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GLASGOW & EDINBURGH EVENTS GUIDE 1 SEP–31 OCT 2018 | ISSUE 750 LIST.CO.UK

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www.ticketmaster.co.uk

KACEY MUSGRAVES oh, what a world: tour

plus special guest

plus very special guests

2/11/18

Martha Reeves & The Vandellas

GLASGOW ARMADILLO

WWW.KACEYMUSGRAVES.COM

A REGULAR MUSIC PRESENTATION IN ASSOCIATION WITH CAA

TICKETMASTER.CO.UK 0844 844 0444 TICKETS SCOTLAND

8 December Glasgow

M O N D AY 2 2 O C T O B E R

GLASGOW THE SSE HYDRO TICKETS: AEGPRESENTS.CO.UK | AXS.COM davidbyrne.com

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A E G P R E S E N T S & R E G U L A R M U S I C I N A S S O C I AT I O N W I T H W M E

OCEANCOLOURSCENE.COM REGULAR MUSIC BY ARRANGEMENT WITH PRIMARY TALENT INTERNATIONAL PRESENTS

St. Paul & The Broken Bones

plus special guests

plus special guests

10TH ANNIVERSARY TOUR PLUS SPECIAL GUESTS

Friday 14 December

Glasgow Barrowland

Friday 16th November

Glasgow Barrowland

M A D E L E I NE PEYROUX

Wednesday 21 November

Liquid Room Edinburgh Thursday 22 November

O2 Academy Glasgow

GLASVEGAS.NET

BY ARRANGEMENT WITH NEIL O’BRIEN ENTERTAINMENT

STONE FOUNDATION plus special guest

PLUS SPECIAL GUESTS

SUNDAY 2 5 TH NOVEMB ER ED INBU R GH F E ST I VA L T H E AT R E

0131 529 6000 / CAPITALTHEATRES.COM TICKETS SCOTLAND

Thursday 15 November

NEW ALBUM A NTH E M OUT NOW

GLASGOW Oran Mor

W W W. M A D E L E I N E P E Y R O UX .C O M

SUN 16 SEPT GLASGOW ROYAL CONCERT HALL

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SUN 25 NOV 2018

GLASGOW SEC ARMADILLO

THEHUMANLEAGUE.CO.UK

the +SPECIAL GUESTS PLUS SPECIAL GUESTS

LIVE www.eden-court.co.uk

GLASGOW ORAN MOR

BY ARRANGEMENT WITH CAA

Willy Mason

PLUS SPECIAL GUESTS

Thursday 01 November

EDINBURGH

Voodoo Rooms

BY ARRANGEMENT WITH ITB

GLASGOW Glad Cafe

SAT 22 DEC

GLASGOW QMU

SATURDAY 15 DECEMBER

GLASGOW ORAN MOR

PHOTO: JUDE PALMER

WED 5 SEPT BOX OFFICE: 01463 234 234

FRI 2ND NOV

on the second day of winter

+ SPECIAL GUESTS

HOTHOUSE MULL FLOWERS HISTORICAL SOCIETY plus special guests

plus special guests

Friday 21 Sept

EDINBURGH

SUN 16 Sept plus special guests Glasgow Oran Mor Wednesday 17 October MON 17 Sept Edinburgh Voodoo Rooms Glasgow ORAN MOR

tues 6 nov

glasgow qmu

ALL TICKETS: 0844 844 0444 / www.ticketmaster.co.uk Ticket Scotland Glasgow/Edinburgh & Ripping Edinburgh and usual outlets

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Pleasance

Friday 5 October 2018

EDINBURGH Queens Hall 0131 668 2019 This show is strictly for ages 14+, no exceptions. Under 14’s will not be admitted under any circumstances, even if accompanied by an adult.

regularmusic.com

regularmusicltd

Celebrating the 30th Anniversary of their debut album and playing the album in full

Thursday 8 November

GL ASGOW QMU

BY ARRANGEMENT WITH ART & INDUSTRY

regularmusicuk

23/08/2018 18:36

CONTENTS 1 SEP–31 OCT 2018 | LIST.CO.UK

W

e might be coming to the end of summer but it's safe to say that it really has been a phenomenal festival season. If, like us, you're already dreading the cold mornings and dark nights, just remember that the best time of the year (i.e. Halloween) is right around the corner. We're excited about Samhuinn, the return of the Festival of the Dead in Edinburgh and Glasgow and all the spooky goings-on at Lauriston Castle (page 50). Plus, there are some excellent reasons to head out and about this month, no matter how tempting it is to stay warm and cosy at home.

The Take One Action! Film Festival is back (page 26), as is Africa in Motion (page 61), the Document Human Rights Film Festival (page 36) and the Glasgow Youth Film Festival (page 38), all of which have wonderful and inspiring programmes. We also catch up with Kathryn Joseph (page 34) ahead of her upcoming tour and Song, By Toad's Matthew Young (page 41) about the label's 10th birthday. And students, don't forget to check out our 2018 Student Guide (page 103) which features all our top tips for eating, drinking, shopping, going out and lots more. Our next issue is out on 1 Nov, where we'll be announcing this year's countdown of our favourite cultural movers and shakers in Scotland. In the meantime, turn to page 96 to find out more about how you can join us to celebrate at our annual Hot 100 party.

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GLASGOW & EDINBURGH EVENTS GUIDE 1 SEP–31 OCT 2018 | ISSUE 750 LIST.CO.UK

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COVER STORY

c atr THE LIST CELEBRATES 750 ISSUES We've reached a pretty big milestone, so naturally we're celebrating. This issue's cover is a reworked version of the first ever List cover from 1985. Plus, co-founder Robin Hodge has trawled through our archives to pick some of the most memorable cover stars from that first issue until the present day, which feature the likes of Annie Lennox, Shirley Manson and Young Fathers.

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FOOD & DRINK

From cracking cinema deals to cheap eats, our Student Guide has got you covered. Read about all the delights that Glasgow and Edinburgh have to offer, as well as advice and top tips in theatre, music, visual art and more.

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Nanika

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AROUND TOWN

Win a free full-term course at Dance Base 10

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Win a £250 gift card for Vapiano

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Win tickets to Museum Late: Rip it Up

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Win tickets to the Spirits of Scone Halloween Fright Fest at Scone Palace 11

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BOOKS

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Bloody Scotland

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Kate Atkinson

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Highlights

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COMEDY

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Rachel Parris

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Dylan Moran

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Africa in Motion

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American Animals

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Faces Places

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KIDS

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Tiger Tale

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MUSIC

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Lovely Eggs

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Teenage Fanclub

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Beta Waves

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Cat Power

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Cyrano de Bergerac

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Scotties

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Richard Alston Dance Company

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VISUAL ART

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Banksy at the Arches

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COVER ILLUSTRATION: LUCY MUNRO

STUDENT GUIDE 2018

The annual film festival returns with a dedicated Sisters strand, focusing on stories of women's empowerment. We chat to Executive Director Tamara Van Strijthem and Naila Ayesh, the main protagonist of closing film Naila and the Uprising.

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CONTRIBUTORS

What we’ve been talking about As we proudly celebrate The List’s 750th issue, what else was going on in the cultural life of Scotland and beyond in the glorious year of 1985?

Max Headroom makes his heavily sarcastic computer-generated debut on Channel 4 Oliver Sacks becomes a sensation in the world of neurology when The Man Who Mistook His Wife for a Hat is published Live Aid takes place in London and Philadelphia raising over £50m for Ethiopia while simultaneously saving a few ailing music careers Little Sparta creator Ian Hamilton Finlay is nominated for the Turner Prize EastEnders begins the march to misery with its BBC debut Jeanette Winterson’s Oranges Are Not the Only Fruit is published,

later to receive a TV adaptation that has ‘morality watchdog’ Mary Whitehouse getting her knickers in a right twist A memorial to Hugh MacDiarmid is unveiled near his home at Langholm Everyone starts stocking up for the apocalypse when BBC2 screens nuclear war docudrama Threads The Jesus and Mary Chain release Psychocandy and play a troubled gig at North London Poly which erupts into violence Shakin’ Stevens takes the coveted Christmas number one slot with ‘Merry Christmas Everyone’ beating off stiff competition from

Bruce Springsteen, Paul McCartney and Orville the Duck

Born In The USA and Phil Collins’ No Jacket Required

Amadeus sweeps the board at the Oscars taking eight gongs away on the night while Sylvester Stallone is similarly dominant at the Golden Raspberry Awards thanks to his work on Rambo: First Blood Part II and Rocky IV

Roland Rat makes a high-profile transfer from ITV to the Beeb

BBC2 has its highest ever ratings of 18.5m viewers as the World Snooker Final between Dennis ‘Funny Glasses’ Taylor and Steve ‘Interesting’ Davis reaches its dramatic finale in the early hours The Smiths’ Meat Is Murder reaches the top of the UK album charts for one week, squeezed between Springsteen’s

The 100th Scottish Cup Final takes place with Celtic beating Dundee United 2–1 Studio Ghibli is founded in Tokyo After the notorious success of The Wasp Factory, Iain Banks publishes his second novel, Walking on Glass Super Mario Bros is unleashed upon the gaming world Some future stars are born in ’85: Dizzee Rascal, Lily Allen, Eleanor Catton, Keira Knightley, Carey Mulligan

1985

CONTENT Editor Arusa Qureshi Head of Digital Media Scott Henderson Deputy Content Manager Murray Robertson Senior Content Producer Alex Johnston Content Producers Deborah Chu, Katharine Gemmell, Sofia Matias, Henry Northmore Subeditors Kenza Marland, Paul McLean SECTION EDITORS Books Lynsey May Comedy / Front Brian Donaldson Dance / Kids Kelly Apter Film Reviews Emma Simmonds Food & Drink Donald Reid Music: Gigs / TV Henry Northmore Music: New Releases Arusa Qureshi News Katharine Gemmell Student Guide Rebecca Monks Theatre Gareth K Vile Visual Art Rachael Cloughton PRODUCTION Senior Designer Lucy Munro Designers Stuart Polson, Seonaid Rafferty DIGITAL Senior Developer Andy Carmichael Senior Designer Sharon Irish Data Developers Andy Bowles, Alan Miller, Stuart Moir COMMERCIAL Digital Business Development Director Brendan Miles Partnership Director Sheri Friers Senior Events and Promotions Manager Rachel Cree Senior Account Managers Paul Murphie, Debbie Thomson Account Managers Ross Foley, Jakob Van den Berg Ad Ops Executive Victoria Parker Affiliate Content Executive Becki Crossley Events and Promotions Assistant Amy Clark, Maria Panagiotopoulou ADMINISTRATION Head of Accounting & HR Sarah Reddie Director Robin Hodge CEO Simon Dessain

Published by The List Ltd HEAD OFFICE: 14 High Street, Edinburgh EH1 1TE Tel: 0131 550 3050 editor@list.co.uk GLASGOW OFFICE: at the CCA, 350 Sauchiehall Street, Glasgow G2 3JD Tel: 0141 332 9929, glasgow@list.co.uk; list.co.uk ISSN: 0959 - 1915 © 2018 The List Ltd. Reproduction in whole or in part is forbidden without the written permission of the publishers. The List does not accept responsibility for unsolicited material.

The List provides this content in good faith but no guarantee or representation is given that the content is accurate, complete or up-to-date.

Use of magazine content is at your own risk.

Printed by Acorn Web Offset Ltd, W.Yorkshire.

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October

PAISLEY 12-20 Black Sabbath’s

Martha Reeves Tony Iommi in Conversation with Phil Alexander:

& The Vandellas A Life in Music London African Gospel Choir perform Graceland

the orb Big Minds Gang Gang of of Four Four Tracyanne & Danny The Pastels ex Kraftwerk

Aidan Moffat & RM Hubbert Wolfgang Flür Vieux Farka Touré

The Wandering Hearts

The Leisure Society Duke Special

MOD DAY

THE PAISLEY CONNECTION WITH GILLEBRÌDE MACMILLAN ComedY WITH: Des Clarke THE NATIONAL WHISKY FESTIVAL www.thespree.co.uk

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Janey Godley Stuart Mitchell WEE SPREE KIDS SHOWS

/thespreefestival

@spreefestival

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2 Cyrano de Bergerac THEATRE

Edmond Rostand’s late 19th-century French classic gets the NTS treatment in a co-production with the Citizens and Royal Lyceum, with Brian Ferguson (pictured) in the lead role. See preview, page 89.

Tramway, Glasgow, Sat 1–Sat 22 Sep, Royal Lyceum Theatre, Edinburgh, Fri 12 Oct–Sat 3 Nov.

PHOTO: STEPHANIE GIBSON

1 V&A DUNDEE VISUAL ART

It may have been a very (very) long time coming, but at long last those doors of the V&A Dundee will be flung open to the public, marking an extraordinary moment in Scotland’s contemporary cultural life.

To kick things off with a real bang, the 3D Festival takes place over the opening weekend in Slessor Gardens’ new open-air gig space with Primal Scream as headline act in collaboration with artist Jim Lambie. See feature, page 28. V&A Dundee, Sat 15 Sep.

3 Song, by Toad MUSIC

The indie label with alumni including Jonnie Common and Siobhan Wilson (pictured, middle) reaches its tenth birthday, and to mark the event, a series of gigs will be occurring between now and the end of the year. See feature, page 41. Leith Depot, Edinburgh, Fri 28 Sep.

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So much culture, so little time.

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4 Rachel Parris

5 Bloody Scotland

The Austentatious co-founder and heavily satirical correspondent on The Mash Report delivers songs, stand-up and sketchy stuff in a touring show that is both personal and political. See preview, page 57. The Stand, Edinburgh, Wed 26 Sep; Òran Mór, Glasgow, Thu 27 Sep.

Stirling prepares to shed some literary blood with a weekend of bookish events dedicated to the crime genre, featuring authors such as Stuart MacBride, Ann Cleeves and Irvine Welsh (pictured). See preview, page 53.

Various venues, Stirling, Fri 21–Sun 23 Sep.

COMEDY

BOOKS

For many, Alston is the founding father of British contemporary dance, and here his company present four works (two new, two old), previously unseen by a Scottish audience. See preview, page 93. Edinburgh Festival Theatre, Thu 20 & Fri 21 Sep.

PHOTO: BRIAN HARTLEY

PHOTO: CHRIS NASH

Alston 6 Richard Dance Company DANCE

7 Take One Action

8 Barrowland Ballet

9 American Animals

Annual film fest which seeks to inspire people to make change in the world, features movies about lands being swallowed by the sea, the USA’s first Somali Muslim woman elected to office and more. See feature, page 26.

Various venues, Edinburgh & Glasgow, Wed 12–Sun 23 Sep.

Natasha Gilmore’s contemporary dance company unleash three tigerbased shows into the public arena, aimed at different age groups but which share sensory elements and have audiences who are up close to the action. See preview, page 68.

Platform, Glasgow, Fri 21 Sep.

British filmmaker Bart Layton merges documentary and drama together for a spellbinding look at the events which led to a library heist in 2004, and which is told from varying viewpoints. See review, page 63. General release from Fri 7 Sep.

FILM

KIDS

FILM

PHOTO: MAX RAGNI KISS DESIGN AND PHOTOGRAPHY

10 Our Linen Stories

CHOSEN BY STORYTELLER CLAIRE MCNICOL

This Kirkcaldy exhibition captures the zeitgeist of our times in that it is both completely committed to celebrating local people’s stories connected to the theme of linen and is also very international. The exhibition recently visited Portugal and will travel to Picardy, the region in France where flax is still grown today. The theme of the exhibition alters a little at each new location as a way of celebrating the local: Murdo Eason from Fife Psychogeographical Collective will lead a walk through the ‘Lang Toun’ and Fife artist Lorna Brown will present Designer Table Talk.

Curator and former GP, John Ennis, will be at Kirkcaldy market as a prelude to the exhibition opening. This formula has proven to be an excellent means of capturing little gems of local connection and I’m very much looking forward to seeing what threads of connection will unspool in Kirkcaldy soon. Tiny Tales: Into the Garden, Scottish Storytelling Centre, Edinburgh, Tue 11 Sep; Our Linen Exhibition, Merchants House, Kirkcaldy, Thu 6–Sun 9 Sep. 1 Sep–31 Oct 2018 THE LIST 7

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R E B O T C O

Bourne’s 1 Matthew Swan Lake DANCE

Thrilling, daring, funny and sad, Matthew Bourne’s Swan Lake is perhaps still best known for replacing the female corps-de-ballet with a male ensemble, a move which only went and took the dance world by storm. With Lez Brotherston on set and costume duties and Paule Constable on lighting, you’re in for a visual extravaganza.

Edinburgh Festival Theatre, Tue 16–Sat 20 Oct.

PHOTO: DONALD MILNE

PHOTO: MATT CROCKETT

2 Sara Pascoe

3 Teenage Fanclub

With LadsLadsLads, Pascoe goes on a personal journey to reflect on her break-up with fellow comedian John Robins, while reflecting more broadly on the state of this mad ole world. See preview, page 58. Macrobert Arts Centre, Stirling, Sat 20 Oct; Tramway, Glasgow, Sun 21 Oct.

