John Smith: What Could Possibly Go Wrong?, 3 Old Monks, PBH Free Fringe, Edinburgh Festival Fringe

Smith is a likeable Geordie, who tells us immediately that his show has no overriding storyline, but is simply an hour of jokes and anecdotes, with the emphasis on dark humour.  Nevertheless he did mange to fit in a call back as part of his routine.  It's a slightly shambolic hour, but none the worse for that, although it gets a bit too slow paced at times.  His audience interaction is deent enough, and there are some pretty good jokes in there.  Dark?  Yes, quite often, sometimes to the point of feeling old fashioned,  but there's enough laughs in there to feel like this was time well spent.

He also has a guest making a brief appearance with her own routine - Very someone?  I didn't catch the name.  Very rushed, almost embarrassed by her own performance, and a bit weird...

In Loyal Company, Pleasance, Edinburgh Festival Fringe

 Actor and stand up David  William Bryan plays his great-uncle, Arthur 'Joe' Robinson, in a (mostly) true story.  Joe is a young man in Birkenhead in 1939.  He has a job.  And there's a girl in his life (almost).  But experiencing a Luftwaffe bomb attack on the Liverpool area dirves him to join the army.  He's trained, shipped about, and ends up heading for the Fra East, only for his ship to be sunk by Japanese bombers.  Rescued, and taken on to Singapore... just as the island is foreced to surrender.  Robinson has to endure 4 years as a POW, working as lave labour, seriously ill, his fellow prisoners dying.  But he survives, just, and finally makes it home.  What kind of life can he expect?

Bryan portrays this in dramatic and energetyiuc fashion, with several on stage costume changes, and giving voice to host of peoplein Joe's life.  He does a good job of bringing across the horrors of war, has his characters well deliniated, and there's a clear narrative arc.  He even manages to work a few laughs into a very sad subject.  The performance deserved the standing ovation he received in the end, if only for the physical toll each perfomance must take on his body.  

It's good to see a war story that is not about sucess of glory, but simply celebrates survival.

Mark Watson: Sometimes People Are Being Over-Cautious When They Say Work-In-Progress, But This Truly Is Rough, Stand 3, Edinburgh Festival Fringe

It might be a WIP, but the structure was clear and the show hilarious.  It centres on a tale of Mark's inability to stand up to a debt collector, despite a mistaken identity being involved.  Along the way are featured taking Nelson Mandela to Brighton, a non-appearance on Question Time, the politics of Kashmir, a donkey, and numerous other digressions.  

Watson is likeable, open, self-deprecating, and persistently funny.  He can smoothly riff off a bit of audience interaction, but keeps it minimal, concentrating on his material.  A very enjoyable hour.

Susan Morrison: Swearing, Shit and Shagging - Scotland's Filthy History, Stand 4, Edinburgh Festival Fringe

 Morrison is well known on the Edinburgh, and Scotland, comedy scene, but also as writer and broadcaster. More importantly for this show, she's also an enthusiastic historian, often focusing on the seedier aspects of society. So this is a show that's not only entertaining, but informative.

She takes us through Scotland's massive contribution, real and apocryphal, to the worlds of swearing sex and bodily functions, complete with on-screen illustrations, at a rapid pace. And she answers the big questions like how did women manage to have a shit whilst wearing a crinoline, and what sort of activities did Edinburgh's 'gentlemen' get up to when left to their own devices? There's even a bit of audience participation to illustrate the former...

Fast, filthy and funny. And excellent.

Tomatoes Tried to Kill Me, but Banjos Saved My Life, Summerhall, Edinburgh Festival Fringe

Can a show ever live up to such an eye-catching title? Keith Alessi is from an Italian American family,so tomatoes played a bit part in his family life. He was also, from a young age, a fan of bluegrass music, especially the sound of the banjo. But an early attempt to play the instrument soon ended in failure. He want on to have a successful career in business, which came to a halt with a sudden illness (in part doe to all those tomatoes...) that would change his life completely, and revive that banjo playing desire.

It's an interesting story, which he tells well, interspersed by his now-competent banjo playing and a hilarious moment of puppetry. And there's a moral to the tale too, as he discovered the concept of 'enough', an important step in life. But. There's a self-satisfied air about his delivery that can grate at times. It's enjoyable, interesting, and there's some great music playing a times, but there was always that 'but'...

The Kingmaker, Pleasance, Edinburgh Festival Fringe

Advertised as a Work in Progress, and the unfinished nature of the piece was strongly emphasised by the performer ('Mouse') before she began. This will end up being a much longer performance when completed, so this was only the first half. Despite which...

