Pomp, pomposity, politics, intrigue and backstabbing. This is the court of Queen Anne in the early 18th century. Anne (Olivia Colman) leaves control of affairs of state to her intimate, Sarah the Duchess of Marlborough (Rachel Weisz), and is annoyed when her presence is demanded on official business. Sarah finds a servant's position at court for her cousin Abigail (Emma Stone), who finds life in the lower ranks of the palace to be tough. When the opportunity arrives to ingratiate herself with Anne she uses all her cunning to become the queen's favourite, aiming to usurp Sarah. In doing so she becomes involved in the control of the government and the direction of the war in France. One of the rivals has to come out on top....
For all that these are real life characters and, to a degree, events, this is more comedy than historical drama. Colman's Anne is a petulant child, obsessed with her pet rabbits, easily buttered up but capable of sudden rage and arbitrary use of her powers. The 2 rivals for her attention spark off one another well, with the tensions in their relationship well managed. And there's an array of lesser characters enjoying the license of a costume drama that leaves plenty of scope for individual interpretations, Mark Gatiss' Marlborough notable amongst them.
It's wonderfully acted and the cinematography is striking, full of stunning images and filled with background detail. Add in a funny and clever script and it's clear why the film is garnering plauidits all over the place.
Despite which I still found it a hard movie to warm to. The soundtrack is at times intrusive to the point of irritation and there was, to me, an unresolved tension between the light tone of the humour against all the characters being very difficult to like. Colman's Anne deserves our sympathies at times, but she's not someone you'd want to have a drink with.
Less satisfactory than it should be.
Thursday, 17 January 2019
Thursday, 10 January 2019
Dean Owens, Leith Folk Club
It's becoming a regular event to have local man Owens play his and the club's first gig of the year in the Victoria Park, and for there to be a packed house. A tradition well worth maintaining.
Support came from beardy Leith FC regular Martin Lennon signing a selection of his own songs. Woodbine gruff vocals, decent guitar accompaniment and funny, and frequently self deprecating, introductions made for a strong opening act. The songs aren't all that memorable melodically, but Lennon writes some cracking lyrics, amusing, moving, personal. He tells stories, paints pictures with his words, and draws his audience. The perfect warm up man and, as one of his songs says, not old, just vintage.
Owens opened with My Town, one of my personal favourites from a deep well of strong numbers. With just his own guitar and harmonica for accompaniment the stripped back sound emphasised what an accomplished writer Dean is, both of tunes and the words to go with them. He talks a lot between numbers and need not apologise for doing so (although he often does) because the background to the writing process is interesting, often funny, and he tells a fine anecdote. Vocals are distinctive Americana by way of the Port o' Leith, lyrics are often very personal but with a recognisable universality to the emotions and stories he relates. Amd there are plenty of singalong moments for the audience.
Whether solo or in one of his many band line ups Dean Owens always delivers an entertaining gig.
Support came from beardy Leith FC regular Martin Lennon signing a selection of his own songs. Woodbine gruff vocals, decent guitar accompaniment and funny, and frequently self deprecating, introductions made for a strong opening act. The songs aren't all that memorable melodically, but Lennon writes some cracking lyrics, amusing, moving, personal. He tells stories, paints pictures with his words, and draws his audience. The perfect warm up man and, as one of his songs says, not old, just vintage.
Owens opened with My Town, one of my personal favourites from a deep well of strong numbers. With just his own guitar and harmonica for accompaniment the stripped back sound emphasised what an accomplished writer Dean is, both of tunes and the words to go with them. He talks a lot between numbers and need not apologise for doing so (although he often does) because the background to the writing process is interesting, often funny, and he tells a fine anecdote. Vocals are distinctive Americana by way of the Port o' Leith, lyrics are often very personal but with a recognisable universality to the emotions and stories he relates. Amd there are plenty of singalong moments for the audience.
Whether solo or in one of his many band line ups Dean Owens always delivers an entertaining gig.