Norman Blake and co recreate their sublime Creation years across three gigs.

With the shock announcement that founding member Gerry Love is to leave the band after almost 30 years, this is one of the last chances to catch him with the Fannies. See feature, page 74. Barrowland, Glasgow, Mon 29–Wed 31 Oct.

COMEDY

MUSIC

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4 Document Human Rights Film Festival

5 Children’s Classic Concerts

6 Ballyturk

In Owen and Olly’s Children’s Classic Concert swansong, Broomstick Ride features a Halloweenbased selection of music, mirth and mayhem. See preview, page 69. Royal Concert Hall, Glasgow, Sat 27 Oct; Usher Hall, Edinburgh, Sun 28 Oct.

Andy Arnold directs Enda Walsh’s meditation on existence and its all-consuming brevity as two men wonder what might be outside of the four walls they inhabit. See preview, page 90. Tron Theatre, Glasgow, Thu 4–Sat 20 Oct.

7 Africa in Motion

8 Little Drummer Girl

9 Banksy

Now in its 13th year, Africa in Motion brings us more cinematic treats in a festival that is truly getting bigger and better every year. See preview, page 75. Various venues, nationwide, Fri 26 Oct– Sun 4 Nov.

From the folk who brought you The Night Manager comes another John le Carré adaptation, this time starring Florence Pugh and Alexander Skarsgård, and directed by Park Chan-wook. See preview, page 100. BBC One, date tbc.

Restoration is underway on three murals by shadowy graffiti guru Banksy but the project is already dividing opinion among Glasgow’s creative community. See preview, page 97. Argyle St Arches, Glasgow.

FILM

Festival profiling issues outside of the mainstream, showcasing reportage, cinematic essays, investigative journalism and more. See feature, page 36. CCA, Glasgow, Thu 18–Sun 21 Oct.

KIDS

THEATRE

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TV

VISUAL ART

10 Enterteasement

CHOSEN BY COMEDIAN MICHAEL REDMOND

Over three years ago, I made my approach to the Admiral Bar in Waterloo Street in Glasgow city centre with a degree of trepidation. My sense of foreboding was increased because it was a dark, dank, rain-swept night in Glasgow in the middle of November. I had been booked to appear at the Enterteasement Club. This place is totally unique in Glasgow in that the bill is a mixture of magicians, burlesque dancers and comedians.

The reason for my trepidation was because I thought comedy and burlesque couldn’t possibly mix together, and that it would be really difficult for a comedian to follow a burlesque act. But that is not the case at all. I have performed there two or three times since and it has always been a fantastic night. The audience, who have been built up over the years by Chris Dinwoodie who founded the club, are amazingly responsive and supportive of all the acts. Enterteasement Club, Glasgow, Sat 13 Oct (featuring comedians Jay Lafferty and Ro Campbell); Michael Redmond’s Sunday Service, The Stand, Glasgow, Sun 2, 9, 16, 23 Sep, 14 Oct. 1 Sep–31 Oct 2018 THE LIST 9

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READER OFFERS WIN A FREE FULL-TERM COURSE AT DANCE BASE

WIN TICKETS TO EDINBURGH ART FAIR 2018

The List, in association with Arte in Europa, are offering you the chance to win a pair of tickets to the Edinburgh Art Fair 2018.

The List have teamed up with Dance Base to offer one lucky reader the chance to win a full-term course of their choosing during the 2018 Autumn / 2019 Spring term.

Want to keep warm this winter? How about dancing your way through the frosty months at Edinburgh’s home of dance? Celebrate dance and choose a free course that you, or your children, have always wanted to try or brush up on.

Whether you fancy ballroom, West African dance (featuring live drumming), breakdance, aerial, Irish dance or a movement and sensory class with the little ones, Dance Base has it all.

To be in with a chance of winning, simply log onto list.co.uk/offers and tell us:

Does Dance Base include live drumming in their West African dance classes?

Dance Base 14-16 Grassmarket Edinburgh EH1 2JU

dancebase.co.uk

Renewing their relationship with headline sponsors BTO Solicitors, Edinburgh Art Fair returns to the city’s Corn Exchange this November with 60+ galleries and thousands of artworks from over 500 emerging and established artists.

The Fair lives by its slogan ‘Art for Everyone!’ and is a family friendly event running a crèche and hosting various activities, talks and demonstrations.

With paintings, prints, sculpture, photography, glassware and ceramics for sale, you’ll surely find something that you love. Galleries from South Korea and China will join exhibitors from the UK and Europe to give EAF2018 a truly international flavour.

To be in with a chance of winning, simply log onto list.co.uk/offers and tell us:

Who is the Headline Sponsor of the Edinburgh Art Fair?

EAF2018 Fri 23 – Sun 25 Nov 2018 Edinburgh Corn Exchange New Market Road Edinburgh EH14 1RJ

artedinburgh.com

Art for Everyone!

EAF2018

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Edinburgh Art Fair

TERMS & CONDITIONS: Competition closes Mon 17 Sep 2018. Subject to availability.

Non-transferable and no cash alternative. The List’s usual rules apply.

TERMS & CONDITIONS: Competition closes Fri 2 Nov 2018. No cash alternative.

The List’s usual rules apply.

WIN A BOTTLE OF JACK DANIEL’S TENNESSEE FIRE WITH SHOT GLASSES

WIN TICKETS TO KNIGHT AT THE CASTLE

For one night only, Edinburgh Castle will transform into the hottest (k)night club in town with a carnival of music, street magic, spoken word, neon activities and a chance to discover the castle’s secrets and stories after hours. You do NOT want to miss this.

The List have partnered with Jack Daniel’s Tennessee Fire to offer you the chance to win a bottle of Jack Fire along with 4 branded shot glasses to help you kick start Fresher’s week.

Jack Daniel’s Tennessee Fire is a delicious, complex Jack. It delivers the smooth character of Jack Daniel’s Tennessee Whiskey with the fiery yet smooth finish of cinnamon. Jack Daniel’s Tennessee Fire is best enjoyed chilled or you can mix it up in a Spiced Apple Fizz (50ml Jack Fire, cubed ice, sparkling apple in a high ball glass garnished with an apple wedge).

To be in with a chance of winning, just log onto list.co.uk/offers and tell us:

What is the main flavour you taste in Jack Daniel’s Tennessee Fire?

Jack Daniel’s Tennessee Fire @JackDanielsUK

jackdaniels.com TERMS & CONDITIONS: Competition closes Mon 1 Oct 2018. Entrants must be over 18.

The List’s usual rules apply.

CONFIRMED LINEUP | West Princes | Be Charlotte | Magic Festival Adam Black and Elliot Bibby | And loads more to be announced...

The List have proudly partnered with Historic Environment Scotland to co-curate this event along with Young Scot, Edinburgh Napier University, Impact Arts and Scotland’s Urban Past as part of Year of Young People 2018.

To be in with a chance of winning, simply log onto list.co.uk/offers and tell us:

Who will be performing at Knight at the Castle?

Knight at the Castle Fri 5 Oct 2018 7–10pm Edinburgh Castle Tickets £15 (£12) *18+ event with challenge 25 policy in place edinburghcastle.scot/knight #KnightAtTheCastle #YOYP2018 TERMS & CONDITIONS: Competition closes Sun 30 Sep 2018. Tickets cannot be exchanged.

Tickets will be sent to winner. Entrants must be over 18. Challenge 25 policy will be in place.

The List’s usual rules apply.

10 THE LIST 1 Sep–31 Oct 2018

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READER OFFERS WIN TICKETS TO THE SPIRITS OF SCONE HALLOWEEN FRIGHT-FEST AT SCONE PALACE

The List are teaming up with Scone Palace to offer readers the chance to win tickets to their Spirits of Scone Halloween Fright-Fest. Are you brave enough?

Round up your fearless friends and make your way to the Spirits of Scone Halloween Fright-Fest at Scone Palace. You will be truly terrified as you make your way around the dark and haunted grounds where grizzly ghouls and spirits are lurking around every corner. Just wait till you reach the Maze of Nightmares; you made it in, but will they let you escape?

Why not top up your spirit fuel at the Fright Night Cafe where you can feed your face with a big juicy burger and toast your monster marshmallows over hell’s firepit before washing it all down with something warming!

To be in with a chance of winning, just log onto list.co.uk/offers and tell us:

When is the Spirits of Scone Halloween Fright-Fest taking place?

Spirits of Scone Halloween Fright-Fest Thu 25 – Wed 31 Oct 2018 Scone Palace Perth PH2 6BD scone-palace.co.uk

WIN TICKETS TO A CHRISTMAS CAROL

The List are teaming up with the Citizens Theatre to offer one lucky winner a pair of tickets to see A Christmas Carol.

This bold, theatrical adaptation from the Citizens Theatre captures the original heart of Charles Dickens’ famous tale. Ebenezer Scrooge is a notoriously bitter old man who is determined not to let Christmas interfere with his miserly routine. But one Christmas Eve, Scrooge receives some unexpected supernatural visitors who are determined to show him the error of his ways.

To be in with a chance of winning, just log onto list.co.uk/offers and tell us:

On what night is Ebenezer Scrooge visited by his supernatural guests?

A Christmas Carol Tue 4 Dec – Sun 6 Jan Tramway 25 Albert Drive Glasgow G41 2PE Tickets vary from £12.50–£26.50 (concessions available)

citz.co.uk

TERMS & CONDITIONS: Competition closes Wed 17 Oct 2018. See scone-palace.co.uk/whats-on/ spirits-scone for full details. Usual List rules apply.

TERMS & CONDITIONS: Competition closes Mon 26 Nov 2018. There is no cash alternative.

Subject to availability. Gold performances excluded. The List’s usual rules apply.

WIN A £250 GIFT CARD FOR VAPIANO

WIN TICKETS TO MUSEUM LATE: RIP IT UP

The List have teamed up with the National Museum of Scotland, to offer you the chance to win a pair of tickets to Museum Lates.

The List have partnered up with Vapiano to offer you the chance to win a £250 gift card to use at any of their UK restaurants.

We all know carbs are good, especially if you exercise (Eat Pasta Run Faster and all that!), so Vapiano are giving away two £250 gift cards to keep you well fed.

Choose between fresh handmade products like pasta (10 different shapes) and pizza, cooked to order, exactly as you like it. Extra fresh chilli? Sure. No garlic?

No problem. Vegan and halal options a plenty. What are you waiting for?

To be in with a chance of winning, simply log onto list.co.uk/offers and tell us:

How many different shapes of pasta can you get at Vapiano?

Vapiano (Glasgow) 235 Buchanan Street Glasgow G1 2NG Vapiano (Edinburgh) 7 South St David Street Edinburgh EH2 2BD

vapiano.co.uk TERMS & CONDITIONS: Competition closes Wed 31 Oct 2018. No cash alternative.

The List’s usual rules apply.

The legendary Museum Lates returns on Fri 16 Nov, offering a not-to-bemissed evening of entertainment set against the inspiring backdrop of the National Museum of Scotland.

Enjoy a Rip It Up-themed extravaganza with live music from The Pastels and Sacred Paws, pop-up bars and a last chance to see our major exhibition Rip It Up: The Story of Scottish Pop which closes on Sun 25 Nov. Soak up the atmosphere in the Grand Gallery and take the chance to explore the National Museum of Scotland at night.

To be in with a chance of winning, just log onto list.co.uk/offers and tell us:

What is the name of the National Museum of Scotland’s major exhibition, closing on Sun 25 Nov? Museum Late: Rip it Up Fri 16 Nov 7 – 10.30pm National Museum of Scotland Chambers Street Edinburgh EH1 1JF

nms.ac.uk/lates

TERMS & CONDITIONS: Thu 1 Nov 2018. Competition winner will be allocated a pair of tickets on the Museum Late guest list. The List’s usual rules apply. Strictly over 18s only.

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BACK FOR ITS NINTH YEAR! EDINBURGH 12th- 14th

15th - 21st

OCTOBER 2018

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NEWS

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Announcements, lineups and opinion COCKTAIL MADNESS DESCENDS ON EDINBURGH Edinburgh Cocktail Weekend has grown into Edinburgh Cocktail Week (Mon 15–Sun 21 Oct) after the success of the event last year. The week features a programme of events and parties across the city with 80 bars taking part. New this year is Edinburgh’s first cocktail village, a massive masterclass hub in Festival Square, with £4 signature cocktails from 15 pop-up vendors like Smokehead Whisky and Edinburgh Gin.

MAJOR INSPO IN GLASGOW A massive, free, inspirational event for Scottish young people is to be held at the SSE Hydro on September 12.

The initiative run for schools across the country aims to ‘ignite the imaginations of our future generations’ and has been dubbed ‘TEDX meets the Fringe’. Speakers will share their captivating life-stories about how they made it in their industry. Those involved include Gavin Oattes, Christian MacLeod, Darren Connell and many more.

MCILVANNEY PRIZE 2018 The McIlvanney Prize, named after celebrated Glaswegian author William McIlvanney (pictured, centre), is back for another year to reward the best crime fiction in Scotland. The winner of the prize for Scottish crime book of the year will be announced on September 21 at the opening gala of the Bloody Scotland festival in Stirling, followed by a torchlight procession to open the event. Big names appearing on this year’s longlist are Christopher Brookmyre and Liam McIlvanney.

VISA PROBLEMS HINDER BOOK FESTIVAL

PHOTO: BEN ARONS PHOTOGRAPHY

Dozens of authors who were set to appear at Edinburgh’s International Book Festival had their visas refused due to systematic failures in the UK’s visa system. Book Festival director Nick Barley says the problem is serious and has called for an immediate fix to be made as the current situation is putting ‘culture in the UK at risk’. The problem is centred on the UK’s permitfree festival visitor visa that only includes 45 approved cultural events, including the Fringe, but not the Book Festival.

FRINGE FIRST WINNERS Every year The Scotsman awards its prestigious Fringe First prizes to the best new writing that premiered at the festival. Winners this year included Ulster American, a play by David Ireland that examines gender and identity politics; Cora Bissett’s What Girls Are Made Of; My Left / Right Foot, the musical co-produced by Birds of Paradise and National Theatre of Scotland; and Underground Railroad Game (pictured, bottom), an exploration of the age of slavery at the Traverse.

UPDATE In issue 746, we recorded the unfortunate cancellation of the Green Day gig planned for Bellahouston Park in July 2017. We are pleased to hear ticket holders were refunded and staff of the promoter, PCL, were paid.

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NEWS WAKE-UP CALL After the success of the inaugural event last year, Social Bite’s Sleep in the Park is back and this time it’s set to be the world’s biggest simultaneous multi-city sleep out. Katharine Gemmell finds out more

FAST FACTS

Social Bite first started in 2012 as one sandwich shop on Edinburgh’s Rose Street. It has now mushroomed to include 5 shops across Scotland, two staff canteens in the capital, a production kitchen in Livingston and a corporate catering output.

A quarter of Social Bite’s staff are homeless and the organisation is the largest distributor of free fresh food to the homeless in the UK. Social Bite gives out over 100,000 items of food and hot drinks to those in need every year.

8000 people took part in last year’s Sleep in the Park event, including politicians and celebrities, raising a whopping £4 million.

O

n Saturday 8 December, Scotland’s four largest cities will cumulatively host 12,000 people and attempt to raise £6 million in the fight to eradicate homelessness. Edinburgh’s event will take place in Princes Street Gardens, Aberdeen’s in Duthie Park, Dundee’s in Slessor Gardens and Glasgow’s at Kelvingrove Bandstand.

Co-founder of Social Bite, Josh Littlejohn (pictured), truly believes that this project can be the sea-change Scotland needs to stop homelessness: ‘By coming together, we can accelerate the pace of change in Scotland and create the political mandate to truly end homelessness here. I fundamentally believe that the statistics of homelessness in Scotland are not insurmountable. By collaborating, and treating homelessness as a political priority, I believe that Scotland can be a country where everyone has a place to call home.’

This year the lineup includes an impressive array of artists helping participants get through the cold night. Amy MacDonald and KT Tunstall will play in each of the four cities, travelling between them by helicopter.

Edinburgh’s lineup includes an acoustic set from Lulu and a bedtime story delivered by Trainspotting author Irvine Welsh. In Dundee, Kyle Falconer and Withered Hand have confirmed that they’ll be there

to keep the crowd awake and in Aberdeen, the job will be undertaken by Eddi Reader, Kris Drever and Adam Holmes & the Embers. Over at Glasgow’s event, Frightened Rabbit will curate the event and perform with guest vocalists alongside Stina Tweeddale from Honeyblood and an act that they have specially selected. All four lineups also include local acts, still to be confirmed, that will play to the sleepers through the night.

The £4 million raised from the stand-alone Edinburgh event last year went towards the completion of the Social Bite village and the Housing First programme that both work to bring homeless people into mainstream tenancies across Scotland.