This is a fascinating hour and only left me wanting more. Mouse is a charismatic performer and is sure to be engaging once the show has some polish applied. It's her tale of joining, belonging to, and eventually leaving, a religious cult in the US. That fascination comes from her explanation of how ordinary people can be attracted into these movements, and then persuaded to stay. She went willingly, stayed willingly, and... well, sadly, it's how she left that is the big missing element. And one of several reasons why I sincerely hope that The Kingmaker, in it's completed form, is back for Fringe '27.  

Churchill's Urinal, EICC, Edinburgh Festival Fringe

Rosie Holt has built up a huge online following in recent years with her sharp parody videos of a Tory MP character.  Good satire walks hands in hand wirth reality and perhaps her biggest tribute is from the huge number of people fooled into thinking she was the real thing.

This play takes that original format, and twists the character into a Labour MP who becomes the first female Chancellor of the Exchequer (with apologies to Rachel Reeves!), and picks up on a real life fact and plays with the idea that it could turn into a viral incident.  In the Chancellor's en suite is urinal, a symbol of the patriarchy she'd prefer to do without.  But there's a problem. Churchill used to piss there so would it be an insult to national hero if it were to be removed?

The story is leaked, an interview ends badly, and immediately the media turns on her, along with the full propaganda force of the far right's social media, whipping up a frenzy of fake 'patriotism'. A Chancellor under siege. And a talking urinal, as the old war leader speaks from both grave and porcelain, along with a few other voices. Is there a strategy to turn things around?

The basic premise is sound enough, but this isn't sharp satire I had hoped for. Although sprinkled with contemporary references, there's an old fashioned feel to the script, descending into farce at times. Some of the humour seems laboured (pun intended), it's rarely hilarious.

It's certainly not all bad though. There's an effective attack on the hagiographical mythologising of WC, who truly was a racist alcoholic, and an effective demonstration of the power of social media to blow everything out of perspective. Plus a few decent jokes, especially the one about Fabricant. Holt's performance is energetic, and engages with her audience, but tends towards the chaotic at times. There's excellent support from Michael Lambourne as the vocal urinal and other voices.

Maybe it was the expectation of something akin to her viral hits that left me feeling disappointed, but I was left with the impression that a solid ten to fifteen minute sketch had been stretched a bit too far...                                                                                                                                                                                                                                                                                                                                                                     

Le Vent du Nord, Queens Hall, Edinburgh Festival Fringe

More of the same, thank you very much! We saw LVdN in January (yes we love them that much!) and this was, I'm happy to report, more of the same. The same energy, musicianship, high quality vocal harmonies, and pleasure in each other's company. While most of the numbers are foot tapping and spirit rousing, they can also provide moments of musical beauty, times to pause and take stock. And their intros combine information with humour.

A distillation of the sights and sounds of pure joy.

Cathy, Traverse, Edinburgh Festival Fringe

Tommy is dead. He was husband, father and grandfather. But he was also the family peacemaker, and with his influence gone they are free to fracture apart, driven by grief. Cathy misses her man and takes it out on those around her. The daughter she's never really liked. The granddaughter heading for single motherhood. And her well meaning but ineffectual son in law. She's no time for vague concepts like 'trauma', or sharing . She's too busy correcting people.

It takes happenstance, and connection from an unexpected place, to change direction, to begin healing. Realising that sharing grief is beneficial, and the empathy to see how other people suffer as much as oneself. In this sense Cathy has a fairly predictable redemptive story arc, with a cosy ending. But it's a bittersweet ride to get there. And very, very funny. There are sharp lines, digs at sectarianism, generation gaps and a suitably traumatic event to bring people together.

At the centre of it all is Elaine C Smith's Cathy, sharp edged and brittle, with a soft centre, and a wonderful comic performance, backed up by a strong cast. If you don't expect anything revelatory this is a laugh out loud hour with some uplifting emotional moments. You come out feeling better about yourself, and that's always nice, isn't it?

Big Bite-Size Breakfast Menu One, Pleasance Two, Edinburgh Festival Fringe

DYING STARS

Two people in a field in the dark.  He's trying to find a supernova in the telescope.  She's brought the hobnobs.  Two friends interested in astonomy.  Or is one of them for another reason?  Some men can be a bit slow to catch on.  Vary funny.

BORE

A girl sits reading in a pub.  She sees a couple come in and sit near her, and it seems that not all is well between them.  But their conversation is interrupted by an unwanted visitor.  Can Greg get rid of him and save the situation?  Or is he too boring?  A laugh out loud look at social awkwardness.  And the bookreader gets the punchline...  

