Glasgow
Lisa-Marie Ferla
If there was a downer during the giddy, gleeful Glasgow stop of Gossip’s recent run of shows, it was only when front woman Beth Ditto introduced the band as being “not really together but we’re here”. The dance-punk trio - joined, for this short run of reunion shows, by pre-split touring members Chris Sutton on bass and Gregg Foreman on keyboards - were made to front sweaty rooms, with Ditto in particular a gleaming vision in a sleek black wig and metallic pink dress.The occasion may have been the 10th anniversary of the band’s Rick Rubin-produced 2009 album, Music For Men - hence the huge Read more ...
Lisa-Marie Ferla
“We didn’t come all the way from Nashville, Tennessee with just one fiddle,” says Carrie Underwood, halfway through her Glasgow show. The onetime American Idol turned multiple Grammy award-winning country superstar isn’t one for doing things by halves: hers is a show with a big band, big boots, big earrings and her gigantic, arena-filling voice.Despite hints to the contrary (Guns n Roses as her entrance music; feelgood Saturday night southern party anthem “Southbound” as the opening track) a breakneck opening streak hits all the country cliche greatest hits: good girls and casanova cowboys, Read more ...
Lisa-Marie Ferla
“I appreciate the irony of me singing this in my mum jeans,” says Emmy The Great, whose five-month-old is travelling with her on this tour, before playing “We Almost Had a Baby”. Despite its jaunty little riff the song, from her 10-year-old debut album, is a desperately sad one, about a pregnancy scare.Emma-Lee Moss was in her early 20s when she wrote the songs that would become First Love and the record is a time capsule packed with broken hearts, dramatic short stories, pop culture references and the intense, deep love for this person, and that song, that feels all-consuming in one’s youth Read more ...
Lisa-Marie Ferla
At its best, the music of Glasgow band Honeyblood often sounded like a girl gang you weren’t cool enough to be a part of - making the news that singer-guitarist Stina Tweeddale had split with drummer Cat Myers and recast the name as that of a solo project an intriguing prospect. The Honeyblood of In Plain Sight is no less raucous than that of the previous two albums under the name, with a cast of skilled - if anonymous - musicians and US indie super-producer John Congleton on hand to deliver Tweeddale’s garage rock visions. If the result is a little more focused, a little less charming - well Read more ...
Adam Sweeting
Writer Dan Sefton’s four-part hospital drama reached a modestly satisfying conclusion as the phantom killer stalking the wards was finally unmasked, following the usual twists and misdirections obligatory in thrillerland. I felt quite pleased with myself for guessing the perp’s identity in advance, but only by boiling it down to a formula – find a reasonably prominent character who hasn’t really done very much so far, and it’s a good bet they’ll show their hand for the denouement.Overall, there was a lurking sense that despite some strong characters and a sinister setting in a gloomy old Read more ...
Lisa-Marie Ferla
In an alternate timeline, Olly Murs - runner-up on a TV talent show a full decade ago - would have faded into obscurity by now. This, as the relentlessly charming performer on stage delights in reminding us, is not that timeline. Some internet commenter remarked, on the release of his first single “Please Don’t Let Me Go”, that it was what Murs would be telling his record company after they dropped him. “Well,” he says, with a gesture a little too rude for the kids in the audience, “I’m still here!”That’s Murs all over: a little lewd, very cheeky, perhaps the personification of the "Lord, Read more ...
Adam Sweeting
It was the fabled Nashville songwriter Harlan Howard who commented that country music is “three chords and the truth”. Rose-Lynn, the protagonist of Wild Rose, just happens to have the surname Harlan, and she has the “three chords” motto tattooed on her forearm. Singing country music is the only thing that has meaning for Rose-Lynn, a bossy, brassy 24-year-old Glaswegian single mother fixated on her dream of moving to Nashville and making a career in music. Only snag is, she has managed to blank out the whole motherhood aspect of the equation, and if she’s given it any thought at all Read more ...
Veronica Lee
Ed Gamble starts the hour by telling us why his latest show is called Blizzard; he and a bunch of comic friends we stranded in New York by bad weather and it made the news - yet, strangely, the headline wasn’t a play on his name - a gift for hacks - but on the monicker of one of his mates. Cue faux outrage.Gamble is too nice a guy to really mind someone else getting the spotlight - in fact he namechecks the other comics on the ill-fated trip - and the excellent audience work he does attests to an easygoing style that firmly underpins his personal, observational comedy.A large part of the show Read more ...
Lisa-Marie Ferla
The disappearance of a band for a while calls for a re-set. A reminder, perhaps, of why you fell for them in the first place. "[10 Good Reasons for Modern Drugs]", the four minutes of minor-key chaos that opens the new album from The Twilight Sad, is exactly that reminder: a title written by a computer programme, a sound like an air raid siren, and James Graham’s raw, tender, aching voice, screaming “I see the cracks all start to show” in a tone at once unhinged and pure.It Won/t Be Like This All The Time arrives with its own mythology, the band’s staggeringly intimate records and live Read more ...
Barney Harsent
Following on from last year’s blistering blast of conviction, Every Country’s Sun, it’s tempting to view Mogwai’s latest offering – the soundtrack to a new sci-fi action drama from the producers of Stranger Things – as a continuation of this return to form. There are, however, a couple of problems with this view. Firstly, it’s not strictly speaking a return to form. Mogwai are a band who have rarely, if ever, put a foot wrong in their 23-year career. From 95’s Mogwai Young Team onwards, their career has been defined by deft assurance in their compelling and singular vision. It’s hard to Read more ...
Miranda Heggie
It’s 25 years since Tchaikovsky’s Eugene Onegin last came to the Scottish Opera stage, and this brand new production, directed by Oliver Mears, DIrector of Opera at The Royal Opera, gives the stirring score a stately yet elusive grandeur. Based on Alexander Pushkin’s verse-novel of the same name, this tale of unrequited love set against the trappings of class and duty is rooted well within the literary and musical traditions of 19th century Russia, yet easy to immerse oneself in today.The story is told within the context of female lead Tatyana’s memories from days gone by. Dancer, Read more ...
Miranda Heggie
"The Show must go on". So say the posters dotted around Glasgow and Edinburgh for Scottish Opera's production of Richard Strauss's Ariadne auf Naxos. Except on Thursday, it didn’t. A fire at a nearby Glasgow nightclub which ravaged several city centre buildings caused the Theatre Royal to become so filled with smoke that the opening night’s performance had to be cancelled. Opening instead on Saturday, director and designer Antony McDonald’s new production, co-produced by Scottish Opera and Opera Holland Park, is witty and slick, with an unfussy stage design that nods to the period but has a Read more ...