Scotland’s Housing Minister, Kevin Stewart, commented: ‘Public support for events like the sleep-out demonstrates the appetite for change and the Scottish government absolutely shares this commitment to ending homelessness. It’s great to see the events being expanded throughout Scotland and I’d encourage everyone to get involved.’

To take part in Sleep in the Park, all you need to do is commit to raising £100. If you are a business you can sponsor the event by signing up a team of five, with a fundraising commitment of £3000.

For more information and full lineups as they are confirmed, go to sleepinthepark.co.uk

George Clooney, Leonardo DiCaprio, Prince Harry and Meghan Markle are just some big names who recognise the work the charity does and have visited Social Bite on their trips to Edinburgh The money raised from the event has funded a raft of major projects, including a major Housing First initiative which is expected to take 800 rough sleepers off the streets by 2020.

It has also gone towards the opening of the Social Bite Village that has been two years in the making. The village, based in Granton, Edinburgh, consists of 11 purpose-built two bedroom houses and a community hub that will support 20 tenants into mainstream tenancy each year.

To allow Amy Macdonald and KT Tunstall to play in all four cities at this year’s event, Andrew and Yvonne Devlin of Curtis Moore Group have provided an aircraft and flight services. All four cities’ airports have also agreed to forego the landing fees for the cause.

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17 - 21 October

FESTIVAL OF THE FUTURE A brand new festival celebrating collaboration across science and culture through brilliant events featuring commissioned work, workshops, live performances and talks.

Based in Dundee, backed by the University of Dundee, - Scotland’s coolest city - with partners from the V&A Dundee to the National Theatre of Scotland, join us for the best in music, food, science, dance, design and debate.

Sign up to be first for tickets and news dundee.ac.uk/futurefest

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ARTFULLY CRAFTED

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BIG PICTURE

OCEAN FILM FESTIVAL For the fifth year running, the Ocean Film Festival makes a stop-off in Edinburgh bringing along a showcase of evocative and dramatic films connected by their water-based adventures, featuring intrepid rowers, bold surfers and spectacular depths. Among the highlights are Kiwi Breeze about a man building a yacht in his London back garden ahead of voyaging home to New Zealand, while Touched by the Ocean features Latvian pals attempting to row across the South Atlantic Ocean, and The Big Wave Project tracks a crew of surfers seeking that next watery thrill. â– Edinburgh Festival Theatre, Sat 15 Sep.

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FEATURE

We’ve got it cover ed Ever since it first launched back in 1985, The List has tried to discover and celebrate outstanding creative talent from Scotland and beyond. Over the years, we like to think we’ve helped launch the careers of a host of singers, performers, writers, filmmakers and others who have shaped contemporary culture.

To mark our 750th issue, Robin Hodge has trawled through the archives and selected a few of our more memorable cover stars

BILLY CONNOLLY 1985 | ISSUE 2 The comedian tells us: ‘I tend to sound a bit belligerent sometimes but I really feel very strongly about my humour and my Scottishness.’

(Interview by Nigel Billen)

LIZ LOCHHEAD 1986 | ISSUE 8 The Glasgow-born poet explains how she writes: ‘I can‘t control poems. I’d hate to think they would stop coming but I can’t write them to order.’ Some of her poetry just arrives: ‘It has to be said and all I have to do is write it down. I suppose the unconscious has already cooked it pretty thoroughly.’

(Interview by Nigel Billen)

ANNIE LENNOX 1986 | ISSUE 30 She tells us: ‘Success to me is what I feel when I’ve written a song I like and which the audience likes to the extent of buying the record and coming to our [Eurythmics] concerts. Money . . . fame . . . these things are around you, but you have to keep doing what you want. Never fall into the obvious traps.’ (Interview by Pierre Perrone)

ROBBIE COLTRANE AND TUTTI FRUTTI 1987 | ISSUE 35 Like Coltrane himself, Danny McGlone (his character in the cult series) is supposed to have gone to Glasgow School of Art where he meets Suzi Kettles (Emma Thompson). ‘I actually found my initials carved in the wall in a scene where she was supposed to find hers.

Quite extraordinary.’

(Interview by Stephanie Billen)

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SEAN CONNERY 1987 | ISSUE 50 As his latest film, The Untouchables, is released, we say: ‘It seems to have belatedly prodded many critics into the realisation that Sean Connery is one of the finest screen actors around . . . See the film and you’ll witness a master craftsman at work . . . A top performance in one of the year’s finest.’

(Written by Allan Hunter)

THE PROCLAIMERS 1987 | ISSUE 53 The Reid brothers talk influences: ‘They are overwhelmingly American. But we are Scottish, y’know. So we’re not trying to be American. But we’re not trying to kid ourselves that we don’t have American influences.

They come out our way because we do it the way that suits us, in our own accents, ’cause that’s how we feel comfortable.’ (Interview

by Alastair Mabbott)

MICHAEL CLARK 1988 | ISSUE 73 The dancer-turnedchoreographer tells us: ‘People have asked me why I work with the same people all the time. It’s one of those things which evolves gradually. You can’t put people together and expect miracles immediately.’ (Interview

by Alice Bain)

BJORK 1989 | ISSUE 105 We grab an interview with Sugarcubes-era Bjork. ‘We just wanted to play in Iceland . . . And then we got all these offers from big record companies, and we just said no . . . If we had to leave Iceland, we wanted to go to Japan or Honolulu or somewhere, because we thought that Iceland was just the most brilliant place on Earth.’

(Interview by Alastair Mabbott)

PETER CAPALDI 1993 | ISSUE 192 ‘I think you start to erode your own respect for the work that you’ve done if you start compromising all over the place,’ the future star of The Thick of It tells us, long before he regenerated as Dr Who. (Interview by Alan Morrison)

JENNY SAVILLE 1995 | ISSUE 250 The young painter on inspiration: ‘Glasgow is a unique art school in that it teaches you to have total, almost romantic belief in being a painter. Maybe it’s something to do with the building and its tradition . . . [it] constantly reminds you that you are in a school of great painting. It celebrates big work, it likes painting that makes a splash.’ (Interview by Lila Rawlings)

ALASDAIR GRAY 1995 | ISSUE 259 The author explains how ground-breaking novel Lanark emerged: ‘Initially l was writing two books . . . I started trying to produce a Scottish version of James Joyce’s Portrait of the Artist as a Young Man. But at the same time I was very excited by Kafka, and Glasgow and Scotland struck me as having a lot in common with The Trial and The Castle.’ (Interview by Andrew Burnet)

TRAINSPOTTING 1996 | ISSUE 272 Ewen Bremner (Spud in the film) recalls his response to the novel: ‘I was excited by it and scared of it because it’s such dangerous material. Irvine Welsh sets up really exciting situations. The possibilities for what can happen in a scene are so outrageous but at the same time it’s really close to home.’

(Interview by Fiona Shepherd)

SHIRLEY MANSON 1998 | ISSUE 331 The former Goodbye Mr Mackenzie singer hit the big-time with her new band: ‘Garbage were looked on as a joke at first. But how the laughter stopped when hit single followed hit single – the eponymous debut album spawned five of the blighters and the band went out and proceeded to tear it up live as well.’ (Interview

by Alastair Mabbott)

PETER MULLAN 1999 | ISSUE 356 The actor-turneddirector explains his plans: ‘European actors share a common goal: do good work and have a laugh. For me, that’s where the future has got to lie in making contacts in France and Germany and Italy. Because unless we all band together, I’m afraid Hollywood is going to eat us all alive.’ (Interview by Rob Fraser)

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JOHN BYRNE 1988 | ISSUE 62 The writer and painter is just completing a BBC programme looking back over his life which will try to explain how the man we describe as a ‘sixfoot-tall talent’ ‘came to write plays and paint pictures and found fame and – if there‘s any justice in the weary world – fortune through his God-given gift to make us laugh and cry.’

(Written by Alan Taylor)

MAHABHARATA AND PETER BROOK 1988 | ISSUE 64 The director discusses the nine-hour stage epic that launched the Tramway: ‘It works on so many levels, of which entertainment is one. It’s an exciting entertainment, but it deals with all manner of human, social, important questions . . . The reason it has existed for 3000 years . . . is that it’s inexhaustible.’ (Interview

by Sarah Hemming)

EWAN MCGREGOR 1993 | ISSUE 194 The List is the first magazine to put McGregror on the cover. We profile the 21-year-old actor and tip him for stardom, to which he replies: ‘Well maybe, either that or I’ll never work again.’ He has gone on to feature on a further six covers so far (in 1996, 1997, 1998, 1999, 2002 and 2011). (Interview by Tom Lappin)

CORA BISSETT AND DARLINGHEART 1993 | ISSUE 201 We say: ‘Darlingheart are a sheer triumph and singer Cora Bissett a free-born star, oozing confidence and natural presence, and all without the bumptious swagger of all-mouth, no-content arrivistes.

Darlingheart are a wow and Cora a charm.’

(Written by Craig McLean)

PETER HOWSON 1993 | ISSUE 204 We acclaim the work of the Glasgow painter saying: ‘The world Howson depicts is exciting in literary as well as visual terms and Howson’s technical skill – the artist draws with a kind of beefy panache and indulges in dramatic chiaroscuro with a relish probably unequalled since Caravaggio – allows him to make the most of it.’ (Written by Sharon McCord)

IRVINE WELSH 1996 | ISSUE 280 As new novel Ecstasy is launched, the writer reflects on his first book: ‘Trainspotting has come a long way from being a book about Leith in the 1980s. lt’s a worldwide phenomenon now. It’s going to be appropriated by people that have nothing to do with it. That’s life. All I can take responsibility for is what is written between the covers.’

(Interview by Fiona Shepherd)

KELLY MACDONALD 1997 | ISSUE 296 The 20-year-old emerging star tells us that, as an ‘untrained‘ actress, she is ambivalent about her precocious talent. ‘I find it quite difficult because if I’d gone to drama college I’d have a piece of paper that told people I was an actress. But if you’ve just fallen into it, then . . . ’ She shrugs.

‘I don’t know if I’ll still be doing all this in five years’ time.’ (Interview

by Ann Donald)

SHARLEEN SPITERI 1997 | ISSUE 299 The Texas singer explains the inspiration the band draw from soul music: ‘To us, it’s the innocence of soul music which is the songwriting base, and vocal-wise it’s got that virginal, really personal sort of feel and that’s sexy.’ (Interview by Jonathon Trew)

ALAN CUMMING 2003 | ISSUE 464 Launching his first novel, the actor and author reveals the secret of his success: ‘ln my office I’ve got covers of magazines I’ve been on and the first one I was ever on was The List (1987 issue 43). It’s a really good picture. l owe it all to The List.’

He goes on to explain his work ethic: ‘Fun is quite high on my list of why I do things.’

(Interview by Mark Fisher)

FRANZ FERDINAND 2004 | ISSUE 486 Alex Kapranos tells us why they chose the Chateau [the band’s Glasgow base] as their preferred venue: ‘We basically wanted to do gigs that were a little bit different . . . Those early gigs were exciting and different. It felt that things could go wrong at any minute and that’s really good fun. The environment affects whatever it is you’re doing.’ (Interview by Andrew Gilchrist)

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BELLE & SEBASTIAN 2006 | ISSUE 541 Frontman Stuart Murdoch tells us: ‘The group got together and we had beginners’ luck.

Then it got harder. Easy.

Harder. Then easy again . . . There’s a danger in being too critical, because you’d never make anything. It’s vastly more important to take the next step and make something new.’ (Interview by Mark Robertson)

MOGWAI 2006 | ISSUE 546 We acclaim their latest album Mr Beast, saying the music ‘is so transcendent and expansive. So big. beautiful and clever that it can soundtrack the effervescent skills of the world’s greatest footballer as perfectly as it can the glowing yellow fluorescent streets of Glasgow. The beast has legs and it knows exactly where it’s going.’ (Written by Mark Robertson)

ANDREA ARNOLD 2006 | ISSUE 560 The director of Red Road tells us: ‘The great French filmmaker Robert Bresson said “Build your film on stillness, whiteness and silence.” I’m always quoting Bresson, he had lots of good things to say.’ (Interview by Paul Dale)

DOUGLAS GORDON 2006 | ISSUE 561 Praising the artist’s work ‘30 Second Text’, we say: ‘It reports the true story of an experiment in which a doctor attempted to communicate with the decapitated head of a man immediately after his execution by guillotine. It is morbid, fascinating, and if you time it right, the simple denouement transports you all the way to the guillotine.’ (Written by Nick Barley)

The List was launched in October 1985 by Robin Hodge (publisher) and Nigel Billen & Sarah Hemming (editors).

Every issue of The List is available online at archive.list.co.uk Keep up to date with the next generation of emerging talent by subscribing to The List at shop/list.co.uk/ subscriptions

IAN RANKIN 2007 | ISSUE 589 The famous crime writer takes over the editor’s chair, interviewing one of his favourite bands, Saint Jude’s Infirmary, hooking up with Aidan Moffat in New York where ‘we found that we share a lifelong passion for comic books and graphic novels . . . Plus we spend a night on the town with the Edinburgh cops. Enjoy.’

TILDA SWINTON 2008 | ISSUE 614 Of her latest film, Julia, Swinton says: ‘I like the randomness of suddenly finding yourself in a completely different film: a thriller, a gangster movie, and a film noir.

Formally, it’s risky but in terms of atmosphere and territory, it’s really radical. It feels like the beginning of the work that I‘ve been looking forward to doing all my life.’ (Written by Miles Fielder)

DAVID SHRIGLEY 2010 | ISSUE 665 The Glasgow-based artist tells us: ‘I suppose the voice I speak with in my work is someone who doesn’t have a sound grasp on all the realities of life. It’s someone who thinks all the really unimportant things are massively important and equally, pays no attention to massively important things.’ (Interview by Claire Sawers)

YOUNG FATHERS 2015 | ISSUE 733 The award-winning band tell us about their latest album White Men are Black Men Too: ‘The main ethos behind the album was to simplify: less is more, minimal is maximal . . . It’s in the pop format, it’s driven and to the point. You try to say as much as you can in four lines and that’s a challenge in itself.’ (Interview by Henry Northmore)

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ADVERTISING FEATURE

It’s my

PARTY Lynsey May takes a sneak peek at the Wigtown Book Festival programme as Scotland’s National Book Town gears up to celebrate the event’s 20th anniversary

Feted far and wide as Scotland’s National Book Town, Wigtown was not always so well-known for its literary connections. The spark of change came in 1998, when the closure of the local distillery (happily, now producing whisky again) and the creamery in nearby Bladnoch prompted several key players in the area to champion Wigtown as a Book Town.

Now, as it marks its 20th anniversary, the Wigtown Book Festival is celebrating the milestone with a sophisticated programme of almost 300 events spread over ten days.

Artistic director Adrian Turpin says: ‘What we’ve done this year is whittle down the number of themes we cover so we can have a bloody great party for our 20th birthday.’ The revelries range from The Making of a Book Town, which brings together some of the key figures in Wigtown’s transformation, to panel discussions like Europe’s Future and The Future of Technology, which ask what the next 20 years may hold.

Two guests of honour, literature professor Darryl

David and Canadian vet Peter Baker, are flying in to discuss how Wigtown inspired them to create a Book Town in the run-down little sheep town of Richmond, South Africa. Closer to home, Shaun Bythell will celebrate the adventures of Diary of a Bookseller, a memoir chronicling life as a grumpy second-hand bookseller in Wigtown, published last year. Elsewhere, big names like Susan Calman, Sally Magnusson, Patrick Gale, Ann Cleeves and Clare Balding will all be making appearances at the festival.

Wigtown itself will be having something of a transformation, as Astrid Jaekel, previously artist in residence for Wigtown Book Festival and Spring Fling 2013/14, returns for a new project, If These Walls Could Talk. She’s taken 20 local stories and is producing three to four-metre-high illustrations to be placed on the buildings featured in the tales.

Of course, the area is also home to some stunning natural beauty spots and Turpin says that not only are these reflected and included in the programme through tours and unusual event venues, but that

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Clockwise from top: Morten Strøksnes, who appears at the festival on 22 Sep; Bythell’s The Diary of a Bookseller; John Gray who appears on 21 Sep; aerial view of Wigtown

PHOTO: JUSTINE STODDART

‘one of the things I always say to people coming down here is to take time out to explore, even if that means leaving the book festival!’

There’s plenty for young people to enjoy too, especially the ‘festival within a festival’ WTF. Aimed at (and run by) 13–25 year olds, this strand began in 2012 when it became clear that for the children who’d grown up with the festival as part of their lives, there came a point in their early teens when events aimed at them dried up. Turpin explains: ‘WTF was developed as a way to fill that hole. It’s peer-programmed by a group that, with a little bit of help and support, follow their own interests and put it together.’

Young people under 26 – locals and visitors alike – can also book free tickets to most events in the main programme, while those younger still can look forward to the freshly redesigned children’s strand, Big Wig. Turpin describes it as ‘something that will grow in future years and will have a bit of silliness attached in one way or another’.