HERE SHE COMES

It's almost time for the bride to go down the aisle, so it's natural that she's nervous.  Her brother and stepfather both help and hinder, and the wedding adviser keeps butting in.  There are laughs, but sadness too.  A bittersweet little drama.

STARDUST

 A woman calling roadside asssistance finds the AI chatbot to be a bit oversensitive, and unwilling to provide the help she needs.  A humourous comment on the way AI is taking over so many aspects of life. 

NARRATIVELY SPEAKING

What would we sound like if we spoke like caharcters in a novel, complete with thoughts and asides and descriptions?   Could we handle that level of honesty?  Three women find their speech conventions challenged when one of them decides to revolt.  A comedy that plays on the boudaries between life and fiction.

And that's another look at the Bite-SizeBreakfasts for another Fringe.  Some new faces in the cast, and plenty of exceelent writing.  Lots of laughs, and some subjects to ponder.  It remains a must see for us, and one of the most reliably entertaining shows.  If you only have time to see one of thier shows this year, I'd recommend Menu 1.

See you next year guys!

Daniel Petrie and Valeria Vulpe, The Caves, Edinburgh Festival Fringe

Petrie is a likeable Glaswegian, if a little nervous on this occasion. Some good observational comedy derived from his own life, and generally enjoyable, but no big laughs in there.

Moldovan Vulpe is a class act. Her slow dead pan delivery belies excellent timing, and her punchlines often come out left field. Or she'll leave the audience to fill them in for themselves, which is often funnier. I found myself wishing for a lot longer than her allocated half hour.

I wouldn't normally blame an audience for a flat atmosphere, as it's up to the performer to adapt. But in this case I did feel Vulpe deserved better. You get the best rewards from her humour if you're prepared to put in a bit of effort yourself, which most seemed unable to do. If you love comedians who make you think different, and bring in a dose of the unexpected, then Vulpe is waiting for you.

Richard Herring RHLSTP, The Stand at W Edinburgh, Edinburgh Festival Fringe

 A recording of Richard Herring's regular podcast, with stand up and actor Amy Matthews as guest.  Herring is a perpetually amusng, self deprecating host, relaxed and confident in his craft.  He asked questions about her life and career, and delved into his 'emergency questions' list, such as had she seen a ghost (sort of but not really!).  It's not an uproarius hour, but always entertaining and a pleasant way to pass the time (other than the shock of the bar prices...!).

In Conversation With... John Davidson, Stand 3, Edinburgh Festival Fringe

 In conversation with? The host provided the odd lead in, but mostly this was John in full flow. And none the worse for that, as he’s a good speaker.

For those unaware, Davidson has tourette syndrome. He already had some fame in Scotland through a series of documentaries, dating back to his teenage years, about living with the condition. But achieved international recognition last year when a biographical film (and book) about his life was launched I Swear became a major hit, the lead man got best actor at the BAFTAs, and John (unfortunately) ticking during the ceremony ended up bringing even greater public attention to the difficulties he and others face in society.

So the conversation (cum monologue!) began with the film, his involvement (near constant), the aftermath and what it has meant to him (he gets recognised everywhere). And how the impact has been far greater than he or the film makers had ever anticipated. He talked about his activism, improving life for people (especially children) with tourettes on both a societal and individual level. Meeting Queenie to receive his honour. Meeting a childhood hero, Warwick Davies. Places he’s been, resistance met. There was a short audience Q&A session at the end, mostly reflecting how much he is admired and the breadth of his impact, even beyond he tourettes world. Also allowing him to explain why he didn’t tic at all during his talking, or not until someone mentioned it. Focus on a task prevents it happening.

The hour flew by. Entertaining, enlightening, inspiring.

Big Bite-Size Breakfast Menu One, Pleasance One, Edinburgh Festival Fringe

 VOWEL MOVEMENTS

A couple moving in together and very much in love.  She's from Surrey, he's from Leeds, and there's some north/south banter between them.  Then his sister turns up unexpectedly and brings the unexpected with her.  An amusing look at the power of accents and concepts of social class..

COUCH TO NO WAY

A jogger turns up, still looking fresh.  Shortly followed by her friend, who doesn't.  There's some tension between them and it's not just because of their differing speeds.  When a man joins them, looking like he's totally exhausetd, things get even tenser.  A complex love triangle where someone is going to get hurt.  Jealousy, challenges and laughs.

