, and a guitar.  And the man himself.

The Snowflake in question is Lee, and other comedians of like minded liberalism, now being accused of the made-up 'crimes' of 'political correctness' and 'wokeism'  (or trying to be considerate and kind towards others, as normal people would say).  So he takes effective aim at Tony Parsons, one time decent human being, now right wing shock jock, and turns his accusations inside out.  And there's a physical comedy routine showing why it's literally impossible for the like of Ricky Gervais to 'say the unsayable'.  The guitar comes out at the end, with Lee proving surprisingly adept on the strings, for a short song summing up the inherently daftness of the 'anti-woke' brigade.

As ever Lee is always ready to abuse his audience, point out our failings for not getting the joke, and yet critiquing his own set, and breaking down the elements of the comedy interaction.  But the abuse seemed genuine enough, and well deserved, for members of the audience who got their phones out or had omitted to put them on silent.  Lee even got down of the stage at one point, to berate the hapless individual who had a phone out, even after hearing the comments made about two earlier in the show.  The comedian complained that these interruptions had ruined the build up to the next section, which in turn spoiled the flow of the entire show.  Well, he would say that, wouldn't he?  He's Stewart Lee.  But this did feel like he was being sincere, for the flow didn't feel quite right after that, and the show was, by his usual high standards, still funny but a bit flat.  That could have been down to the interruptions on the day, and maybe there's an element of tiredness to such well worn in material.  

I've seen Lee enough times to give him the benefit of the doubt and still recommend this show.  But switch your bloody phone off!

Stewart Lee's Snowflake is on the in Stand's New Town Theatre at 13.50 until the twenty eighth (not fifteenth and sixteenth).  But many of those dates are already sold out.

In Conversation With... Mark Thomas, New Town Theatre, Edinburgh Festival Fringe

One hour, an interviewer, an interviewee, and an audience. The simplest format of the chat show. And for this interviewer the easiest job possible. No need to coax answers from his subject, simply light blue touch paper and retire.

Thomas in full flow is an impressive beast, with an endless well of stories to draw from and the talent to find the laughs in even the darkest topic. The conversation (monologues...) covered a variety of stages in the activist's life and career. Memories of childhood exposure to christian preachers which turned him into a life long atheist from an early age. Tales of his earliest vantures into stand up, and how the comedy and the politics were always interlinked. The comedians who inspired him early on, with big names like Dave Allen, Jasper Carrot and Les Dawson featuring. His admiration for the comics who can adapt their whole bodies to the needs of their craft, as Alexei Sayle does. The radical events and campaigns he's been a leading part of, and constant fights against the powers that be - and disdain for a Labour party that fails to do the same.

At the end the audience gets a the chance to pose a few questions, and once again the fuse is lit. What was he proudest of about his TV work? (The changes they helped bring about.) Have his actions ever got him into physical danger? (Sometimes...) And then the hour was gone, so quickly. The In Conversation With series is an excellent start to your Fringing day. Pick some of the people who interest you most and get to know a bit more about them. And maybe some will even be as funny as Mr Thomas.

In Conversation With... is on in the Stand's New Town Theatre every day at midday.

Stewart Lee: Basic Lee (Work in Progress), Stand Comedy Club, Edinburgh Festival Fringe

10am on the day before the Fringe officially begins.  The Stand is packed out, standing room only, with the queue to get in having started forming almost an hour before kick off.  There have been a lot of stories about relatively poor tickets sales for the 2022 festivals, compared to pre-pandemic levels, but not for Stewart Lee.  Lee fans are loyal.    Lee fans are very loyal.  And this isn't even his 'proper' show, but a work-in-progress, much of it read from sheets of paper.  

The subject mix is eclectic, still waiting to be connected into a coherent piece.  A doorstep question from an evangelical christian.  Speculating if JK Rowling becomes a man when she's being Robert Galbraith.  A doctor asking mental health questions.  The connections between improvised jazz and comedy.

All in Lee's trademark style.  Repetition (but never, quite, for too long), call-backs, self referencing, and always questioning the nature of comedy and the relationship between performer and audience.  It's disjointed, rambling, smart, sharp, thought provoking.  And always, always funny with underlying craftsmanship.  Lee knows what works, even when it doesn't, and he won't let you down.

Highly recommended.

Stewart Lee: Basic Lee (Work in Progress) is in the Stand Comedy Club at 10am each day until 28 August (not 15th/16th)

Blues Afternoon (Blue Milk, Blind Boy Paxton, Brandon Santini with Mud In Your Ear), Spiegeltent, George Square, Edinburgh Jazz and Blues Festival

 A young Glasgow based blue quartet for openers.  Dulux Dog lookalike Jonny McGiffen on guitar and lead vocals, Ike Malinki on bass, Taylor Whyte as the drummer and Leo S Glaister blasting out harmonica.  They didn't say much to begin with, just threw out a couple of numbers to show what they could do, and became chattier, funnier and more relaxed as the set went on.  McGiffen's vocals don't do clarity, but have an edginess and directness that's engaging.  The arrangements are richly textured and solos nicely matched.  They play to a high standard but have the sense to stay within their own limits.  I liked that on Black Magic Woman there was no attempt to out-Carlos Mr Santana, and the result was excellent.  The harmonica gave a real blues feel to the music, and the drum solo from Whyte was a highlight.  Even from his position at the back of the stage it was clear he's a charismatic character.