The big birthday year is a good time to reflect on Wigtown’s successful reinvention, especially in two decades that have seen the internet revolution and the rise of online giants like Amazon. ‘I think that the people who first set up and championed the Book Town always tried to bring Wigtown with them,’ says Turpin. They did this by working with bookshops, venues, accommodation providers and the community (there are now around 100 volunteers who help out during the festival and throughout the year) to try and create an organic change that was always respectful and celebratory of the town’s history.

Now more than ever, the town, its stories and its heritage are front and centre in the festival’s programme; and of course, in this anniversary year, there are plenty of opportunities for a good knees up – and rightly so.

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TAKE ONE ACTION!

PIECE F OF THE ACTION As the politically minded film fest returns this autumn with a focus on women’s empowerment, Arusa Qureshi speaks to executive director Tamara Van Strijthem as well as Naila Ayesh, the main protagonist of closing film Naila and the Uprising

ilms that disrupt commonly held narratives have a power that extends beyond their artistic and creative means.

Since 2008, Take One Action! Film Festival has been dedicated to this idea of disruption, exploring themes of global change through a programme of films dealing with topics ranging from climate change to social movements across five continents.

‘Our mission statement was to make worldclass films about issues of global concern more widely enjoyed and discussed by diverse communities in the UK,’ says executive director Tamara Van Strijthem, ‘to inspire and empower people to take their own creative steps to address current global challenges. Showcasing the best international cinema that explores and responds to the crucial issues of our time; linking the local and the global; breaking down the barriers that separate us; inspiring and empowering audiences . . . this is still very much at the core of our ambitions.’

The arrival of the 11th edition of the festival this autumn brings with it 45 events, with a key emphasis on women’s empowerment. Over 60% of features screened are directed or co-directed by women and this year’s Sisters strand is all about presenting inspiring and unique insights into the stories of female trailblazers.

‘The films in our Sisters strand reflect a wide range of experiences, hopes and struggles; from the Palestinian women whose contribution to non-violent resistance has so often been overlooked [Naila and the Uprising] to the South African grandmothers embarking on a defiant struggle for social justice in their poverty-stricken mining town [Strike a Rock]; from the Swedish hip hop artist challenging homophobia, sexism and racism [Silvana] to the

story of the first Muslim Somali refugee woman to be elected to the US House of Representatives [Time for Ilhan]. These are rousing, complex portraits of female trailblazers unapologetically pushing for radical change.’

Naila and the Uprising, which closes the festival, centres on the life of activist Naila Ayesh, providing a snapshot of the role of women in the First Intifada, following the course of Palestinian resistance from the beginning of the occupation to the present day. ‘The documentary covers the First Intifada which happened in 1987 and which all Palestinians were a part of,’ Ayesh explains over a Skype call from her home in Ramallah. ‘It was a peaceful uprising against the occupation and, though this is my story, thousands of families have the same story.’

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Clockwise from below: Time for Ilhan; Silvana; still and animation from Naila and the Uprising

The documentary, created by Brazilian filmmaker Julia Bacha, offers a touching and emotional portrait of an incredible woman who fought with tenacity and spirit for liberation from military occupation and gender equality, alongside a generation of Palestinians, despite being imprisoned, deported, tortured and more.

Naila and the Uprising is a painful reminder of a movement that is far from over, one that Ayesh believes women have largely been erased from.

When asked about the importance of the Sisters strand and films like Naila and the Uprising, Van Strijthem says: ‘Feminism may have, at times, been reduced to a privileged, narrow concern with sexism but – and this is where our Sisters strand reflects some fantastically positive trends – it is a broad movement that now welcomes much more diverse voices. There’s a more robust awareness of the way sexism is closely interconnected with

economic exploitation, with racism, xenophobia, homophobia, religious hatred, environmental destruction. And all the women – including of course trans, disabled and migrant women – and the men who push back against these forms of oppression, are joining forces across what would have traditionally been entrenched divides. This is a radically different path towards equity – and a formidable source of hope.’

The question of hope is one that remains entrenched in the back of Ayesh’s mind, and though the current political situation has removed some of her optimism, her hope for the future of Palestine remains intact.

‘The hope is always for Palestinians to have their justice and to have their security and to live in peace,’ she says. ‘This is the general hope for every Palestinian; to have our independence like other people in the world. The main message of the film is a message for the youth; to learn from the experiences of the older generation. At the end of the film, you will see a clip of my son and this is a very clever message from Julia, because it shows that it’s time for the Palestinian youth to take the initiative and to take on an important role in society.

‘The second message is that when we as Palestinians are united, we are strong. I want the international community to see what is going on and how much the Palestinians suffer from the occupation. They must know that Palestinian people deserve to have their rights. The film may focus on my story but it is the story of thousands of Palestinian families. It’s not personal, it belongs to everyone.’

‘Inspiring and empowering audiences is still very much at the core of our ambitions’

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V&A DUNDEE: 3D FESTIVAL PHOTO: SARAH PIANTADOSI 2016

take me to the river

PHOTO: EMIR ERALP

V&A Dundee swings open its doors, with a major concert kicking off the celebrations. David Pollock talks to the city’s native musicians playing the 3D Festival about the museum’s potential impact on Dundee’s creative scene

PHOTO: ALICE HADDEN

PHOTO: JULIE HOWDEN

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From top: Primal Scream; Eclair Fifi; V&A Young People’s Collective, who helped create the festival; Be Charlotte

&A Dundee opens this month, a major event in Scotland’s cultural calendar which will see the arrival of the first V&A museum outside of London, and which will also cement the city of Dundee’s status as a UNESCO City of Design.

Yet the Kengo-Kuma designed V&A, perched on the banks of the River Tay, is just one step in a redevelopment of the city’s waterfront area, and as usual with such projects, it has a lot of potential if handled correctly. One of those new ventures is the open-air concert space Slessor Gardens, which will host a major opening event for the V&A. The 3D Festival will take the form of a proper late-evening festival show on the Friday – Primal Scream have been announced as headliners, in an asyet-unspecified collaboration with the Scots visual artist Jim Lambie, along with Be Charlotte, Eclair Fifi and more – while the Saturday will feature a daytime bill of well-known Dundonian artists.

Ask Andrew Wasylyk – aka Andrew Mitchell, born in the city’s Ninewells Hospital, a member of Idlewild and composer of his own records – about being an artist from Dundee, and he turns instead to a well-known quote from the city’s late son Michael Marra: ‘For any artist Dundee is just the perfect place to look at the rest of the world.

Charles Mingus had a book called Beneath the Underdog. I always thought they should put that under the sign outside the city . . . the last thing you do in Dundee is impress. It’s absolutely not on. That, for any artist, is a great place to be – you work harder.’

Charlotte Brimner, aka Be Charlotte, is at the stage in her career where she can play both days of the festival. ‘I grew up in Dundee, it’s the place where I first found my passion for music and for songwriting,’ she says. ‘I’d say growing up here has absolutely informed how I write music and how I sound when I sing, it’s so important to me that this identity is recognisable in the music, and to have it feel as real as possible. It does feel like there’s a buzz around the place now, I think that’s partly because there are so many talented fashion designers and gamers building successful independent businesses here. I hope the V&A can inspire lots more to do so.’

Gary Clark grew up in the city’s Douglas housing estate in the 1970s, and moved back five years ago after more than 30 years in London and Los Angeles, first as a member of the band Danny Wilson, and later as a songwriter for high-profile artists.

‘The architecture might change but the heart of the city is the same,’ he says. ‘The people are fair-minded but tough, warm and extremely funny, and it’s always had a very strong creative heart; I see the new developments as an extension of what’s always been here but largely kept secret from the wider world. Dundee’s distance from the big cities removes it from the pressures to conform, I think of it as a city that celebrates uniqueness. I happened to arrive back in the city in time to watch the V&A grow up from the rubble, and I don’t think we can overestimate the positive effect this building will have on the culture and economy of Dundee and Scotland for decades to come.’

Katie Lynch of the duo St Martiins, meanwhile, is hopeful of the shot in the arm which the new building might provide across the city. ‘When we were younger there was a local venue which was extremely supportive, but it got quieter and sadly closed down,’ she says. ‘After that, the build-up of a scene was slow, but it’s definitely steadier now, there are a lot of talented people who want to see each other do well. The city has drastically changed; I’m just hopeful for the inclusion of all types of people who the V&A can introduce to the art world, and that it brings opportunity to people who never would have got the chance.’

‘Obviously the opening of a museum or cutting of a ribbon won’t create some paradise overnight, but the seed of optimism it sows is meaningful,’ says Mitchell. ‘There’s an increased sense of pride in the air, and I look forward to seeing the ripple effect the place has – that it’s not seen as a peak of endeavour, but rather the fuel that stokes the ambitions of those living in, working in or just passing through. After all, one creative arc should encourage another.’

V&A Dundee opens on Sat 15 Sep. The V&A Dundee: 3D Festival takes place on Fri 14 & Sat 15 Sep, Slessor Gardens, Dundee.

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BAR • VENUE • KITCHEN

FOLLOW

HT E

NEWS

US TO H

T S AL TE

EAR

Find out what’s on in Fife this Autumn www.welcometofife.com/events

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SURROUND YOURSELF WITH SPARKLE IN 2018 The magical, botanical, illuminated trail

CHRISTMAS

AT THE

BOTANICS

An all new trail of after-dark festive fun Spectacular Festive Finale Immersive Ribbons of Light Scented Fire Garden Sparkling Tunnel of Light Santa and his Elves Seasonal Food and Gifts

23 NOV – 29 DEC rbge.org.uk/christmas 0844 995 1363 Raymond Gubbay Ltd

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A single charge of £2 per transaction applies for print at home tickets, £2.50 for tickets sent by post. No fees for bookings made in person at RBGE. Calls cost 7p per minute plus your network access charge. Running selected evenings only.

23/08/2018 18:37

SAY AWARDS

PLAY TO WIN With the Scottish Album of the Year shortlist just announced, David Pollock rounds up previous SAY winners to tell us in their own words what the award meant to them

PHOTO: TOM JOHNSON

PHOTO: JANNICA HONEY

PHOTO: LUCAS J PHOTOGRAPHY

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AIDAN MOFFAT King Creosote and Jon Hopkins were expected to win, because they’d made a great record and been nominated for the Mercury, but right from the start it seemed the SAY was independent of any outside influence; it seemed like it was judged solely on the music. I can’t say it felt like a big deal at the time, it was just the very first one, but we were in a big room with free booze and loads of friends, so it was a great night. To be frank, the money couldn’t have come at a better time. You don’t make records with awards in mind, and music’s not a competition – but I’m still glad we won! I think it’s a great event to have, the only comparable music prize is the Mercury, which simply doesn’t have enough space to accommodate the whole of the UK, especially Scotland. We produce an awful lot of music for such a small nation, and I think the award itself is one of the least important parts – the exposure for the longlist and the focus on our own music is what makes it important. There’s more cachet attached to it now than when we won, and I hope it continues to grow.

■ Everything’s Getting Older by Bill Wells & Aidan Moffat won the first SAY Award in 2012.

RM HUBBERT It was a big deal for me – it was a lot of money, for a start, enough that even after I shared it with my collaborators I knew I’d be financially solvent for a while. I realised pretty quickly that it would open doors; I did 90 minutes of interviews right after, mostly with publications and radio stations that had never written or spoken about the album previously. The best thing the SAY Award does is give direct exposure to albums and artists that aren’t part of any particular scene, it’s a level playing field that’s nothing to do with sales, genre or popularity. It had a very positive effect for me, there was a good bump in sales for Thirteen Lost & Found, and my next album got reviewed and promoted more widely. It was a lot easier to book tours as well.

■ Thirteen Lost and Found by RM Hubbert won in 2013.

ALLY MASSAQUOI It was definitely a surprise on the night, as I don’t think we fit into any categories, so it was validation that our music could resonate on some level. The fact we didn’t have to play guitars for our music to be deemed credible is a positive thing, plus we’re a multi-racial group and our presence helped open up the competition and make it more inclusive. It’s an important and useful award; important because there’s all types of music being made, and it’s always more interesting when a competition chooses to reflect that; useful because it shines a light on a particular artist, and could be the catalyst in helping them establish themselves.

■ Tape Two by Young Fathers won in 2014.

KATHRYN JOSEPH Before it, hardly anyone knew who I was – it still makes me feel very proud, especially of Claire Mackay of Hits the Fan Records, because she did all of the promotion and distribution herself. Also, I could suddenly do music as a job and pay my rent. The money side of things is tricky and sometimes non-existent, and it’s hard to make things and still feel like being creative in any way matters, it’s a very strange circle that relies on people being addicted to doing it, even though we can’t really afford to live our lives. Winning gave me so much, things I’ve got to be part of and people that I’ve got to work with, and I feel very grateful for that. We’re lucky to have it, and I feel proud that it’s not like the Mercury, that no one has to pay to be entered.

Although Young Fathers should have been nominated for that again this year.

■ Bones You Have Thrown Me and Blood I’ve Spilled by Kathryn Joseph won in 2015.

RACHEL AGGS ‘We never imagined we’d win an award for anything! It felt like we were being taken a lot more seriously than we’d ever imagined, we’re both good at worrying we aren’t good enough, so it was great for our confidence. Financially it was pretty life-changing for Eilidh and myself, and It’s definitely affected our touring, we’ve had a lot more show offers and festival opportunities since winning. Culturally, I think it says a lot about the Scottish music scene that there’s this platform for musicians that feels accessible and not bogged down in music industry popularity, coolness or bravado. It genuinely seems to be about rewarding musicians who are working hard at making exciting music.’

■ Strike a Match by Sacred Paws won in 2017.

THE SHORTLIST FOR THE SAY AWARD 2018 BABE Kiss & Tell

FRANZ FERDINAND Always Ascending

BEST GIRL ATHLETE Best Girl Athlete

GOLDEN TEACHER No Luscious Life

KARINE POLWART WITH PIPPA MURPHY A Pocket of Wind Resistance

MOGWAI Every Country’s Sun

SIOBHAN WILSON There Are No Saints

OUT LINES Conflats

YOUNG FATHERS Cocoa Sugar

KOBI ONYAME Gold

SAY Award ceremony, Paisley Town Hall, Thu 6 Sep. 32 THE LIST 1 Sep–31 Oct 2018

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KATHRYN JOSEPH

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osh Armstrong was on an operawriting residency at Aldeburgh Music in Suffolk when he first listened to Kathryn Joseph’s debut album Bones You Have Thrown Me and Blood I’ve Spilled as he wandered along a stony beach.

‘I was immediately drawn to Kathryn’s unique tone,’ he says, ‘and her ability to draw me into the depths of her raw and honest beauty, as sublime as the vast crashing sea.’

He knew he wanted to work with her in some way and, on his return to Scotland, spoke to the artistic director of Cryptic, the Glasgow-based arthouse where Armstrong is associate director. They originally decided to devise a piece of work based on Joseph’s debut record, but this changed when she decided to press on with her second record, From When I Wake The Want Is. What emerged from their meetings was the idea to stage a live performance of this album, an embodied and augmented version of Joseph’s musical performances, which

PHOTO: LENA GALOVICOVA

PHOTO: MARTYNA MAZ

RISE AND SHINE

are renowned for their raw viscerality.

Armstrong realised the potential of the ‘experience economy’. As he explains: ‘A curated, multi-sensory event provides a new perspective on the musical experience which is enjoyed through other media.’

While staged concerts are mostly reserved for large-scale, big-budget tours from high-profile artists, Armstrong decided to work on a small-scale concert. ‘I wanted to explore the power and potential in giving Kathryn and her audiences the experience of presenting her live performances in new contexts.’

From When I Wake The Want Is is the kind of poignant autobiographical album that lends itself perfectly to a stage translation.

Joseph hones in on themes of passions and secrets hidden away, inscribed onto our bones, and what happens when these etchings wake up and burst through the flesh that was holding them hostage. A work so personal was obviously going to be difficult for Joseph to give over to someone else, but she needn’t have worried.

‘Josh is amazing and I love being in his company,’ she says. ‘This has meant the rehearsal process has been really lovely and I’ve felt very able to cope with something that I wasn’t sure I’d be able to. I feel really proud of what we have made.’

Thanks to set design by James Johnson, lighting by Nich Smith and costume design

by Markéta Kratochvílová, Joseph says: ‘It feels like they’ve made the noise I make – that is this small weird world – make sense to people on the outside.’

Exploring grief, loss, desire and renewal, From When I Wake The Want Is was written during a year when Joseph split from her partner, experiencing the feeling of missing him, but, simultaneously, surviving through it.

‘I am obsessed with the truth of everything, even if it’s painful or uncomfortable,’ Joseph says. ‘I think life would be easier if I wasn’t, but then I don’t think I would write songs – and playing live is my favourite thing to do, so the weird circle of it all is worth it.’

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KATHRYN JOSEPH

Award-winning singer-songwriter Kathryn Joseph has joined forces with Glasgow-based creative group Cryptic to produce an ambitious live performance version of her new album. Kirstyn Smith caught up with Joseph and the team behind the show to find out more

From left: Josh Armstrong; costume from the show; From When I Wake The Want Is cover; Kathryn Joseph

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The experience is a cathartic one for Joseph, and Armstrong also believes that the audiences will feel similar emotions when the production goes on tour. ‘Kathryn is such a strong presence when she performs, that it’s difficult to ignore,’ he says.