LOVE (TERMS AND CONDITIONS APPLY)

A dystopian view of the future dating scene.  Two potential mates have ten minutes to make up their minds, guided by the algorithm.  He wants to analyse, she wants feeling, can they find any common ground in such a short time?  Played for laughs, but there's a chilling edge to this one.

IN TWO MINDS

A cosy night in on the couch, films, maybe a takeaway, but a text message threatens to derail the evening, and maybe more.  What makes this one so funny is that we see 4 actors on stage - the couple and, stood behind them, their inner thoughts.  While the sitting duo say the things they think they should say, the voices behind tell us eactly what they are thinking.  A little slice of domestic disagreement made hilarious by this clever device.  One of the funniest Bite-Size offerings I've seen.

THE MALTESE WAITER

A man asking a psychiatrist for help.  His problem?  He's a superhero... of sorts.  His superpower is be able to turn any situation into a piece of film noir, and it's ruining his realtionship.  Can she help him resolve his issue and make the right choice?  Lighting changes help enhance the switches in mood, the American accents set the scene, and deliver a weird and funny story with a twist.  Great fun to end on.

Another enjoyable quintet of playlets, with In Two Minds standing out as one of the best I've seen over the years I've been going to watch this group.

Big Bite-Size Breakfast Menu Three, Pleasance One, Edinburgh Festival Fringe

Here we are again.  Another Festival Fringe, and another three shows from the Bite-Size breakfast team to enjoy.  The usual format, of strawberries in the queue, coffee and croissants indie, and five mini-plays ro entertain.  Five actors, three of them familair faces from past shows.  This was a preview show, but, apart from one brief stumble over a line, you wouldn't be able to teel that they weren't already half way through the run.  I remain a fan.  Today's quintet were...

RUNAWAY DRESS

A woman in a wedding dress, seeing how she looks.  A panic when she hears a knock at the door.  All is not what it should be, as two old friends end up sitting down and making a decision.  Some good laughs, certainly an enjoyable watch, but perhaps a tad predictable. 

THE COMMUNITY GROUP

Four members of a neighbourhood chat group relate their posts and interactions.  One is selling a wardrobe, one looking to connect with an old flame, another is seeking attention, and the last is happy to give his views on what's wrong woth the world.  While there's a bit of stereotyping going on I find that forgiveable in a ten minute play where character needs to be dlearly defined very quickly.  And the characters are very recognisable to anyone who has experienced these groups.  Very funny, very familiar, and a sharp comment on the low quality of socail media intercourse.

A PERFECT TWO.

Such a happy couple, they seem to have been made for one another.  But when she suggests they each give the other a mark out of ten it's a clear invitation for things to go wrong, and it will take a lot of numerical working out to try and get back to where they were.  Beautifully played two hander that shows up the dangers of ego within a relationship.

CAFFEINE

A couple sit to have coffee after their meal, looking uncomfortable.  Why are they there?  To meet up with frinds who are late, or is there something else going on here?  As they explore the possibilities there is something happening between them, but will it become more than just chat?  An enjoyably awkward mini-tragedy.  

ON MUTE

It's Greg's big moment, a conference call that could lead to a promotion. But things quickly start to go wrong in a most unexpected manner, and he finds his chances of success dependent on more than just his own talents.  A good one to end the set on, pure farce with a lot of laughs as the unexpected unfolds.

Bite-Size is as worthy of your attention as ever.

Blues Afternoon (Al Brown and the Bluelighters, Zac Shultz Gang with Jesse Garwood, Martin Harely Trio), Spiegletent, Edinburgh Jazz and Blues Festival

 AL BROWN AND THE BLUELIGHTERS

What these afternoon sessions need is a solid blues band to open, professional, but also a bit rowdy and fun.  Brown and co deliver what's needed.  Drums, upright bass, 2 guitars.  Brown very much the front man and lead vocalist, and a few reasonable jokes.  Proper R&B style blues, everyone gets solos, the crowd get their feet tapping, and it's fun for all.  The highlight was a version of Dylan's Gotta Serve Somebody, with a great bass line and the est guitar work of the set.

JESSE GARWOOD WITH THE ZAC SHULTZ GANG

Garwood was a late addition to the line up after band leader Scultz had an accdient and had to stand aside.  Cue a festival debut for the 19 year old guitar wunderkind, who has built up a substantial following on social media.  Accomopanied by the Schultz Gang bassist and drummer, he filled the gap admirably, with talent, skill, energy and volume.  Loud and fast, but able to deliver in the slower passages, and support his bandmates (one of the bass solos was excellent), plus expressive vocals, Garwood soundeded as if he had been playing with the others for years.  He was clearly enjoying himself too, as were the others playing with him.  This enthusiasm communicated itslef to the adience who were on their feet at the end.  An exciting set.