Saturday, 5 January 2019
Capercaillie, McEwan Hall
More than 30 years as one of Scotland's finest folk bands and still on top form. Mid afternoon on New Years Day is an odd time for a gig, but on this evidence it's a habit worth forming. With a front line of musicians who all have the talent to lead their own bands, Capercaillie are a powerhouse of musicality and improvisation. Vocalist Karen Matheson is renowned as one of Scotland's finest Gaelic singers, her tone and range as impressive as ever. Seven instrumentalists add bouzouki, guitar, accordion, keyboards, flute, whistles, Uilleann pipes and fiddle, backed up by bass guitar, drums and percussion. Add in Fraser Fifield on whistles, soprano sax and highland bagpipes and there's an immense diversity of sound, the complex arrangements still allowing plenty of room for individual freedom of expression.
Guesting with the band were talented young duo Hannah Fisher on fiddle and Sorren Maclean on guitar. Both got a chance to show off their own singing abilities, and added much to the instrumental mix.
With a well chosen mix of tempoes, and of new material followed by old favourites, the band had the audience n their feet and dancing away. Tremendous stuff.
And the abiding memory of the day? Even with ten instruments giving it laldy you could still clearly hear the flute or pipes of Mike McGoldrick doing what he does best - making shit up as he goes along!
Guesting with the band were talented young duo Hannah Fisher on fiddle and Sorren Maclean on guitar. Both got a chance to show off their own singing abilities, and added much to the instrumental mix.
With a well chosen mix of tempoes, and of new material followed by old favourites, the band had the audience n their feet and dancing away. Tremendous stuff.
And the abiding memory of the day? Even with ten instruments giving it laldy you could still clearly hear the flute or pipes of Mike McGoldrick doing what he does best - making shit up as he goes along!
Monday, 31 December 2018
Jojo Sutherland and Susan Morrison : Fanny's Ahoy!, The Stand
Two middle-aged wifies having a witter. End of review.
Well, almost. There's a bit more to it of course, when the wifies concerned are motormouths Susan Morrison and Jojo Sutherland. In an hour that (somehow or other) established where everyone in the audience came from and touched on diverse subjects including family at Xmas, the first drink that made you sick, and the correct way to put a bra on.
It was random, confusing, frequently meaningless and absolutely hilarious, with never a non-laughing minute going by from start to finish. Highly recommended.
Well, almost. There's a bit more to it of course, when the wifies concerned are motormouths Susan Morrison and Jojo Sutherland. In an hour that (somehow or other) established where everyone in the audience came from and touched on diverse subjects including family at Xmas, the first drink that made you sick, and the correct way to put a bra on.
It was random, confusing, frequently meaningless and absolutely hilarious, with never a non-laughing minute going by from start to finish. Highly recommended.
Friday, 21 December 2018
Emily Smith Xmas 2018, Queens Hall
An evening of seasonal songs, mixing traditional carols with folk songs and a bit of Gaelic. The wonderfully pure voice of Emily Smith backed by Jamie McLennan on fiddle, guitar and whistle, Ross Hamilton on bass and the wonderfully talented and very funny Anna massie on guitar. Plus the bonus of Gaelic vocalist Kathleen MacInnes for a few numbers. So there could be no complaints about the quality of the singing or musicianship, and the choice of songs and arrangements were decent enough. Add in a couple of instrumentals that allowed McLennan and Massie to show off their skills (with Anna's being a real highlight of the show) and this should have been glorious xmas entertainment.
So why did it feel so flat as an occasion? It certainly didn't help that Massie was clearly suffering from a nasty cough, and that McLennan had to join in at times. The setting had made a bit of an effort, with lights on the tables and lonely looking star hanging above Smith's head, but it didn't do much to say 'fun'. There were a couple of party-game type events that were well enough thought through, but never really managed to lift the atmosphere of polite applause that dominated. The band did their bit, so maybe this was just one of those audiences. A pity, as Smith is one of our best songstresses, Massie is so talented, and MacInnes' island softness was truly beautiful.
An evening that was less than the sum of its parts.
So why did it feel so flat as an occasion? It certainly didn't help that Massie was clearly suffering from a nasty cough, and that McLennan had to join in at times. The setting had made a bit of an effort, with lights on the tables and lonely looking star hanging above Smith's head, but it didn't do much to say 'fun'. There were a couple of party-game type events that were well enough thought through, but never really managed to lift the atmosphere of polite applause that dominated. The band did their bit, so maybe this was just one of those audiences. A pity, as Smith is one of our best songstresses, Massie is so talented, and MacInnes' island softness was truly beautiful.