‘Through her honest and raw performance, I hope that people leave grateful, full, and excited for another day.’

As for Joseph herself, she’s mainly hoping that a new crowd will be able to experience her music in a new and innovative way. More than that, however, she admits: ‘I am mostly hoping not to cry during the last song like I did all the way through rehearsal.’

23/08/2018 18:49

DOCUMENT

THE RADICAL ROAD As the Document Human Rights Film Festival gets ready to showcase radical film in all its forms, particularly in relation to the Middle East, Katie Goh asks programme producer Sam Kenyon what exactly makes a film radical

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hat makes a film radical? Does it need to be experimentally radical – a new kind of form for film – or does it need to be politically and socially radical in its content? Or, perhaps, it’s both. These are the questions that Document Film Festival, Scotland’s international human rights documentary film festival, will ask with this year’s central strand – Radical Documentaries in the Middle East: 1967 and its Afterlives.

‘The project looks at some of the events that radically changed politics in the Middle East and the ways in which representations of Arab life – both in the media and by filmmakers – have been, and arguably continue to be, shaped by them,’ explains Sam Kenyon, Document’s programme producer. ‘We’re focusing particularly on the Six Day War of 1967 and women filmmakers, such as Ateyyat El Abnoudy, who were at the vanguard of a group of artists who launched the New Arab Cinema manifesto at the Damascus festival in 1968. The manifesto called for a more realistic portrayal of Arab life in film, and a more intersectional approach to representation.’

Showcasing a rich variety of work – from contemporary narrative film, such as Palestinian filmmaker Azza ElHassan’s road-trip movie Kings and Extras (2004), to archival footage, such as a film curated by the Creative Interruptions research committee at Sheffield Hallam University – what brings the project together is that umbrella label of ‘radical’.

‘A radical film is one that makes a decisive break with, or poses a significant challenge to the dominant language of the medium in a way that invites the viewer to perceive a subject in a new way,’ explains Kenyon. ‘But, I’d definitely qualify that by saying that whether a film is radical or not depends mostly on the context it was made in, because what constitutes the dominant language of the medium very much depends on where in the world the film is being made, and under what circumstances.

‘Looking at archive work – and also thinking about archives themselves as extremely fragile, sometimes intangible and

always explicitly political things – tells us a great deal about the world today, but also prompts a lot of complicated questions,’ he continues. ‘One of the things that strikes me the most is what they articulate about our collective memory – how we remember and how we forget. Notions of what is remembered and forgotten are particularly relevant to identities that continue to be preserved in exile and / or under occupation, such as in Palestine. But, I think they are also relevant in other contexts, and in different ways, including those closer to home when we consider what the histories of race and class relations in Britain might tell us about Grenfell, Windrush and the hostile environment.’

Working on the project, Kenyon has noticed a direct correlation between form and content. ‘I think a lot of radical filmmakers are also united in their conviction that there is no real distinction between political struggle and artistic expression – that the constraints placed on both often mirror each other.’ In radical filmmaking, artistic and political expression go hand-in-hand.

While explicitly political films have a reputation for being disdainfully reprimanding, Kenyon’s experience working on the project has been anything but that. ‘[Radical films] look to stimulate an imaginative response from the viewer rather than a purely literal reading; in other words, they don’t tell us what to think, but ask us to look differently.’

Document has focused on a collaborative approach to the project, working with Dr Stephanie Van De Peer, a scholar in African cinema, to help illuminate the interweaving histories of Middle Eastern politics and cinema, and Samar Ziadat, who runs dardishi, an online magazine written by Arab women, to produce a publication launching at the festival.

What they’ve achieved is a project that will illuminate a strand of film history rarely brought out of its archives and a festival that actively works to be inclusive, empathetic, and collaborative. What could be more radical than that?

Document Human Rights Film Festival, CCA, Glasgow, 18–21 Oct.

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26 October 4 November

Edinburgh Glasgow www.africa-in-motion.org.uk

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GYFF

THE YOUNG ONES Skate Kitchen

The Glasgow Youth Film Festival is celebrating its 10th anniversary. Katharine Gemmell takes a look at what the festival’s teenage programmers have in store for this landmark edition

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n 2009, the Glasgow Youth Film Festival started life as part of Glasgow Schools Week.

Now, ten editions later, the festival has grown to occupy a deserved weekend all to itself.

What sets the GYFF apart is that it’s entirely programmed by young people, aged 15–19, who receive mentorship throughout the year to give them the skills to bring a range of international films to Glasgow. As part of their remit, they also contribute to the organisation of two free filmthemed workshops – Alternative Careers in Film and How to Make Your First Film – for fellow young people in the city.

For its tenth anniversary, the festival fittingly falls into the inaugural Year of Young People in Scotland and the programme has benefited from the YoYP fund because of the integral work it does in celebrating young talent and creativity and providing new opportunities.

Looking back at the festival’s first decade, GYFF coordinator Sarah Emery is proud of what they have achieved. ‘Over the years, GYFF has welcomed a number of inspiring guests – including John C Reilly, Kate Dickie and This Is England star Thomas Turgoose – and has screened a number of high-profile titles including Taika Waititi’s Boy in 2011, The Muppets in 2012, Disney’s Wreck-it Ralph in 3D in 2013, Hayao Miyazaki’s The Wind Rises in 2014 and The Witch in 2016.’

This year’s anniversary lineup will be particularly special. Opening the festival is the Scottish-based zombie musical Anna and the Apocalypse, followed by a Q&A with the cast and crew of the film. Another focal point is a special screening the young programmers have been working on which promotes inclusivity at the festival. Emery explains: ‘Working with Glasgow Film Theatre’s public engagement coordinator, Jodie Wilkinson, the team have

curated a special dementia-friendly screening of the Elvis Presley classic, Jailhouse Rock. This screening will take place at the newly opened Seamore Neighbourhood Cinema in Maryhill.’

On the Saturday, the programme is jam-packed with Scottish premieres. Highlights of the day include Sundance London’s hit Never Goin’ Back from director Augustine Frizzell. It features upand-coming actors Maia Mitchell and Camila Morrone as high school dropouts. Another is the much-anticipated Skate Kitchen, directed by Crystal Moselle, that has been racking up praise from the critics. The drama examines the life of an all-girl skate crew in New York City and stars Jaden Smith. After the film, there will be a Q&A with Moselle and some of the cast.

There’s also a special family gala at Blythswood Hall and a family-friendly screening of classic The Mask of Zorro. At the Glasgow Film Theatre, the young programmers have selected a series of short films from young people across the world as part of the BFI Film: A Language Without Borders programme. Richard Linklater’s classic School of Rock will close the festival. But that’s not all; after the film, there will be a real-life battle of the band’s competition with groups from local schools competing against each other.

Paul Bush, director of events for VisitScotland, who support the festival, says: ‘The young programmers have created a brilliant programme of screenings and workshops to mark the festival’s 10th anniversary while gaining valuable hands-on experience in the world of film. It is fantastic to see GYFF inspiring young people’s love of film and cinema . . . and giving them the opportunity to make their creative ideas come to life.’

Glasgow Youth Film Festival, various venues, Fri 14–Sun 16 Sep, glasgowfilm. org/gyff

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ADVERTISING FEATURE

Passing

THE BATON The Scottish Chamber Orchestra’s (SCO) 2018/19 Season promises to be an exciting one. In September 2018, they bid farewell to their long-standing Principal Conductor Robin Ticciati and, in September 2019, they welcome their new Principal Conductor Designate Maxim Emelyanychev. The new Season will . . .

Wait, what?

Excuse me?

Did you just say that the SCO, one of Scotland’s most prominent orchestras, will spend an entire season without a principal conductor?

Well, yes.

Isn’t that . . . undesirable?

Not necessarily. Why do orchestras need conductors?

I was hoping you would tell me. What are conductors for, exactly?

Good question. By deciding how the music should be paced, conductors help to articulate its shape, and thereby make it clearer to the listener.

What’s the impact of not having a principal conductor for a full season?

The listener hears a more diverse set of approaches than usual, while the Orchestra gets to play with a lot of different conductors. Bear in mind that, before the late Classical era – roughly the first couple of decades of the 19th century – orchestras mostly got by without dedicated conductors. Composers led from the keyboard, or whatever their own instrument was. The SCO’s new Season pays tribute to that tradition with concerts including Haydn Oboe Concerto, Schumann Cello Concerto, Mozart with Bezuidenhout, and Benedetti plays Mozart Violin Concertos Nos 3 & 5, in which François Leleux (oboe), Nicolas Altstaedt (cello), Kristian Bezuidenhout (keyboard) and Nicola Benedetti (violin) each direct the Orchestra. In the Mozart Concertos concerts, Benedetti shares the direction with SCO Leader Benjamin Marquise Gilmore. But later in the 19th century, symphonic music got more complex and the individual conductor became

common practice. One of the first famous conductors was Felix Mendelssohn, who’s credited as having introduced the wooden baton.

Why is a baton considered necessary?

It’s not by everyone, but most conductors feel that it enhances their gestures. Also, it’s safer! Previously, it had been common to beat the time with a large staff, but during one performance in 1687, 17th-century composer Jean-Baptiste Lully accidentally brought his staff down on his own foot. He ignored the injury, it got infected and, well, that was the end of Lully. It’s fitting, therefore, that in such a conductor-oriented Season, the baton-introducing Mendelssohn is wellrepresented, with no less than three concerts of his music – Laurence Equilbey conducts A Midsummer Night’s Dream, Daniele Rustioni conducts Symphony No 1 and a mesmerising duo by SCO’s fine clarinettists Maximiliano Martín and William Stafford; and the dynamic Karina Canellakis conducts Symphony No 5.

This Season welcomes a host of eminent guest conductors, starting with the Opening Concert featuring Enrique Mazzola conducting Norwegian violin star Vilde Frang in Beethoven’s Violin Concerto. Maxim Emelyanychev makes an unexpected, yet exciting, early appearance as he replaces an indisposed Bernard Labadie for Haydn’s The Seasons, before taking up the baton next year. In 2019, early music specialist Reinhard Goebel brings to life music by Mozart and his friends, including the Horn Concerto No 4, K495 performed by SCO Principal Horn Alec Frank-Gemmill on the natural horn. Sir James MacMillan conducts his own 60th Birthday Concert, with the percussion concerto Veni, Veni, Emmanuel featuring fellow Scot Colin Currie. The SCO’s Conductor Emeritus Joseph Swensen returns for a double bill of Sibelius symphonies, in a concert also

featuring Paul Lewis performing Beethoven’s Piano Concerto No 2. For musically adventurous types, there are three concerts that feature unusual instruments, or instruments played in an unusual way that might be right up your street. Jonathan Dove’s Accordion Concerto has to be one of the few of its kind: Pekka Kuusisto conducts a programme featuring George Crumb’s God-Music from Black Angels, arranged for 20 wine glasses and solo cello, while trumpet virtuoso Håkan Hardenberger is the star of HK Gruber’s Busking which requires him to play entire passages on the mouthpiece with banjo, orchestral and accordion accompaniment.

Finally, the Season finale is a piece which, without a conductor, would likely fall to pieces due to its epic scale: Berlioz’s Symphonie Fantastique, conducted

by Emmanuel Krivine, and paired here with Fauré’s soothing Requiem.

Overall, this Season offers SCO audiences the chance to hear a wider range of world-class conductors, tackling musical masterpieces composed across five centuries.

■ The Scottish Chamber Orchestra regularly perform in Edinburgh (Thursdays) and Glasgow (Fridays) from Sep to May. sco.org.uk/whats-on

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SONG, BY TOAD

PHOTO: STEPHANIE GIBS ON

FOREVER YOUNG Song, by Toad founder Matthew Young looks back on ten years of the record label and tells David Pollock about the special gigs lined up to mark the milestone

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elf-confessed ‘stubborn bastard’ Matthew Young didn’t so much start a label as offer to help out a few friends in releasing their albums, initially talking to Broken Records (they eventually went with 4AD, understandably) and eventually making a name for the imprint with Neil ‘Meursault’ Pennycook’s Pissing on Bonfires / Kissing with Tongues LP a whole ten years ago.

Young was a medical engineer at the time, and a music blogger in his spare time, although he became a full-time record label owner with the release of Meursault’s All Creatures Will Make Merry in 2010; it became such a success that he had to give up work to devote his full attention to it.

Since then, Song, By Toad has become one of the most successful cottage industries in Scotland, a proper self-sufficient indie label in the most traditional sense; although its largest levels of renown still exist at home in Edinburgh, where Young has a studio-cum-small-scale gig venue for private parties in his garage. The label’s other key artists over the years are identified by Young as David Thomas Broughton, Siobhan Wilson, Adam Stafford, Jonnie Common, Modern Studies, and Sparrow and the Workshop, with eagleowl, King Creosote, Naked, Paws and Rob St John all appearing on SBT releases.

‘I didn’t realise how few labels there were out there,’ says Young, ‘and that someone who’s willing to be organised and hard-working and reliable, that puts you at a massive advantage over most people who are working in music, to be honest. If you’re willing to act professionally, it’s surprising how quickly other people start to treat you the same way, and it doesn’t take too long after that to begin to feel established – not necessarily that you know what you’re doing, but at least that you’re the right person to be doing it.’

He lists many of the artists above as being among the highlights of

the label’s life so far, reserving particular praise for Meursault – who have now moved on from Song, By Toad – as the artist whose releases did most to help establish it. More recently, Young has also been pleased by the fact Modern Studies have moved on to be signed by Fire Records, and by the love which has been shown for Siobhan Wilson’s SAY Award-nominated There Are No Saints.

‘For me, though, the big successes weren’t the things where we were going to work hard on a record and knew it would do fairly well,’ says Young. ‘It was the things we’d do just because I thought they would be really, really good, even though they seemed commercially suicidal; the David Thomas Broughton triple-vinyl, or the split 12-inch series, or Jonnie Common’s ridiculous fridge magnet project, or something really small-scale like Faith Elliot’s tape release which everyone jumps all over. When the world agrees with you that the daft ideas are also good ideas, it feels like so much more of a success.’

A selection of different celebratory gigs are happening throughout autumn and winter, including one at Henry’s Cellar Bar in Edinburgh – where the label’s artists played most of their early gigs – and Inshriach House near Aviemore, where one of Song,

By Toad’s definitive early split-12s was recorded.

‘These relationships are important,’ says Young.

‘I know there are a few of us occupying the same ground here, and that technically makes someone like the Lost Map guys our competitors, but it’s impossible to see it like that. The friendships you make are half the fun of doing something like this.’

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@ AmarulaUK

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@ AmarulaUnitedKingdom

23/08/2018 18:38

FOOD & DRINK

For the latest news, listi n reviews, ggs and o list.co.uk to /food&dr ink

SCOTLAND THE BREAD New mill and brewery to reap what it sows

PHOTO: TARA DARBY

The Balcaskie Estate’s Bowhouse project in the East Neuk of Fife, which provides covered space for food producers and hosts regular markets where you can sample the wares and meet the makers, is opening a new mill and brewery. Due to begin operations in September – our traditional harvest time (although thanks to the heatwave many farmers have been reaping already) – the mill will be run by Scotland the Bread, the collaborative project dedicated to a healthy, sustainable and equitable supply of local flour and bread. They’ve been busy at Balcaskie already, using the estate’s fields to grow and experiment with Scottish and Nordic grain varieties. The brewery, run by Lucy Hine and Stephen Marshall from East Neuk Organic Brewing & Distilling Ltd, will be creating a range of organic, farmhouse-style beers, also utilising the traditional grains from the estate’s fields.

■ scotlandthebread.org; balcaskie.co.uk/ about-bowhouse

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FOOD & DRINK

DRINKS NEWS NEWS & REVIEWS

After a tiny break of a mere 523 years, production has restarted at Lindores Abbey near Newburgh in Fife, the ‘home’ of Scottish whisky – the earliest written mention of whisky in 1494 refers to the distillery. Their first release is an aqua vitae, which infuses malt spirit with cleavers, lemon verbena and sweet cicely, perfect for a Dark and Stormy as autumn draws in.

IT IS A TRUTH UNIVERSALLY ACKNOWLEDGED . . .

Glasgow-based soda geeks Rapscallion are taking on the bigger boys in the world of fizzy pop. Tantalising varieties of their natural concoctions are now available in cans, including Pink (rhubarb, pink grapefruit, Szechuan pepper) and Ninja (raw ginger, cassia, lemon cardamom).

. . . that Broughton Street is home to more than its fair share of Edinburgh’s prime dining spots. Megan Welford tries out one of the latest offerings

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orn’s closure back in the spring was a shock to the capital’s food scene. Scott and Laura Smith’s first restaurant won plaudits and awards (including a Best Newcomer Award from our very own Eating and Drinking Guide) for its stripped-back and innovative cooking, where seasonality was a mantra and pickling, preserving and foraging a way of life.