MARTIN HARLEY TRIO

Th slide maestro, ably supported by bass and drums, brought a bit of calm to the proceedings, a more mellow approach than the previous acts.  Not a problem for Harley, who looks so comfortable and relaxed in all he does on stage.  The best vocalist of the afternoon, the best reconteur, and a front runner in the guitar playing stakes.  A master in the use of slide.  A good mix of tempos and subject matter, lyrics that could move you or make you smile, and a feeling that we were in the hands of a man who knew exactly what he was doing.  Loudest isn't always the best.

Jerron Paxton, Queens Hall, Edinburgh Jazz and Blues Festival

The Blues (and, later, jazz, R&B and R&R) emerged from the folk singing of the slaves in the southern stat4s of the US.  From those roots it has itself evolved many interpretations of the style, and much of what passes for blues now isn't really technically of the ilk.  That applies to a lot of acts in this festival.  But Paxton may be the nearest we get to the real thing.

His idiosyncratic playing style and richly expressive vocals have the authenticity of a man steeped in the genre.  A multi instrumentalist who is able to swap around seamlessly (on the night he played guitar, banjo(s), harmonica, fiddle and piano).  A big smile and deep well of funny anecdotes make for an engaging presence.  Even the act of tuning up becomes a piece of entertainment.  But there's a man with his won view of the world behind the words, a thinker as well as a joker.  A proper troubador and always worth seeing.

The Cinelli Brothers with Alice Armstrong, Spiegeltent, Edinburgh Jazz and Blues Festival

The Cinellis start up looking like your averge blues band - drums, bass, lead guitar and harmonica/vocalist, and with a good rowdy opeing number.  But things get more interesting as the set progresses and roles become blurred.  The vocalist is also a lead guitar player.  The lead guitarist is also a lead vcalist, keyboard player and bassist.  The bass player is also a lead guitarist and led vocalist.  And the drumm has a go at playing bass (at the same time as bass and snare).  Which leads to a great mix of sounds with differing voices and playing styles throughout.  

All this would just be so much fluff if the music wasn't entertaining.  No worries there.  Whle there were plenty of Blues and R&B numbers, there was considerable variety in the choice of styles and songs.  Sixties psychedelic, seventies progrock, the Beatles Come Together, and I can't resist a bit of Little Feat. And then there was the extra voice added for large parts of each half.  Alice Armstrong is a big personality with a big voice, a big vocal range, and real blues delivery. She's funny too, a match for the Cinelli's lead man who kept us entertained, and sometimes informed, between their numbers.  

It would be hard to say there was a Cinelli Brothers 'sound', given the variety of vocal, instrumental and song styles they get thought in their set.  There was an exceellent bass solo, unaccompanied guitar and decent drum solo.  They work their audience well, with angaging persoanlities who are cleary having a great time.  An excellent gig.

The Viper Club, Spiegeltent, Edinburgh Jazz and Blues Festival

We saw Tcha Limberger once before, also playing 1930s jazz.  Then the theme was primarily Europena, with a North African flavour added in.  This time it's very much American, deriving largely from the music of swing fiddler and composer Stuff Smith.  A man who, by Limberger's accoutn, had a very colourful life.

Dave Kelbie on guitar, Sebastian Girardot with upright bass.  Jerome Etcheberry playing trumpet and, of course, Limberger on the 2 Vs - violin and vocals.  Keddie is very much a rythym man, with even his one brief solo being chords only, but together with The bass man they form a solid and imaginiative section to drive the music.  Girardot turned in a few decent solos of hos won.  But ghey are there to help the two stars shine brighter.  Both fiddle and trumpet are full of surprise phrasings and departures, and work very well together, each feeding off the other.  The solos are top class.  As mentioned in my previous review, Limberger's singing voice is not great, yet he conveys such joy in his tones that that is easily forgiven.  And his anecdotes are delivered with the same infectious happiness.

It's impossible not to enjoy Viper Club with a smile on your face.

Blues Afternoon (Sandy Tweeddale and Gus Munro. Gerry Jablonski Band, True Strays), Spiegeltent, Edinbugh Jazz and Blues Festival

 SANDY TWEEDDALE AND GUS MUNRO

Tweeddale and his usual band , drums and bass, combining with Munro for the opening set. A mix of blues standards and some of Munro's own songs. The latter handled the vocals, and his rough tones are perfect for the material, with the bonus of some attacking harmonica. But the real joy lies in the guitar work, each taking turns to provide the lead, then working closely together. The contrast between Tweeddale's effortless fluidity and Muro's more staccato approach, and his generous use of the slide, provided contrast and harmony. Lots of energy, lots of fun, and a genuine rapport with their audience. A great opener for the afternoon.

