Friday night saw Admiral Fallow kick off the increasingly popular Spree Festival in Paisley, with a vastly crowd-pleasing gig in the 19th century illustrious landmark, Paisley Town Hall. Hailing from various regions of Scotland and forming in Glasgow, it’s certainly not the first time this band have played in these parts, as Joe Rattray from the band informs The Fountain.
Andrew Wasylyk, (the alias of Scottish writer, producer and multi-instrumentalist, Andrew Mitchell), a solo artist from Dundee, received a warm reception as The Fallow’s support. Cinematically dreamy in style, moving from keyboard to acoustic guitar, Andrew began with a dramatic, Bond-theme sound, surprisingly, considering who was about to headline. It certainly made for a pleasantly varied evening.
Joe Rattray, who mostly plays bass for the band, mentioned prior to the gig that Paisley is a great place to play but dissimilar to Edinburgh and Glasgow: “The Paisley gigs we have performed to date have been rather different to conventional shows. We’ve always been very lucky that previous gigs here have been held within special venues and in collaboration with exceptional talent.”
And ahead of the gig, he recollected previous concerts in the town: “The first time we played the Town Hall was with Paolo Nutini, which was five or six years ago now and then we played here again with the RSNO, at the Abbey, which was really cool.”
His thoughts on The Spree Festival lies with the diverse and refreshingly varied programme: “the Spree Festival is great, the line-up is really eclectic and there are many different disciplines going on. There is a bit of everything really.”
The Fallow were unassuming as they took their places on stage, and the local audience were by no means disappointed. Their technically precise musical skill and poetic song-writing is the crux of this Scottish ensemble, all of which makes me eagerly anticipate their new album, due for release in early 2017, which Mr Rattray alluded to. The only real ostentatious aspects of this gig were obviously the venue itself and the surreal rotating stage lights, which quite literally caught my eye.
With melancholic folk elements as well as aspects of disco synth there was no shortage of interesting compositions. This gig peaked during the band’s performance of The Paper Trench, as the Paisley crowd enthusiastically clapped to the rhythm of Phil Hague’s drum beat. Kevin’s occasional moments on the clarinet were distinct, the band finishing with a guitar led track, heavily synth infused and Sarah’s stunning vocals meant the crowd were only disappointed The Fallow did not play more.
All photos taken by Nigel Deayton of Paisley Photoshop