But even before the dust settled came news that the Smiths had taken over the awkward space formerly occupied by Seasons on Broughton Street and work was starting on a new venture.

And so Fhior is here. The name means ‘true’ in Gaelic and most of Laura and Scott’s now-familiar principles stand true too: minimalist décor, relaxed atmosphere, passionate staff who proudly show off the dishes they’ve made and sublimely creative cooking. Thankfully, their cult beremeal bread also made it up the road from The Shore; this should be handled with care if you’re dining as its Orcadian goodness is deceptively filling, but – huzzah! – early birds can now pick up a loaf from the restaurant on Saturday mornings.

The lunchtime menu is a compact à la carte, supported by a pared-down bar snacks list, an

innovation for Broughton Street – choose from dishes like lobster croquettes with lovage emulsion or baby leeks with wild garlic, spruce and sorrel. For dinner, after specifying any dietary requirements in advance, all you have to do is decide between four or seven set courses. Pick seven though, or you’ll be sad, envious or downright rude to neighbours who’ve had better foresight. There are matching wines from talented sommelier Stuart Skea or choose your own from an excellent and unusual list. Then simply sit back and wait for a series of taste explorations: it could be sharp elderflower pickle and unctuous oyster butter with cod, or shaved lamb crystals nestling next to samphire and sea buckthorn picked that morning from a secret spot in East Lothian. Finish with the most intensely strawberry-tasting dessert you could possibly eat, scattered with the pretty bite of amaranth and nasturtium. And here’s another truth for you: eat here, and you can die happy.

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Stunning, stunning food

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The set menu concept can divide diners

FHIOR 36 Broughton Street, New Town, EH1 3SB, 0131 477 5000, fhior.com Fri/Sat 12.30–2pm, 6.30–9pm; Wed/Thu 6.30–9pm. Closed Sun–Tue. Average cost of two-course lunch/dinner: £15 (lunch) / £40 (dinner) 44 THE LIST 1 Sep–31 Oct 2018

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SIDE DISHES

News to nibble on While there will still be special events, guests and tastings, new head chef James Murray will now helm regular lunch and dinner services from Wed–Sat. There will also be Sunday brunch, plus all-day opening for tea, coffee and retail sales of their excellent bread.

Söderberg

is perfect for a casual lunch, while Williams and Johnson’s new Waverley Market café is a brilliant excuse to avoid the chains. El Cartel have battled floods and fire (OK, just floods) to open their second branch on Teviot Place and Söderberg have crept further south into Morningside to open their fourth café. Finding it hard to keep up?

Let us be your eyes and ears – sign-up to our monthly food and drink newsletter at list.co.uk/ member/email

PHOTO: ALASTAIR FERRIER

If you’ve spent the past month immersed in the festival, you’ve got some serious catching up to do on Edinburgh’s ever-evolving food scene. Leith is a-buzzing: Norn’s former head chef has opened Borough, Nauticus is bringing proper cocktails to Duke Street and Smoke & Mirrors has transformed the former Alan Breck Lounge into a cosy neighbourhood hangout.

Up town, 83 Hanover Street’s small plates, exposed brickwork and sunshiny booth seating

There’s big news from our former Best Newcomer Award winners Edinburgh Food Studio (above), who are now fully embracing their restaurant creds and moving away from their ‘guest chef’ approach.

In Glasgow, Partick is continuing to paint itself green, white and red.

We’ve had Celino’s and Basta, more recently Pasta Valentino, and now the couple who previously brightened up Queen Margaret Drive with their Italian-leaning North Star café have taken it up a notch with their first restaurant, Rossini – as in Ester and Maurizio. They’ve taken over the old Tinto tapas bar in Partick, serving up specials from chef Maurizio’s home region of Apulia, and featuring Scottish produce such as West Coast mussels and langoustines. Fans of Vietnamese cuisine have known and loved Non Viet at Charing Cross for a while. The same owners have brought their imaginative take on ’Nam to Great Western Road with the somewhat less imaginatively named Non Viet Hai – as in ‘Two’.

Ex xpe erie ence e ou ur 1st Au uthe ent n ic i Sic ich hu n Cu huan uissin ne in n Sco otla and d.

349 Sauchiehall Street G2 3HW

http:// www.sichuanhouse.co.uk

0141 333 1788

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OUT OF THE STEAM BASKET RECENT OPENINGS

Jane Allan squeezes into a new South-east Asian diner helmed by a chef going it alone

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trategically perched at Eglinton Toll straddling Glasgow Southside’s main arterial roads, Nanika epitomises the notion of small is beautiful. This 14-seater diner and takeaway with its clever starry-sky interior brings Justin Valmassoi’s take on Vietnamese street food to an eager audience already primed by his stint at the Glad Café. The deceptively compact menu displays bold originality and a feast of dishes ranging from tongue-curling garlic and chilli cucumbers to sweetly green jackfruit curry and succulent, spicy pork bao buns. Designed to appeal to a sophisticated contemporary palate that relishes the salty, the spicy and the zesty, a bowl of smoky salmon with crunchy celery, sweet pear and al dente sweet potato, all drenched in a citrusy ponzu sauce, reflects Japanese influences. The salt and chilli tofu dish – one of several vegan offerings – takes a more Chinese direction, while Korea joins the mix in a generous portion of house kimchi and rice. South-east Asian cuisines reflect the fusion cultures of migrant populations and Nanika brings all this to Glasgow in a bowl of tom yum fries.

NANIKA 72 Victoria Road, Southside, Glasgow, G42 7AA 07383 716676, nanika2.neocities.org £11 (dinner)

The best of the new restaurant, café and bar openings in Glasgow and Edinburgh.

Prices shown are for an average two-course meal for one.

Glasgow

for conscience-easing recycle certainty). The premium pick of falafel is top notch, while the homemade salads – tabbouleh, kimchi, etc – are fresh and vibrant. Soups feature, accompanied by Freedom Bakery bread, while other locals include the Good Coffee Cartel for beans and Rapscallion for juices.

TEA LOUNGE BY DILMAH BAKED – PIZZA AL TAGLIO ITALIAN 120 Duke Street, East End, 0141 552 7208, instagram.com/bakedpizzaaltaglio, £10 (lunch / dinner) The Roman-style snack at Baked – Pizza al Taglio (‘by the slice’) has gone down very well with Glasgow’s Italians looking for a slice of home. And no wonder – head pizzaiolo, Daryl Leach, honed his dough-making skills at Italy’s renowned Sorbillo pizzeria, and the crispyet-fluffy results (after a 72-hour prep, prove and bake) impress. Meticulously sourced Italian produce and local veg go into dozens of tantalising combinations, including nods to vegans. The slice is partially baked then reheated so lacks the sizzle and char of a woodfired Neapolitan, but it is terrific to see a dedicated team educating Glasgow on this regional variation with such creative flair.

HOTEL TEAROOM Hilton Glasgow, 1 William Street, City Centre, 0141 204 5555, £24 (tasting menu) The luxury, Asian-styled tea lounge at the Hilton provides all the essentials of the traditional afternoon tea and much more. Dilmah – the Sri Lankan tea company – gives this new venture its unique character, fuelled by teas such as Ceylon Ginger or Rose and Vanilla, or a t-cocktail, all concocted by knowledgeable sommeliers. Three teas are matched to three courses: savoury sandwiches, including cucumber and smoked salmon, and roast Angus beef in a sesame slider; indulgent warm scones with clotted cream; and elegant cakes and patisserie, served from a stylish trolley.

Edinburgh MONO

SPRIGG HEALTHY TAKEAWAY 241 Ingram Street, Merchant City, 0141 221 2223, sprigg.co.uk, £9 (lunch) Snuggled up close to GoMA in a compact, nicely designed spot, this ‘urban takeaway’ is bringing a healthy, righteous mentality to the city’s workers. Specialising in bowls of pick-and-mix goodness for breakfast and lunch, Sprigg’s Living Wage staff will enthuse as they lead you through the filling of your Vegware (take back used containers

ITALIAN 85 South Bridge, Old Town, 0131 466 4726, monorestaurant.co.uk, £15 (lunch) / £35 (dinner) Silken menu pages, rough-hewn walls and crosshatched cutlery handles seduce the senses well before the food arrives in this high-end progressive Italian restaurant, where grown-up cooking rewards brave diners willing to test the boundaries of what an Italian restaurant should be. The ground floor dining room is simple, while downstairs diners get a spectacular view of the team at work in the open kitchen. Highlights include a rich ragù of cuttlefish with ink-blackened polenta cakes dotted with pea purée, red mullet in a vivid pond of curried butter and a dessert that

creates something sweet and stinkingly delicious from gorgonzola, cherries and chocolate.

BOROUGH BISTRO 50–54 Henderson Street, Leith, 0131 629 2525, boroughrestaurant.com, £26 (lunch / dinner) This clean-cut, Scandi-feeling Scottish bistro uses warm lighting and stylish wood to give a contemporary feel, without being too stiff. The menu lists four courses, but these are mere suggestions and guests are encouraged to meander freely between them all. Lighter bites include courgette tart, which could be followed by tagliatelle and walnut pesto, or venison in pumpkin and pepper sauce. Custard tart, cherry and meadowsweet dukes it out with chocolate, mint and hazelnut for best dessert but, let’s face it, either will do you just fine.

Aiming to be a relaxed neighbourhood restaurant, Borough is undoubtedly on the right track.

THE LITTLE CHARTROOM BISTRO 30–31 Albert Place, Leith, 0131 556 6600, thelittlechartroom.com, £22 (lunch) / £28 (dinner) Good things do come in small packages at the Little Chartroom, where the space is intimate, the menu concise, the warmth genuine and the menu driven by the availability of interesting ingredients. A trio of pork arrives as a crispy pig’s head croquette, tear-away cheek and savoury belly, while a dish of flaky plaice and perfectly plump mussels is set off by strands of sea plantain and crunchy toasted buckwheat. Puddings are a true partner in the meal rather than an afterthought, such as cleansing elderflower ice-cream, flanked by strawberry slices and delicate tuile, or dense chocolate brownie topped with a chocolate and summer cherry concoction.

Independent write-ups on all the restaurants worth knowing about in Glasgow and Edinburgh are available on our online Eating & Drinking Guide at list.co.uk/food-and-drink 46 THE LIST 1 Sep–31 Oct 2018

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14-16 SEP ’18 WITH CELEBRITY CHEF

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PALETTE CLEANSING As a new dining and exhibition development is set to open on Edinburgh’s Calton Hill, David Kirkwood looks at the coming together of food and art

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ummer in Edinburgh means festivals, chaos and madness – where courtyards become theatres and campervans sell street food. The city’s focus is on all things art, especially the transient kind. But up on Calton Hill, a project with an exciting sense of permanency, and food and art at its core, is about to invite us in.

Part of the redeveloped City Observatory site, the Lookout is a restaurant with an impressive vista of the city, built on a cantilever and partially suspended over Calton Hill’s northwest slope. It’s a collaboration between contemporary arts organisation Collective and the team behind the Gardener’s Cottage.

‘We discovered the site back in 2010,’ explains Collective’s Eric Hilldrew. ‘We’ve always been an organisation that utilises temporary spaces, and for the Edinburgh Art Festival that year we were putting on an exhibition in an unused site on top of Calton Hill – we quickly realised that it was a place with incredible potential.’

Eight years sounds like development hell but, given the scale, it starts to make sense. Joining the Lookout will be the Hillside, a panoramic exhibition space built into the hill, and the City Dome, another space repurposing the former observatory. The building and design reigns are in the hands of Collective Architecture (no relation) whose work on Glasgow projects, including Empire Café and the redevelopment of the Southside’s old Victoria Infirmary, demonstrate a sensitivity for breathing new life into already stunning structures.

Then there’s the eating. ‘We’d always intended the restaurant to be a special feature,’ says Hilldrew, pointing out that they anticipate a far more varied clientele than in any of the smaller spaces they’ve inhabited. ‘We always wanted that side of things to be run by people who shared our values and goals’. Enter Dale Mailley and his team, who opened the Gardener’s Cottage in 2012 to immediate acclaim for dishes defined by a hands-on ethos, delicate execution and ultra-seasonality. Their reputation is well established, further fuelled by their second location, Quay Commons in Leith, which is not just an elegant café but also a full-on prep site. Behind the scenes there, they have a butcher and five bakers, who supply over 40 other venues

in the capital, and another section where much preserving, fermenting and pickling is done.

While Mailley is still working on the specifics of the menu at the Lookout, he does enthuse: ‘The workspace in Leith really allows us to draw on some common flavours – and produce – across all our restaurants. We want them all to have a shared identity, although the Lookout will have some nods to modernity that acknowledge the art space next door, in the same way that the Gardener’s Cottage always reflects the traditional roots of that building’s previous use.’

Alongside the cafés at the National Portrait Gallery and the National Gallery of Modern Art (operated, among others, by Heritage Portfolio, who have raised the bar in the capital over the last decade for what we expect at our artsy eateries), the capital is well set this autumn for art-inspired dining.

Over in Glasgow, August saw the first Artist’s Spread dining event, a new initiative by local artist David McDiarmid – described on his website as ‘artist / curator / restaurant manager’. ‘So many artists also work in hospitality, and the idea is to combine those two areas into a new type of artistrun operation,’ he explains.

The sold-out dinner, hosted by the Project Cafe and poignantly near the Art School fire site, involved various artists with front-of-house, kitchen or bar experience, who created a three-course menu together. The 50 diners also received art created by someone from the collective. This ranged from the performative (Robert Thomas James Mill’s ‘Presenting Drinks Disguised As A Self Service Machine’) to the practical (Emma Roger’s ceramic lemon juicers, which were used to flavour the aubergine scallops), with artist Stuart Noble’s resin-cast dung beetle inviting diners to forever remember the ice-cream and chocolate version they had just enjoyed: another example of how art, food, the passing and the permanent can go so delightfully well together. thelookoutedinburgh.co collectivegallery.net fb.com/artistsspread

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AROUND TOWN

F the latesotr listing news, reviews,sgand list.c .uko to /aroundoto wn

HALLOWEEN A round-up of some of the spookiest events taking place this autumn We’ve officially left the summer months behind and though you may be feeling understandably downhearted, it doesn’t have to be all doom and gloom.

That is unless you want it to be . . .

For those of you after the quintessential Scottish Halloween experience, don’t miss the Samhuinn Fire Festival (Old Town, Edinburgh, Wed 31 Oct). Hosted by the Beltane Fire Society, the festival takes the form of a stunning torchlit procession, with acrobatics, fireworks, beautiful costumes and breathtaking performances.

Elsewhere in Edinburgh, the Halloween Magic School (Lauriston Castle, Sat 20 Oct) promises kids aged 7–11 the chance to get dressed up and learn, create and perform their own magic. Meanwhile, at the same venue, paranormal illusionist Ash Pryce leads the magic-themed The Twilight Seance (Fri 26 Oct) and at The Haunted Hunt: Monsters of the Castle (Sat 27 & Sun 28 Oct),

children aged eight and over are invited to help mad scientist Dr Frank McStein find his monster by following the clues to save the day.

The Festival of the Dead is back in Edinburgh (Usher Hall, Sat 29 Sep) and Glasgow (O2 Academy, Fri 19 Oct), with all the spookiness you’d expect, with everything from a 15-ft roaming vulture to carnival processions, circus acts and skeletons. The annual Day of the Deid also returns to Saint Luke’s in Glasgow (Sat 27 Oct), featuring live music, dance and theatre performances and plenty of tequila, cocktails and Mexican street food. For the wee ones, the Castlemilk Park Pumpkin Festival (Sun 21–Sat 27 Oct) is a good shout, as is Children’s Classic Concerts and the RSNO’s Broomstick Ride (Glasgow Royal Concert Hall, Sat 27 Oct), which includes witches, wizards and valkyries along the way. (Arusa Qureshi)

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PHOTO: VINCE GRAHAM

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Highlights | AROUND TOWN

HITLIST

MCM SCOTLAND COMIC CON SEC, Glasgow, Sat 22 & Sun 23 Sep, mcmcomiccon.com/ scotland A US-style comic convention and celebration of superheroes, sci-fi, TV, gaming, trading cards, toys, anime and more.

Guest of honour is anime director Shingo Natsume.

FUTUREPROOF Various venues, Scotland, Fri 28 Sep–Sun 28 Oct, nationaltheatrescotland. com/futureproof A brandnew month-long festival taking place at ten locations across the country. The festival is co-curated and creatively led by Lucy Gaizely of multi-disciplinary performance company

21Common, with its emphasis on celebrating young people and their vital contribution to artistic life.

KNIGHT AT THE CASTLE Edinburgh Castle, Fri 5 Oct, edinburghcastle. scot/knight Experience one of Scotland’s iconic buildings after hours at this event for young adults to

celebrate the Year of Young People 2018.

controversial subject matter.