GERRY JABLONSKI BAND

Opening quietly, out comes guitarist Jablonski and his drummer, the latter taking the mic and delivering a few vocals of soulful blues... But then it changes. the drummer takes his rightful place at the back, on come the bassist, harmonica player and singer, and up goes the energy, the volume and the craziness. The GJ Band gets into full swing...

A raucous rocking R&B outfit that bring smiles, stage presence and infectious showmanship, with strong vocals, flashy guitar work and powerful harp solos. They're all over the stage, out in the audience, spilling out their enjoyment. Lots of laughter, but also driving rhythms, decent melodies and virtuosity to back up the flash. Tremendous fun.

TRUE STRAYS

The format of these shows is intended to build up the anticipation, and leave the best to last. So perhaps that's why the final act felt a bit of a let down. Objectively there's nothing much wrong with the performance. A conventional 4 piece line up of drums, bass, keyboard and lead guitar, with lead vocals coming from the guitarist and bassist. This pair very much the front men, very much the focus.

Was this blues? Tenuously at times, and some of the melodies and lyrics almost felt poppy at times. They took a while to get going, and struggled to build up a relationship with the audience like the previous acts had had. The singing of the guitarist was off key at times, the bassist much better. The musicianship was good though, and it's always a pleasure to here a steel guitar played with slide. Keyboards contributed a lot to the sound, and he got his own solo towards the end of the set.

The first two acts felt like bands, even if Gus was guesting with Sandy's trio, they felt like proper units. The Strays felt like a duo with a couple of guys added in, and a look at their history (the pair have been best friends since childhood) provides a likely explanation, and that lack of togetherness came through. An enjoyable act, but disappointing as a show topper.

D K Harrell, Spiegeltent, Edinburgh Jazz and Blues Festival

A young Louisiana blues guitarist with a string of awards and a big reputation. Who also turned out to be a lot of fun.

But first the band. Drums, bass, keyboards, sax and trumpet. On they came, announcing they were going to warm us up. Two foot tapping instrumentals, nothing flashy, but jazzy and mellow, and a chance to show off some of the musicianship to come. The trumpet solo especially.

Out comes D K, a big presence in all senses. The vocals are strong, the playing excellent. He doesn't say much. To begin with. But once that man is warmed up... Funny, and able to improvise in response to his audience. Stories behind the songs, stories behind his career.

For all that the guitarist's virtuosity and vocals are the focal point of the show, this is a real band performance, both in terms of the integrated sound, the interactions with D K, and the solos they bring. Trumpet, sax and keys all had moments to shine, the bass solo was decent, and drummer excellent. D K's playing is smart, a man who isn't afraid of the simple approach at times, with no need to always be showing off. Sometimes basic is best. There's also a playful quality, almost whimsical at times. The guitar suddenly playing a few bars of Jingle Bells, the trumpet giving is Happy Birthday. There's a slo a passion, and not just in the music itself. A short speech on women's rights was an unexpected bonus, and the piss-take impression of the Mandarin Moron gave us a good laugh.

Great music. But that fun factor really makes it an occasion.

 

The Manfreds, Queens Hall

For the third time in four years here we were again.  Same band, same line up, same nostalgia.  And the same quality of entertainment 

There isn't really much to add to what I've written about them before both in November 2022 here, and in November 2024 here.  Age continues to take some toll, primarily it seems on Jones.  The voice is again a little less than it once was, but still decent enough, and his ability to stand on one leg reamins but with much reduced times.  Still the ever engaging front man though, and his harmonica playing remains top noth.  McGuinness, originally not in Jones' class for vocals, has not really been affected, and he still sings well.  His When I'm Dead and Gone is still one of the great highlights of the evening (but I do love a bit of mandolin!).

While the old Manfred Mann hits remain crowd pleasers, they have been improved with jazz and blues influences being added to the arrangements.  While the real quality lies in the blues numbers, notably the Howlin' Wolf songs.  Maybe this is just a night for the oldies, but at least it's one of musical quality.

Kris Drever Band, Queens Hall

Support came from UK-domiciled New Yorker Annie Dressner.  Singer, guitarist, and and writer of songs with a story.  A very pleasant voice, good lyrics, and even a few memorable melodies - Dumb Boy and The Thrill of It stood out.Good audience interaction too, with a line in dry humour and nice way of pushing her merch.  I heard someone say she reminded them of Suzanne Vega, and there's definitely something in that.  