I'm sure I wasn't the only new fan the boys picked up on the day. 

Things quietened down for the middle act, a solo performance from Blind Boy Paxton.  What a character!  A naturally laconic comedian and raconteur, multi instrumentalist, with an unmistakably Mississippi Blues voice.  Anyone who enjoys the blues, and a good time, would love this man.

From the off he's engaging, dryly humourous and laughing at his own jokes.  Around him he has guitar, 5 string banjo and fiddle.  And from his voluminous overalls produces a variety of items - harmonicas, jew's harp, clackers.  There's a piano over the the right of the stage.  Looking back it's amazing how he managed to fit all those in, whilst singing and joking and storytelling too.  A genuine all round entertainer in the most laid back style.

And the music?  Of a very high standard, with his fiddle solo being a special treat.  Great singing, great playing, and a great time for the entire spiegeltent.  Not to be missed if you ever get the chance.

Another American to end the afternoon, harmonica master Santini and  with hugely experienced Edinburgh blues duo Mud In Your Ear.  The latter consisting of Allan Jones on guitar and Richard O'Donnell on keyboard and guitar.  Slow and mournful, fast and driving, quirky and funny - an eclectic mix of tunes and songs and tempos.  All three took their turns as lead vocalist, all three bringing different styles and qualities.  Jones has a never ending well of stories about the blues, Santini can also tell a good tale, and this was another set where the audience were drawn into involvement.  All three are excellent and imaginative soloists, but there was no doubting Santini's star quality when he made that tiny instrument wail and warble like an extension of his voice. It was all over too soon.

A comment that applied to the whole afternoon.  This was the best Blues Afternoon I went to in this festival, and maybe the best I've ever experienced.  Three great acts, all with very varied approaches to the blues, with the constant thread being that most essential blues element, the harmonica.  Wonderful.

James Brown is Annie & The Hamish Stuart Band, Assembly Hall, Edinburgh Jazz and Blues Festival

 Edinburgh's own funk and R&B band is a slick outfit, here playing as a septet with three decent lead vocalists to choose from and the ability to swap instruments around to suit each song's needs.  Drums, bass, guitars, keyboard plus both tenor and alto sax.  Another outfit to mix up classic numbers from the genre, plus some of their own material, and lots of variety in style and tempo.  A friendly bunch too, full of enjoyment, happy to interact with their audience and have a good time.  Some impressive solos, especially from the guitarist who started out as the bass player, and the alto sax.  A really fun set and I'd have been happy if they'd been on all night.

Confession time.  I hadn't really heard of Hamish Stuart, although, of course, I did know of The Average White Band.  So I wasn't quite prepared for the legend treatment he received for a clearly adoring audience.  But he knew exactly what to expect and traded on it with some charm.    Stuart certainly has stage presence, and I can't fault anyone who expresses their dislike for tories and admiration for the videos of Janey Godley!

But his singing voice is clearly suffering as he ages, although the phrasing is good and he can muster an impressive falsetto.  He was backed by a talented band, most, like the man himself, in the veteran category.  Drums, bass, lead guitar, keyboard.  The latter was the youngest of the bunch and by far the best soloist, although I enjoyed the bass player's too.

The afficionados were in heaven , and would disagree with me no doubt, but JBiA were the highlight of the evening.

Blues Afternoon (Dixie Fried, Kara Grainger, Grainne Duffy), Spiegeltent, George Square, Edinburgh Jazz and Blues Festival

 First up were the local rocking blues duo with Craig Lamie on guitar and vocals, and John Murphy on Drums.  There wasn't much chat, just launched straight into an energetic set.  Lamie makes up for the lack of a bass player by having his top string tuned deep, and it works well.  Only a short set, but, even with just the 2 of them on stage, they still managed to have a disagreement about the set list!  Not that it made a lot of difference.  Lamie has a decent enough voice, but little inflection, and most numbers lacked a truly discernible melody.  The musicality was a good standard though, and Murphy is highly entertaining to watch, so it certainly wasn't all bad.

Kara Grainger is a US-based  Australian singer and guitarist, here accompanied by Sam on keyboard, Marcel on bass and Luke on drums.  They played a mix of classic blues numbers and some of her own compositions.  Grainger's got a strong, distinctive voice and good guitar technique, including a bit of slide, so both vocals and solo are a pleasure to get into.  A real rocker having a good time, with an excellent backing band.  Keyboard solos were wild, bass and percussion solid, and the audience got involved.  A highlight was one of the best versions of A Good Day For The Blues I've heard live.  

Headliner was Irish singer/guitarist Duffy, with Paul on guitar, Mickey playing bass and Gavin as percussive anchor at the back.  She asked if we were ready for some rock and roll... then, remembering where she was added "and the blues".  Which gives some clue to the approach.  Loud and rocking and none the worse for that.  Duffy has a gritty voice with a wide range, and uses it well.  Her version of I'd Rather Go Blind was impressive, with a soaring long note held well at the end.  Paul took most of the guitar solos, and is a real rocker with fast fingers, while Duffy is not far behind him, and did some nice work with the slide.  

A rocking afternoon, with the Australian being my pick of the gig.