FESTIVAL OF POLITICS Scottish Parliament, Edinburgh, Wed 10–Sat 13 Oct, festivalofpolitics.scot Expect big names from politics and culture to step up to the plate as the controversial Scottish Parliament building plays host to even more

RESONATE SEC, Glasgow, Fri 19–Sun 21 Oct, resonatetotalgaming. com Three-day festival of gaming featuring a professional eSports tournament, a junior gamer zone, a play hall and a retail zone.

AROUND TOWN HIGHLIGHTS GLASGOW BRICK WONDERS Glasgow Cathedral, Sat 14 Jul– Sun 23 Sep, warrenelsmore.com/ brickwonders Architectural gems from around the world are recreated as large-scale LEGO models by artist Warren Elsmore. Catch a glimpse

of the seven wonders of the world as well as other iconic modern structures.

BRAW CIRCUS FESTIVAL Various venues, Thu 6–Sat 8 Sep, scottishcircusfestival.com Scotland’s circus scene is brought to the forefront in this festival that celebrates the art. It includes five different shows developed by Scottish-based circus companies performed in different venues across the city.

PHOTO: COURTESY OF MUSEUMS AND GALLERIES EDINBURGH

Events are listed by city, then date.

Submit listings for your event at list.co.uk/add

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AROUND TOWN | Highlights

AROUND TOWN HIGHLIGHTS CONTINUED

Futureproof

THE DOG LOVER SHOW SEC, Sat 8 & Sun 9 Sep, thedoglovershow.co.uk Scotland’s first consumer dog show with performances and displays from some of the most talented dogs in the UK. PEDAL FOR SCOTLAND Glasgow Green, Sun 9 Sep, cycling.scot/pedal-for-scotland The Classic Pedal for Scotland event.

Cycle the 45 miles from Glasgow to Edinburgh with more than 7500 other cyclists.

GREAT SCOTTISH RUN George Square, Sat 29 & Sun 30 Sep, greatscottishrun.com Take to the streets of Glasgow for a 10k or half marathon starting in George Square and finishing at Glasgow Green, with bands along the route to spur you on.

GOOD FOOD SHOW SCOTLAND SEC, Fri 19 Oct, bbcgoodfoodshowscotland.com The food and drink extravaganza heads north of the border again for another serving of celebrity chefs and star culinary attractions.

GRAPHIC DESIGN FESTIVAL SCOTLAND Various venues, Sat 20 Oct–Sun 25 Nov, graphicdesignfestivalscotland. com The Graphic Design Festival Scotland aims to inspire young designers through active engagement, while promoting creativity, collaboration, friendly competition and fun.

GLASGOW HORROR FESTIVAL Classic Grand, Sat 27 & Sun 28 Oct, popcornhorror.com Popcorn Horror present this two-day festival featuring a horror market, industry panels, indie screenings and other attractions.

EDINBURGH THE LOST WORDS FAMILY TRAIL Royal Botanic Garden, Mon 13 Aug– Sun 2 Sep, rbge.org.uk In conjunction with the Botanic Garden’s exhibition Lost Words, this interactive event for families aims to discover the secret lives of plants and animals in The Lost Words books.

EDINBURGH RIDING OF THE MARCHES Royal Mile, Sun 16 Sep, edinburghridingofthemarches. com Annual commemoration of the

traditional inspection of Edinburgh’s city boundaries. It features 280 horses in a procession from the Royal Mile to the Mercat Cross, accompanied by pipe bands and Edinburgh Council leaders.

EDINBURGH KILTWALK Murrayfield Stadium, Sun 16 Sep, thekiltwalk.co.uk Why walk in boring old trousers when you can strut your stuff around the city in a kilt? Choose between six, 13 and 26 mile distances around Edinburgh and help raise funds for charities. All three walks end at BT Murrayfield Stadium.

RUM FESTIVAL Biscuit Factory, Fri 28 & Sat 29 Sep, therumfestival.co.uk The UK’s travelling rum festival comes back to Edinburgh for a second year. You can try more than 100 different rums, cocktails and food from around the globe.

EDINBURGH COFFEE FESTIVAL Corn Exchange, Sat 6 Oct, edinburghcoffeefestival.co.uk A festival for lovers of all sorts of coffee, from your regular cups of Joe to your skinny-grande mochaswirl-achino-with-extra-cream sorts,

featuring workshops, tastings and demonstrations.

EDINBURGH COCKTAIL WEEK Various venues, Mon 15–Sun 21 Oct, edinburghcocktailweek.co.uk A week-long programme of cocktail drinking, events and parties across the city. Wristband holders can sample signature cocktails for just £4 in 80 participating bars across the capital.

2018’s event includes the addition of the Cocktail Village at Festival Square on Lothian Road.

HALLOWEEN MAGIC SCHOOL Lauriston Castle, Sat 20 Oct, edinburghmuseums.org.uk Learn how to perform your own spell at this spooky Halloween workshop. Suitable for children aged 7–11.

SAMHUINN FIRE FESTIVAL Old Town, Wed 31 Oct, beltane. org Hosted by Beltane Fire Society, the event celebrates Celtic New Year, marking the end of summer and welcoming the onset of winter. It takes the form of a stunning torchlit performance, with acrobatics, fireworks, beautiful costumes and breathtaking performances.

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BOOKS

Fo the latestr n listings a ews, reviews, g nd o list.co.uk to /books

BLOODY SCOTLAND The streets of Stirling run red as Scotland’s deadliest literary festival returns This September, authors, publishers and fans from around the world will descend upon historic Stirling to celebrate the (fictional) dispatching of bodies at the international crime writing festival Bloody Scotland. With a dynamic programme, this year promises incisive social commentary, anniversary celebrations and a truly global scope.

Literary luminaries scheduled to appear include Val McDermid, Irvine Welsh, Louise Penny, Ann Cleeves, Stuart MacBride, Frank Gardner and many others. From further afield, The Kiwis are Coming! welcomes authors from New Zealand, whilst Brexit chat abounds at Adios, Auf Weidersehen, Arrivederci, Au Revoir, in which continental crime writers discuss what might happen post-March 2019.

Other socially minded panel discussions include Breaking Barriers, examining the challenges faced by writers in breaking through the glass ceilings of race, gender, class and sexual orientation, while Time’s Up for Violence Against

Women will tackle the endemic violence against women in crime fiction and real life. The Crimes and Misdemeanours of Muriel Spark celebrates the centenary of her birth and explores the great dame’s dark side as the progenitor of Tartan Noir. Another highlight from this year’s programme will be an appearance from Ashley Jensen (pictured), star of the TV adaptation of Agatha Raisin, in conversation with MC Beaton, author of the aforementioned series.

Lest you think all the fun is saved for the written word, authors will be hanging up their pens for the annual Scotland v England football game and the infamously chaotic Master Criminals and Masterminds quiz. There will also be readings of the murder mystery musical The Generalist, as well as a performance by the crime authors supergroup Fun Lovin’ Crime Writers, who are scheduled to perform (or perhaps murder) a few tunes. Sounds like quite a lot of bloody fun. (Deborah Chu) ■ Various venues, Stirling, Fri 21–Sun 23 Sep.

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BOOKS | Reviews FICTION

KATE ATKINSON Transcription (Doubleday) ●●●●● Following on from the award-winning Life After Life (2013) and A God in Ruins (2015), Atkinson revisits WWII in Transcription. She has a new hero, however, in the complicated and contradictory Juliet Armstrong. Reluctantly recruited by MI5 aged 18, Juliet is as naïve as she is canny, as prone to wise-cracking as she is careful with her words.

As always, Atkinson leaves much for her readers to decode and as Juliet spends her youth transcribing the conversations of British Fascist sympathisers, the reader is just as keenly searching for double meanings and revelations. In Juliet’s records, anecdotes about the weather are interposed with imagined gossip about the Gestapo, a juxtaposition that’s only made more complex by the revelation that she occasionally allows herself to fill in words or phrases inaudible in the recordings.

Over the course of the war, Juliet transitions from glorified typist to undercover agent but it’s in the 1970s, when she’s working for the BBC, that she discovers what it really means to become embroiled in a world of complicity and co-conspiracy.

Atkinson’s talent for creating a sense of levity and playfulness that’s subtly subverted really comes into its own in Transcription.

Trust no one, her narrative suggests, least of all yourself. The mundane nature of Juliet’s tasks conceals the severity of the situations she allows herself to become embroiled in, much in the same way that Atkinson’s seamless yet ingenious prose lulls the reader into an assumption of understanding, only to tug at the rug beneath their feet. Transcription is another absorbing read from one of our most inventive writers. (Lynsey May) ■ Out Thu 6 Sep.

FICTION

NON-FICTION

FICTION

All the Hidden Truths (Three Rivers) ●●●●●

Mars By 1980: The Story Of Electronic Music (Faber & Faber) ●●●●●

The Way of All Flesh (Canongate) ●●●●●

CLAIRE ASKEW In All the Hidden Truths, a novel set in the aftermath of a mass shooting at a fictional Edinburgh college, prize-winning poet Claire Askew delivers a compelling crime debut that tackles difficult questions with compassion and aplomb.

Told from the perspective of Moira, mother to Ryan Summers (the perpetrator who kills himself at the scene), Ishbel, mother of Abigail (his first victim), and Helen Birch, the DI assigned to the case, the novel follows three women who are desperately and doggedly searching for a version of the truth they can live with. As tabloid reporters descend to pick over the scant and brutal facts available, family secrets are in danger of being exposed. But no matter what details are dug up, the reality remains that Ryan shot himself – and dead men don’t talk, even when their actions scream.

Don’t expect to find any easy answers in this skilful whydunnit. Instead, Askew opens up important conversations about toxic masculinity, guilt, grief and how, as a society, we face up to and deal with public tragedies and their painful aftermaths.

Moving from character to character, Askew creates a fragmented yet cohesive story that leaves the reader feeling as compromised, torn and compelled to re-evaluate assumptions of victimhood as her protagonists. (Lynsey May) ■ Out now.

DAVID STUBBS

Mars By 1980 takes its title from a 1970s newspaper headline. Today, such space-age idealism seems quaint, even melancholy; a remnant of a lost future.

In surveying the history of electronic music, music journalist David Stubbs aims to rediscover ‘not merely a glow of nostalgia but the glow of possible dormant futures that have merely been deferred.’

Stubbs sketches a fascinating pre-history of electronic instruments, from Jesuit priest JeanBaptiste Delaborde’s 1759 clavecin électrique to Thaddeus Cahill’s Telharmonium of 1893, yet also contends that the evolution of electronic music is not purely down to technology, but a confluence of socio-economic factors, imagination and ingenuity.

While he does not attempt a comprehensive overview of dance music, Stubbs is particularly engaging on subjects close to his heart.

The avant-garde tape compositions of Karlheinz Stockhausen and Pierre Henry are often seen as forbidding and cerebral, but in Stubbs’ vivid prose, they come alive. Meanwhile, his personal reflections on the transitional period between disco and acid house capture a fertile time.

At its best, Stubbs argues, electronic music has ‘opened up great vistas of possibility’. No goldenager, Stubbs recognises that today’s innovations are led by women, LGBT people and artists of colour.

The future is not yet lost. (Stewart Smith) ■ Out now.

AMBROSE PARRY Dispensing with the cagey Robert Galbraith school of taking pseudonyms, Ambrose Parry has been upfront from the beginning. ‘He’ is the pen-name of married couple Chris Brookmyre and Marisa Haetzman.

While the authoring game is Brookmyre’s trade, this ‘debut’ novel for Parry seems to have come more from Haetzman’s interests and specialisms. A consultant anaesthetist in the NHS for twenty years, she also has a Master’s degree in the History of Medicine, in which she studied the early use of anaesthesia.

This forms the backdrop to The Way of All Flesh, a Victorian crime thriller set in 1847 which bears elements of comparison to similarly murderous artefacts of Victoriana as the Burke and Hare murders or Alan Moore and Eddie Campbell’s From Hell. There are two protagonists here, as there are two writers; in the beginning, new medical student Will Raven, and subsequently housemaid Sarah Fisher, both in the employ of the real-life Doctor James Simpson.

Young women are being murdered in violent circumstances, and the pair are drawn into the hunt.

As with each of Brookmyre’s books, the thriller aspect is only part of the fun. The narrative style involves a crisp Victorian tone and a thread of black humour woven throughout; the sense of an Edinburgh socially and geographically developing into the one we know now adds extra flavour to a foot-finding first instalment in what has the potential to become a series. (David Pollock) ■ Out now.

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HITLIST

LAUNCH: JENNI FAGAN, THERE’S A WITCH IN THE WORD MACHINE Golden Hare Books, Edinburgh, Fri 14 Sep,

Jenni Fagan

goldenharebooks.com Award-winning author of The Panopticon and The Sunlight Pilgrims launches her new poetry collection, an exploration of words as spells.

FUN LOVIN’ CRIME WRITERS Albert Halls, Stirling, Fri 21 Sep, bloodyscotland. com Crime writers Mark

Billingham, Chris Brookmyre, Doug Johnstone, Val McDermid, Stuart Nevelle and Luca Veste take time away from their books to murder some good songs.

See preview, page 54. Part of Bloody Scotland.

WIGTOWN BOOK FESTIVAL Various venues, Wigtown, Fri

21–Sun 30 Sep, wigtownbookfestival. com A celebrated feature in the Scottish literary calendar attracting many big names. For ten days, Scotland’s National Book Town buzzes with book-related happenings as well as theatre, music and site-specific events in quirky venues. See feature, page 24.

SCOTTISH INTERNATIONAL STORYTELLING FESTIVAL Scottish Storytelling Centre, Edinburgh, Fri 19– Wed 31 Oct, tracscotland. org A celebration of live storytelling, uniting Scottish and international storytellers and musicians. Events featuring guests from across the globe.

BOOKS HIGHLIGHTS GLASGOW AN EVENING WITH VAL MCDERMID Waterstones, Newton Mearns, Thu 6 Sep, waterstones.com The Queen of Crime talks about the latest instalment in her wildly popular Karen Pirie series, Broken Ground. She also touches on her life and wider oeuvre.

ANNA STEPHENS, ANNA SMITH SPARK & CAMERON JOHNSTON TALK FANTASY Waterstones, Argyle Street, Thu 20 Sep, waterstones.com Three fantasy writers – Anna Stephens, Anna Smith Spark and Cameron Johnston – discuss their work as well as everything that they love about writing in such a rich and dark genre.

MEL SHERRATT LAUNCHES HUSH HUSH Waterstones, Argyle Street, Thu 25 Oct, waterstones.com Mel Sherratt is joined in conversation with Glaswegian crime writer Michael J Malone to talk about her new tale of murder Hush Hush.

They will also chew over the process of portraying police work through fiction.

NEIL HILBORN Òran Mór, Mon 29 Oct, oran-mor. co.uk Neil Hilborn slams poetry, just what you’d expect from a College National Poetry Slam champion.

EDINBURGH LAPIN IS HUNGRY Scottish Storytelling Centre, Sat 15 Sep, tracscotland.org Bilingual puppet show telling the story of Lapin, the French rabbit, followed by a book signing. Perfect for children aged 3–6.

THE MANY FICTIONS OF WILLIAM BOYD Assembly Rooms, Wed 19 Sep,

assemblyroomsedinburgh.co.uk William Boyd discusses the hallmarks of his long and varied career, including his 15 novels and the hoax he pulled on the art world with David Bowie.

MONEYLAND WITH OLIVER BULLOUGH Lighthouse Books, Thu Sep 27, lighthousebookshop.com The investigative journalist talks about themes from his new book, The Last Man in Russia, which looks at the secret world of the stateless super-rich.

TWISTER BY JULIETTE FORREST Golden Hare Books, Thu 4 Oct, goldenharebooks.com The Scottish children’s author presents her new novel Twister, which is aimed at young people aged 9+. The event is interactive and Forrest will chat about magic, heroines and mystery.

OUT OF TOWN AROUND THE WORLD IN 80 DAYS WITH MARK BEAUMONT Eden Court, Inverness, Tue 11 Sep, eden-court.co.uk An insight into Mark Beaumont’s incredible cycle around the world in 80 days. Also touring, see list.co.uk/books for details.

NAIRN BOOK AND ARTS FESTIVAL Various venues, Nairn, Tue 11–Thu 16 Sep, nairnfestival.co.uk A range of musical, literary and artistic events with a fringe drawing on the talents of the local creative community. The programme features a kids’ day, workshops, author events, poetry readings and more.

ALAN TAYLOR: APPOINTMENT IN AREZZO Smith Art Gallery & Museum, Stirling, Mon 17 Sep, stirlingliterarysociety.org.uk Journalist and author Alan Taylor discusses his remarkable friendship with Muriel Spark over the last 16 years of her life, as outlined in his memoir Appointment in Arezzo.

BLOODY SCOTLAND Various venues, Stirling, Fri 21– Sun 23 Sep, bloodyscotland.com An innovative festival drawing on Scotland’s love of the literary macabre and celebrating crime writing by bringing together leading Scottish and international writers, showcasing debut voices and encouraging new writers.

See preview, page 54.