An evening that was less than the sum of its parts.
Sunday, 16 December 2018
The Felsons, Traverse
Back in the nineties and early naughties they were a weel kent country rock outfit in Scotland, but now The Felsons were back together and playing live for the first time in fifteen years. And doing so in their home town, meaning tickets being sold out some weeks in advance, to a packed and noisily enthusiastic audience.
All four members have gone on to further careers in music, but it was clear from the start that being back together after so long was a joy to them all (even if they were under rehearsed!). An acapella version of the Beatles' Nowhere Man provided a stunning opening before they launched into their own material. Interspersed with songs from the old days were some newer numbers. Band leader and singer/songwriter Dean Owens had written some new numbers for the occasion, and they also played a few of the tracks from his own solo albums. Although the old Felsons tunes still hold up well, it was a clear demonstration of who much Owens has progressed as a writer in the years since.
With Owens distinctive vocals, some tasty lead guitar work from Calais Brown and solid rhythm from bassist Kevin McGuire and drummer Dave Stewart they have a distinctive sound, but covering genres, part pop, part country, part rock, with clear Scots influences in there too. Owens is always amusing in his ramblings and provided plenty of laughs between numbers.
The second set increased the energy in the room, produced a bit of audience singalong, a revival of the single from Smile, the band that begat The Felsons, and a fun rendition of Presley's Hound Dog. Band and crowd could have gone all night, but there are limits to the time, and so we went off into the night invigorated and smiling.
All four members have gone on to further careers in music, but it was clear from the start that being back together after so long was a joy to them all (even if they were under rehearsed!). An acapella version of the Beatles' Nowhere Man provided a stunning opening before they launched into their own material. Interspersed with songs from the old days were some newer numbers. Band leader and singer/songwriter Dean Owens had written some new numbers for the occasion, and they also played a few of the tracks from his own solo albums. Although the old Felsons tunes still hold up well, it was a clear demonstration of who much Owens has progressed as a writer in the years since.
With Owens distinctive vocals, some tasty lead guitar work from Calais Brown and solid rhythm from bassist Kevin McGuire and drummer Dave Stewart they have a distinctive sound, but covering genres, part pop, part country, part rock, with clear Scots influences in there too. Owens is always amusing in his ramblings and provided plenty of laughs between numbers.
The second set increased the energy in the room, produced a bit of audience singalong, a revival of the single from Smile, the band that begat The Felsons, and a fun rendition of Presley's Hound Dog. Band and crowd could have gone all night, but there are limits to the time, and so we went off into the night invigorated and smiling.
Lau, Queens Hall
Regular readers will already be aware of my views on Lau - I'm an unreconstructed fan and have been for ten years. But that does mean I go to the gig with high expectations, and they still have to be met each time.
They were. The first set was largely given over to old favourites, and it was good to hear some choices from the back catalogue, like Unquiet Grave, that I haven't heard live for a long time. As ever the segues are clever and surprising, the musicianship of a high standard, and old favourites have been given fresh arrangements.
The second half was largely given over to new tunes and songs from the forthcoming (fifth) studio album, due out in February. Pushing in new directions, the album looks to feature a high number of songs, and electronic cleverness. Imaginative backing sounds included mewling kittens and a flock of venetian blinds taking off (or so it seemed), a wine glass acting as bell, all integrated into complex soundscapes. Morag, the demanding goddess of digital sounds, featured of course.
The night ended on the ever-moving, and sadly so relevant, Ghosts. Superb.
They were. The first set was largely given over to old favourites, and it was good to hear some choices from the back catalogue, like Unquiet Grave, that I haven't heard live for a long time. As ever the segues are clever and surprising, the musicianship of a high standard, and old favourites have been given fresh arrangements.
The second half was largely given over to new tunes and songs from the forthcoming (fifth) studio album, due out in February. Pushing in new directions, the album looks to feature a high number of songs, and electronic cleverness. Imaginative backing sounds included mewling kittens and a flock of venetian blinds taking off (or so it seemed), a wine glass acting as bell, all integrated into complex soundscapes. Morag, the demanding goddess of digital sounds, featured of course.
The night ended on the ever-moving, and sadly so relevant, Ghosts. Superb.
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