Review: Molly Burch

There’s something about The Glad Cafe’s performance space that’s particularly suited to music of the most direct nature: to artists who somehow combine qualities of force and proximity. This night, the first of these was Molly Linen, a recent arrival on the Glasgow scene. As yet, she’s released only two songs, Away and Waited Long, both of which were performed this evening. Neither would be out of place – apart from being on electric rather than acoustic guitar – on the early ’60s American folk circuit.

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Review: Trudy and the Romance

It was likely down to the Bank Holiday Monday that there was only a single audience member present as things kicked off at Broadcast last week. To their credit, openers Pretty Villain still gave it everything they had, even though they didn’t entirely come into their own until the floor began filling out a bit. A serviceable band playing on home turf, they showed occasional bits of swagger in their style but otherwise seemed the sort for whom more solid gigging would do a world of good.

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Review: Erasure

Things were going well.  A sold-out Glasgow audience was showing up in good time, eager for the live debut of World Be Gone, the first Erasure studio album to hit the UK top ten since 1997.  Openers Isgar – a touring outfit composed of members of The Swaps – provided just the right touch of low-key country brooding to keep interests piqued, with their closing number, Rage, introducing a mid-’80s Bryan Ferry vibe that proved a well-suited segue into what was to come.

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Review: Out of This World  

It’s easy to guess what kind of spectacle Mark Murphy was after in the piece which marks his return to stage work after a decade spent producing things like the closing ceremony of the Glasgow Commonwealth Games.  Out of This World is nothing if not ambitious – an attempt to transport its audience inside the head of a woman who gradually realises she is in a post-accident coma – and it’s certainly big on the visual spectacle on which large-scale outdoor events thrive.

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Review: Luke Sital-Singh with Ciaran Lavery

If anyone in Scotland is looking to mount a performance of John Cage’s 4’33” – that landmark piece celebrating the ambient sounds of an ostensibly silent space – you could do far worse than to stage it in the University of Edinburgh’s Teviot Debating Hall. As the name suggests, it’s a room built to support and amplify the spoken word: a quality which made it singularly ideal for the two softly-spoken performers who passed through it for a sitting-room-only gig last Monday night.

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