Music

Review: John Smith Rating 90%

Review: John Smith

I knew this gig would be a sedate affair after I overheard three people ordering Merlot at the bar when I arrived at the Caves. Merlot! At a gig? I ask you. And, for context, it’s important to say that I had had a long day, and that was before I walked through the tail end of a hurricane to get to the gig. Maybe a little part of me was wishing myself back home in my PJs watching W1A.

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Review: Frightened Rabbit with the RSNO, The Spree 2017 Rating 76%

Review: Frightened Rabbit with the RSNO, The Spree 2017

Paisley Abbey was one of the highlights of the evening, as you entered the warmly elaborate setting, waiting being wowed by a unique one-off set from Selkirk’s Frightened Rabbit playing in conjunction with the Royal Scottish National Orchestra. The stunning venue was one of the draws for this headlining Spree gig, as the Scottish headliners indulged fans with a mix of old favourites and one (at least) never-heard-before track.

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Review: A Musical Tapestry, The Spree 2017 Rating 64%

Review: A Musical Tapestry, The Spree 2017

The opening of Paisley’s Spree Festival this year, the year of them being in the limelight with their City of Culture 2021 bid being launched and their shortlist, was an intricate forging and weaving of cultures, honing in on the theme for 2017’s festival, friendship. The town, renowned for its mill industry and Paisley Pattern celebrated its link with India by hosting an event which saw musical cultures intertwine with richness in its very own pop-up Spiegeltent.

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Review: Siv Jakobsen, Paul Thomas Saunders, Sivu & Fenne Lily Rating 80%

Review: Siv Jakobsen, Paul Thomas Saunders, Sivu & Fenne Lily

This performance at the CCA’s wonderful theatre space saw four young musicians who occupy the folk-ish, acoustic space in the musical spectrum gracing Glasgow for an oddly democratic tour; the promoter tells me in advance that the running order isn’t decided until the night on each date, with a loose rotation occurring to give everyone an equal share of the limelight. It’s a minor touch and while it might seem like independent musicians should always be this kind and ego-less, it is nonetheless a pleasant introduction to the vibe of the evening before I even set foot in the venue.

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Review: Tori Amos Rating 73%

Review: Tori Amos

Wistful, eccentric, the musician that will time and time again impress with her sheer commitment and hard work, Tori Amos, took to the stage of the O2 Academy in Glasgow, to play a barrage of requests with barely a breather and promote the new album, Native Invader, which came out on 8th September on Decca Records.

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Review: Denai Moore Rating 68%

Review: Denai Moore

Having little to no background knowledge about songstress, Denai Moore, I headed to Glasgow’s Stereo in the heart of the city’s centre for an evening of soulful music about anxiety, an almost parting gift to her demons, with an anticipated layer of discord. With a band of five, she held the stage, playing to a half-full venue, finding her voice at the very end of her tour.

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Review: Meadowlark Rating 70%

Review: Meadowlark

There are few enough people gathered at the stage to watch Meadowlark at any given point during their set that I find myself keeping a headcount. At its busiest there are 33, though the number fluctuates depending on who needs another drink and whether someone decided pause for a moment on their way back or forth to the toilet, located stage left. Suffice to say, The Record Factory is an awkward venue that encourages a distracted kind of listening. The stage, where Bristol-based Kate McGill and Daniel Broadley stand in small pocket of darkness lit only by an array of those exposed filament bulbs you get in upmarket cafes, occupies a small alcove to the side of the room filled with chairs, tables, benches and sofas. To the patrons reclined in leather seats at the far end of the space, who presumably paid to be here, the live music we’re enjoying seems like an afterthought. 

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