Mr Drever had his usual band lineup - Louis Abbot on drums and guitar, Euan Burton on (electric) bass, and Rachel Lightbody providing soaring backing vocals and a bit of keyboard.  Plus a couple of extra, the excellent Cahalen Morrison on banjo and guitar, and Michelle Willis on keyboard.  And Annie D returned a couple of times to add her voice to the ensemble

This was an album launch gig, so he began with new material, and lack of familiarity didn't dull the impact.  Drever has a mastery of lyrics and melody that marks him out as one of Scotland's top songwriters.  And a mastery of his instrument which places him comfortably in our top 10 guitarists too.  He'd move on to older material as the gig progressed, and a reminder of his folk roots with a solo performance of a 19th century whaling song.

Behind Drever's comfoting vocal style, Abbott added some lovely percussion flourishes, Burton was a solid as ever, Lightbody added in the purity of her vocals, Willis' keyboard filled out the sound, and the addition of Morrison was a real bonus, the banjo adding a new dimension to some weel kent sounds.  Throw in Kris' dry humour  and this was a performance to savour.

Dean Owens, Leith Folk Club

 A rare solo outing for Dean, a more intimate kind of gig.  He'd previously asked, on social media, for requests which meant that as well as many of the usual favourites, he also played many songs from his big back catlogue that aren't heard much nowadays.  Starting, I was delighted to hear, with my own request, My Town.  This was the song that got me into Owens, over 2 decades ago, when it made me feel homesick one night in Liverpool.  I've been a fan ever since.

So, if you've seen Dean often, this was a refeshing gig, with a mix of the usual classics like Raining in Glasgow, and songs he rarely sings now.  Plus an excellent Elvis cover.  As ever Owens is chatty, amusing, full of laughs.  A very enjoyable gig, yet again.

Amélie

 The 25th anniversary of the release of this classic slice of French whimsy, and one I was eager to revisit.  Going back to an old favourite can often be disappointing - but this one exceeded my already high expectations - there really is nothing quite like it.

The eponymous heroine grows up in a sttangely repressed family, has an isolated childhood, and finds it hard to make friends as an adult.  Instead she has an active inner life, a vivid imagination, and intense curiosity in the minutae of the world around her. That leads her to a discovery - she can make herself happier by making others happy, preferably in secret.  And so her undercover life begins.  But it needs a most unlikely friendship to develop before she discovers how to be happy for herself.

While the basic plot is simple enough what stands out is the idiosyncratic charm, throwawy details, and a strong visual identity.  It's colourful, at times near cartoonish.  Not only cinematographic, but photographic - there are so many images you feel you want to freeze and study more closely.  Which connects it to a theme of actual photographs which runs throuht the film.  The story is full of little twists, facts, dates, love affairs, sadnesses, revenge, reunions, and explosive sex in a toilet.  Surreal and yet conected to the streets of Paris.  Where elase will you experince the continuity of a bluebottle, a peripateic gnome, nuns playing swingball and a man in awe of his own brain functions?  All of these feature, but only one of them has any relevance to the plot.

Whimsical, funny, quirky and human.  I think I might be in love with Amelie all over again.

The Katona Twins- Alhambra Inspirations, Ps & Gs Church

 I wrote a review of a performance from the Hungarian duo back in 2019,and it was good to see them again after such a long interval.  This time the theme, as the tile iplies, was primarily Spanish, with works from composers from Iberia, or other strongly influended by the traditions of Spain.  Many of thw works not intended for two guitars, so these were very much the siblings' own interpretations and arrangements. 

Amusing and informative introductions, if a little slow, set the scene, each taking turns in doing so.   Incredible virtuoso guitar playing, with melodies constatnly swapping from one pair of hands to the other.  

The evening ended with their version of the Beatles tune Come Together, a tribute to their adopted home city of Liverpool.  The evening was refreshing classical change to our more usual musical fare, with crispness and exactitude, played with passion.

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

 A young woman (Julia Murray) in the park, heads for the duck pond, her aim to end her life which feels like it's alll gone horribly wrong.  But an unlikely intervention from a talking swan (Paul McArthur) convinces her to think again, at least for a while.  And if there's time to think, says the swan, there's time for a night out.  Cue a series of bars and clubs and drunken soliloquys.  And songs, lots of songs, for htis is very much a musical.

And that's the problem, at least for someone like me.  When they could be expanding the plot, and exploring what is at heart a very dark theme, they're too busy singing.  he lyrics do help move things along, but not nearly as much as well written dialogue would have.  This cocktail of human frailty, fantasy and redemption deserved a little more depth, less froth. 

