So, Meursault just celebrated ten years since their first album release, Pissing on Bonfires/Kissing with Tongues. On this ‘Small Stretch of Land’ we call Scotland, why the f**k, have more folk not heard of this outstanding home-grown talent!?
Performing to a packed crowd at Edinburgh’s Summerhall, supported by an ensemble of local talent, Neil Pennycook’s poetic story-telling, weaves a mesmerizing mesh of electronic folk rock, cast over a captivated crowd.
Leith band, Eagleowl, kicked the evening off, silencing the room with their melodies whilst the last few patches of floor space were claimed. Clarissa on bass, Malcolm on violin, warmly accompanying Bart Owl’s distinctive, velvety vocals, likened to Elvis Costello and Van Morrison. Eagleowl are a staple on the Edinburgh gig circuit, growing in popularity, this talented trio produce some beautiful music. Often accompanying other local acts such as Withered Hand or Kid Canaveral. Eagleowl are well worth a listen.
After a brief intermission, Pennycook humbly took his place on stage; the crowd applauded his appearance, nostalgically swaying, eagerly awaiting the magic of Pennycooks’ art. The evening plays witness to him switching smoothly between instruments, accompanying his instantly-recognizable vocals.
Meursault classics such as A Few Kind Words and The Furnace were passionately projected out, while the crowd absorbed the essence of every echo. The emotion with which Pennycook performs is intoxicating; his lyrical subtleties and genius discord resonate deep with those who choose to listen, hence a packed-out gig and a healthy queue at the merch stall. The evening was over too soon, the ninety-minute set flew by without any major glitches, and the only heckling was good-natured in both directions.
Meursault concluded the evening with a rendition of Red Candle Bulb, a Withered Hand song, inviting singer Dan Willson on stage to accompany him. Eagleowl also made one last appearance to provide backing vocals, finishing the evening off with a group bow, the crowd roared with applause, their spirits joyfully lifted. Here’s to the next ten years of Meursault, bravo!
I am genuinely befuddled that Meursault have kept such a low profile, a Mercury Prize nomination for this fine band would not surprise me in the slightest.
Pissing on Bonfires/Kissing with Tongues, was initially self-released in 2008, re-released on the Edinburgh based independent label, Song by Toad, in 2009.
For more on Meursault and their forthcoming gigs click here