Disappointing.

The Events, Traverse

 A warm, happy group, having fun and laughs and tea, bringing the audience into the atmoshpere, by distributing tea and bsicuits.  They sing, a rough and ready choir, there for the enjoyment of using their voices, the minister directing them with humour and affection. 

And then He arrives, The Boy, and all changes.  The choir fade into the background, the conforntation between their leader, Claire, and the stranger, slowly taking shape, him chipping away her secuity with his own insecurities.  He the perperpetraro of a mass shooting, she a survivor, and it become sclear how he has marked her life, changed her.  He offers explanations for his actions, a litany of far right fantasy themes on race and immigration.  She unravels as the memories seep through, the fear and horror of the moment.  The choir, the community, the only anchor she has.

It's a poerful journey.  Sam Stopford is excellent as The Boy, constantly switching in and out of other characters in the story, a threat not through his presence but from his beliefs.  Claire Lamont's Claire gets a little too lost at times, but reamins the humane centre of the tale.  And the choir are there to remind us that events like these affect us all.

Davie Greig wrote The Events in 2013, but the themes it raises are still all too contemporary.  

Hamnet

Based on the Maggie O'Farrell novel of the same name, it tells a story of the brith anddeath of the son of Agnes Hathaway (Jessie Buckley) and William Shalespeare (Paul Mescal) - yes, that William Shakespear - and the grief they endure in their different ways. 

First meeting, courtship, disapproving parents, marriage, children.  The playwright spend ing much of his time away in London, leaving wife and household to cope, as he builds his reputation and career.  With inevitable tensions in the marriage, made worse by their differing approaches to the loss of their child.  He throwing himself deeper into his work, she withdrawing deeper within herself.  It takes the prodcution of Hamlet to bring understanding and resolution, but it's a herd road to get there.

The coulourless life of the sixteenth century, and the inherent sadness of the theme, can make it a hard watch.  Both leads are excellent, bringing the characters to life, with real emotional depth, but that still doesn't stop it from dragging at times (I almost fell asleep at one point...) so that my overall feeling was one of disappointment.  I'd enjoyed the novel, and had hopes for the film as a result, but felt short changed by the slowness of the plot and the over realiance on shoskc moments.  

Le Vent du Nord, Alnwick Playhouse

It had been almost three years since we last saw LVdM (at this performance in London), and they remain as wonderful as ever. There's been a change to the lineup, and the album now being promoted is Voisinages (Neighbourhood), yet most of what I wrote back then still applies.

The lineup change is down to Simon Beaudry (guitar and bouzouki) becoming the mayor of his village, to be replaced by André Gagné. He's an excellent addition, with, if anything, a better voice, and clearly happy to be part of the band.

Voisinages brings interesting concepts about neighbours (and a bit of political comment about reckless country to the south of Canada, and Quebec's own struggle for recognition), plus some excellent new tunes. The playing, the vocals and harmonies, and the sense of joie de vivre reamina as strong as ever, and nobody leaves without a smile.

Ths was also a new venue for us, making the trip south to Alnwick fr the pleasure of seeing the band. The Playhouse is comfortable, has good viewing angles, and a welcoming atmosphere. Well worth the trip, especially when there was the pleasure of barter Books to visit the following morning!

KInnaris Q, Pavilion Theatre, Glasgow - Celtic Connections Festival

Support came from Sidiki Jobarteh, a hugely talented Gambian balafon player (a gourd based xylophone), with a percussionist and guitarist to provide the backing.  Jbarteh is also an impressive vocalist, and the others provided backing vocals too.

He is very much rooted in the Gambian folk tradition, with a mix of  old and new, including several self penned, and composition by his mother (Sona is a renowned kora virtuoso).  He has a sympathetic feel for the music, and the old rhythms that underly the melodies.  It's impossible to sit still when listening, this is music to move too.  The beat almost jazz like, Jobarteh's hands a literal blur at times, and the crowd were borought into play singing along to the final number.  This lad has a big future, and this was a great way to open the night.

The Kinnaris Quintet have now become, with the departure of Laura Wilkie, a quartet called Kinnaris Q.  But nothing else has changed.  Still the same high standard of musicality, still the origninality and variation in theoir m usic, and still having enormous fun with each other.  Aileen Gobbi remains as bubbly and hilarious as ever in her introductions, the music as complex as ever.  It was a shame that the sound balance sounded a bit off at times, but even that couldn't hide the quality of the music, or the way it engages their audience.

A wonderful gig.