TIME’S UP FOR VIOLENCE AGAINST WOMEN Golden Lion Hotel, Stirling, Sun 23 Sep, bloodyscotland.com Bestsellers Sophie Hannah, Alexandra Sokoloff and Jo Jakeman discuss the recurring issue of violence against women in crime fiction. Part of Bloody Scotland.

HELEN FIELDS Waterstones, Dunfermline, Thu 27 Sep, waterstones.com Join Helen Fields, bestselling author of the Perfect series, as she chats to local author Neil Broadfoot about her new novel Perfect Silence.

TIDELINE BOOK FESTIVAL Harbour Arts Centre, Irvine, Thu 27–Sun 30 Sep, tidelinesbookfest. com Largs-based book festival with a great little lineup of events for kids and adults alike.

ISLAY BOOK FESTIVAL Various venues, Islay, Thu 27–Sun 30 Sep, islaybookfestival.org.uk An intimate and friendly festival on the popular whisky isle that caters to Scotland’s love of crime thrillers as well as introducing quirky and challenging books in a programme with something for all ages.

INTO THE PEATLANDS BY ROBIN A CRAWFORD Waterstones, Oban, Thu 4 Oct, waterstones.com In his new book Robin A Crawford analyses peatlands over the course of a year to see how they would have been used through history. In this event, he discusses his findings.

NESS BOOK FEST Various venues, Inverness,

PHOTO: FRASER RICE

Events are listed by city, then date.

Submit listings for your event at list.co.uk/add

Val McDermid

Thu 4–Sun 7 Oct, nessbookfest. wordpress.com Inverness-based book festival that features emerging voices as well as big names in a free programme of events.

AN EVENING WITH ANNA DEL CONTE IN ST ANDREWS Topping & Company Booksellers, St Andrews, Wed 10 Oct, toppingbooks. co.uk The master of Italian cooking presents her new cookbook Vegetables all’Italiana which shines a spotlight on the veg used in Italian cooking. As well as talking all things Italian cooking, there will be tasters on offer.

ORKNEY STORYTELLING FESTIVAL Various venues, Orkney, Thu 25–Sun 28 Oct, orkneystorytellingfestival.co.uk A programme of walks, talks, story sessions and workshops with renowned storytellers from Scotland and beyond.

Guest storytellers for 2018 include Heather Yule and Nela Scholma-Mason.

SCOTTISH YOUTH POETRY SLAM FINAL Beacon Arts Centre, Greenock, Thu 27 Oct, confab.org.uk A total of 720 young people from across Scotland compete through two regional heats which culminates in this final battle for the title of Scottish Youth Poetry Slam, Slam Master 2018.

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STEWART FRANCIS Sat 1 Dec, 8pm

Motherwell Concert Hall £18.50

Star of Mock the Week & Live at the Apollo

culturenl.co.uk 01698 403120 16 years+

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COMEDY

Fo the latestr n listings a ews, reviews, g nd o list.co.uk to /comedy

RACHEL PARRIS The Mash Report correspondent loves to pretend Is there anything Rachel Parris can’t do?

She’s hosted a Game of Thrones fanshow on Sky Atlantic, was a founding member of improv collective Austentatious, played Roy’s needy girlfriend in a classic episode of The IT Crowd, and has received plenty plaudits for her job as a correspondent on The Mash Report. In particular, her ‘How NOT to sexually harass someone’ item on the show back in January received lots of

traction. And now she takes to the nation’s roads again for her latest touring show, It’s Fun to Pretend.

Promising stand-up, sketch, song and satire, Parris will be delivering her own comedic take on the mad stuff that’s going on in the world today as well as delving into more personal material. (Brian Donaldson) ■ The Stand, Edinburgh, Wed 26 Sep; Òran Mór, Glasgow, Thu 27 Sep.

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COMEDY | Previews STAND-UP

SARA PASCOE Macrobert Arts Centre, Stirling, Sat 20 Oct; Tramway, Glasgow, Sun 21 Oct Western civilisation may seem like a hostile place at the moment, but Sara Pascoe considers the world of stand-up to be a rather different story. ‘Comedy used to be a crueller place, and while there is still lots of that kind of stuff, there is a lot more diversity now. And I hope that continues; live comedy is flourishing within an economic downturn and that’s because the people making jokes are from a much wider spectrum.’

It’s that kind of optimistic outlook that Pascoe harnessed for her latest touring show LadsLadsLads, an acclaimed set that focused on her break-up with fellow comic John Robins. ‘It’s sometimes hard to summarise what a show is about,’ Pascoe insists.

‘I wanted to give people the sense that it is fun and celebratory, but rather than about being about to get married, it’s the exact opposite. It’s about having fun, trying new things to be braver and more self-reliant.

Some of my shows in the past have had serious aspects, theories and research and this one is lighter.’

Since she started stand-up in 2007, Pascoe has made a name for herself with probing, intellectually themed shows which are loaded with gags. No surprise then that she branched out into book writing too, first with 2016’s Animal and the forthcoming Sex Power Money.

‘It’s about porn and sex work from a historical and evolutionary perspective,’ says Pascoe. ‘I’m also trying to explore power dynamics in sexual exchanges which are not as clearly defined as paying for sex: things like men paying for dinner, the abuse by powerful, rich men such as Weinstein and Trump.

But with jokes! Talking about serious, important stuff, but keeping it accessible and stimulating rather than hectoring.’ (Marissa Burgess)

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Previews | COMEDY

list.co.uk/comedy STAND-UP

DYLAN MORAN Theatre Royal, Glasgow, Fri 14 & Sat 15 Sep Who is the Dr Cosmos of Dylan Moran’s new show title? Is it some fictional man of the world? Or is it the Irish comedian himself in stage guise? ‘I get these ideas for themes or identities that obsess me for years and Dr Cosmos has been around for a while,’ states the Edinburgh-based Irish comic.

‘I’m writing a pilot episode which has Dr Cosmos as the title and it’s about all kinds of things, like consumerism and mental health and the idea of a snakeoil salesman. A lot of the live show is about people just trying to cope. The big things still apply: family is still there and the root systems don’t change, it’s just the way that we’re living has.’

A great deal of this new way of living has, of course, much to do with the technology that seems constantly at our fingertips. It’s fair to say that Moran isn’t exactly approving of our dependency on screens. ‘Look at the mystery that has been taken away from us: the whole romance of human history was made by all the imagination and projection of people in one place wondering what was over the hill. There was myth and storytelling, but now everything we could concoct in the dark has been replaced by the crystal clear Samsung LED screen. All those deliberations that were needless but very human and showed how inventive, capable and nutty we were has been swept away now.’ Thank the bejesus then, that we still have skilled storytellers like Dylan Moran at our disposal. (Brian Donaldson) STAND-UP

SAM AVERY The Stand, Edinburgh, Sun 28 Oct Sam Avery may be going on tour on the back of a wildly successful blog, book and podcast about the perils and pitfalls of being a parent, but he wants everyone to know one thing: ‘I wouldn’t want people to think I’m just moaning about being a parent because that’s not what I do. The show is more about how you handle that transition into a different stage of your life.’

Avery, a dad of three-year-old twin boys, used one particularly challenging incident as the inspiration for his live tour of The Learner Parent. ‘The spine of the show is about the worst tantrum I’ve ever experienced with my kids. It was a very public one, and I suppose it will be even more public now that I’ll be talking about it in rooms full of strangers. I wouldn’t even put the ones that happen at home on the list of tantrums because you can just leave them to it, make a brew and come back once they’ve cried it out. But if you’re in the middle of Debenhams, you might end up on the news.’

But don’t worry if you think this is just going to be one of those ‘aren’t the things kids say hilarious?’ shows. Avery is using his parental experience as a trigger to talk about other elements of his life such as getting older (he turned 40 in July) and his views on contemporary Britain. ‘A lot of it will be about being a parent, but a full show of all that stuff would be quite dull. So, I’m making sure that there will be other stand-up elements in there.’ (Brian Donaldson)

LOCAL LAUGHS RACHEL GRAHAM

THE SCRAM! SKETCH MEMBER HAS A GO AT OUR Q&A Can you tell us about the moment when you thought: ‘live comedy is for me’?

I don’t think I had a moment. The opportunity to join the sketch group SCRAM! came about and even though the thought terrified me, I couldn’t pass it up.

Do you have any pre-show rituals you can tell us about?

I like to have that little bit of dutch courage to loosen up, so I have a fruity cider and just try to chill out. You never know what’s going to happen and the best shows we’ve done have been when we’ve all relaxed into it and just gone with whatever the night brings.

Where do you draw the line when it comes to ‘offensive comedy’?

I think offence is subjective. Saying that, I think it’s good we’re living in a time where we call out bad behaviour and abusive language. Personally, I’m not that interested in brutally offensive comedy. I used to work at The Stand in Glasgow and having watched five years’ worth of comedy, I became much more interested in quirky, alternative approaches rather than offensive comedy.

What’s the one thing (good or bad) you remember about your very first live gig?

I just remember feeling an overwhelming sense of relief after we got our first laugh.

None of our group had performed sketch until our first gig at The Stand and we didn’t know how it would go down. I had never performed in something where the content and material was ours, and not from a playwright or lyricist.

What’s the best piece of advice you’ve received from another comedian so far?

One comedian encouraged me to utilise my contacts in comedy and ‘just go for it’.

I had been hesitant to put myself out there as I thought that I wasn’t qualified. I’m so glad I did, as I’ve surrounded myself with very talented writers and performers as well as becoming confident in calling myself a comedy actor.

Which comedian’s memoir would you recommend to someone?

Definitely Robert Webb’s How Not to Be a Boy. It’s one of the best books I’ve ever read. Every page was perfectly pitched. He talks in depth about his personal experience of toxic masculinity.

It’s a huge problem in our society which

is not only affecting men’s mental health and incidences of suicide, but also encourages misogyny and mistreatment of women. It’s got a great message as well as being really funny and engaging.

You’re curating a ‘legends of comedy’ lineup. Tell us the bill’s top three acts and why you’d have them there?

I’m going to cheat and say Rachel Fairburn and Kiri Pritchard-McLean together as one because I’ve become

obsessed with their All Killa No Filla podcast and they’re complete legends.

Next I would have Hannah Gadsby as I’ve just watched her Netflix special Nanette and I’ve never seen standup that was so heartfelt, honest and brutally important. I cried. Twice. And lastly I’d say Foil Arms & Hog as they were the first sketch group that I saw and they’re just masters of the genre.

■ SCRAM! is at The Stand, Glasgow, Wed 31 Oct.

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HITLIST

JASON MANFORD: MUDDLE CLASS Gaiety Theatre, Ayr, Tue 11 Sep, thegaiety.co.uk The comedian and actor – who formerly presented BBC’s The One Show and was a team captain on hit Channel 4 panel show 8 Out of 10 Cats – returns to stand-up with his new show.

Also touring, see list. co.uk/comedy for details.

DYLAN MORAN: DR COSMOS Theatre Royal, Glasgow, Fri 14 & Sat 15 Sep, atgtickets.com/ venues/theatre-royalglasgow Yet another splendid show from the Edinburgh-based Irish stand-up who wrote and starred in the TV sitcom Black Books. See preview, page 59.

RACHEL PARRIS: IT’S FUN TO PRETEND The Stand, Edinburgh, Wed 26 Sep, thestand. co.uk/whats-on/ Edinburgh The awardwinning comedian, as seen on The IT Crowd and Murder In Successville, presents songs, stories and stand-up.

See preview, page 57. Also Òran Mór, Glasgow, Thu 27 Sep, oran-mor.co.uk

KEVIN BRIDGES Edinburgh Playhouse, Wed 26–Sun 30 Sep, atgtickets.com/venues/ edinburgh-playhouse The biggest name in Scottish stand-up returns with another show packed with astute observations and deathly funny gags.

Also SSE Hydro, Glasgow, Thu 4–Sun 28 Oct, thessehydro.com

SARA PASCOE: LADSLADSLADS Macrobert Arts Centre, Stirling, Sat 20 Oct, macrobertartscentre. org The award-winning comedian returns to the stage with her latest acclaimed touring show, LadsLadsLads. See preview, page 58. Also Tramway, Glasgow, Sun 21 Oct, tramway.org

COMEDY HIGHLIGHTS Events are listed by city, then date.

Submit listings for your event at list.co.uk/add

GLASGOW ROSS NOBLE: EL HABLADOR Theatre Royal, Sun 9 Sep, atgtickets.com/venues/theatreroyal-glasgow The wild-haired Geordie, prone to wondrous tangents and surreal interludes, wanders back out on tour with a brand new show.

ROB BRYDON: I AM STANDING UP . . .

Royal Concert Hall, Thu 13 Sep, glasgowconcerthalls.com/glasgowroyal-concert-hall Him of Marion & Geoff, Gavin & Stacey and The Trip fame, the one with the Welsh accent and the funnies, is taking a brand new stand-up show out on tour. Also Edinburgh Festival Theatre, Fri 14 Sep, capitaltheatres.com/festival JAMALI MADDIX: VAPE LORD The Stand, Mon 17 Sep, thestand. co.uk/whats-on/Glasgow The critically acclaimed comedian and host of Viceland’s Hate Thy Neighbour shares personal tales from his travels around the world of hate and moral confrontation.

TRAILER PARK BOYS LIVE Royal Concert Hall, Mon 17 Sep, glasgowconcerthalls.com/glasgowroyal-concert-hall The boys have left Sunnyvale Trailer Park and they’re taking their drunken antics on the road.

See First & Last, page 136.

JEN BRISTER: MEANINGLESS The Stand, Sun 23 Sep, thestand. co.uk/whats-on/glasgow Jen Brister attempts to figure out the meaning of life.

RAY BRADSHAW: DEAF COMEDY FAM The Stand, Sun 30 Sep, thestand. co.uk/whats-on/glasgow Comedy act by Ray Bradshaw about growing up with deaf parents.

SUGGS: WHAT A KING CNUT: A LIFE IN THE REALM OF MADNESS . . .

Pavilion Theatre, Sun 7 Oct, paviliontheatre.co.uk The Madness frontman takes to the stage with wild stories from his life in music.

RUSSELL BRAND: RE:BIRTH SEC, Wed 10 Oct, sec.co.uk The controversial stand-up embarks on his latest tour, inspired by the birth of his daughter.

DANE BAPTISTE: GOD Òran Mór, Thu 11 Oct, oran-mor. co.uk A comedy show about our worldwide pursuit of wealth, power and pleasure.

JOANNA LUMLEY: IT’S ALL ABOUT ME SEC, Thu 11 Oct, sec.co.uk The popular actress, political activist and comedian discusses her impressive career and life journey. Also EICC, Edinburgh, Fri 12 Oct, eicc.co.uk

EDINBURGH SAM AVERY: THE LEARNER PARENT The Stand, Sun 28 Oct, thestand. co.uk/whats-on/Edinburgh Comedy about parenthood from stand-up comedian, viral blogger and bestselling author Sam Avery (aka The Learner Parent). See preview, page 59.

OUT OF TOWN JAMIE MACDONLAD: BLINKERED Macrobert Arts Centre, Stirling, Fri 7 Sep, macrobertartscentre. org Jamie MacDonald talks about the lighter side of being blind.

IAIN STIRLING: U OK HUN? X Falkirk Town Hall, Wed 19 Sep, falkirkcommunitytrust.org/ venues/fth Upbeat wit and gags from Edinburgh-born stand-up and BAFTA-nominated children’s TV presenter. Also King’s

Jamali Maddix

Theatre, Edinburgh, Wed 19 Sep, capitaltheatres.com/kings SARAH MILLICAN: CONTROL ENTHUSIAST Perth Concert Hall, Thu 20 Sep, horsecross.co.uk/venues/perthconcert-hall You’ll know her face from talking about cake and cats on the telly, so here’s another chance to see the Millican phenomenon in full flight live on stage. Also touring, see list.co.uk/ comedy for details.

JOHN COOPER CLARKE Gardyne Theatre, Dundee, Wed 26 Sep, gardynetheatre.org.uk The legendary Mancunian punk poet, who is

a spiritual godfather to the likes of Mike Skinner and Plan B, hauls his insatiable laconic wit on tour.

MARK NELSON: IRREVERENCE Howden Park Centre, Livingston, Thu 27 Sep, howdenparkcentre.co.uk The dark horse of the Scottish circuit, Nelson presents wicked gags aplenty.

JASON BYRNE: YOU CAN COME IN, BUT DON’T START ANYTHING Alhambra Theatre, Dunfermline, Sat 27 Oct, alhambradunfermline.com Irish comic performs his usual brand of chaotic stand-up. Also The Stand, Glasgow, Sun 28 Oct, thestand. co.uk/whats-on/glasgow

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FILM

Fo the latestr n listings a ews, reviews, g nd o list.co.uk to /film

AFRICA IN MOTION Annual film festival of stories from the African continent returns Africa in Motion is back for another year of thought-provoking screenings, animated discussions, Q&As, live performances and more, with this year’s edition of the festival focusing on the theme of rebellion.

As Scotland’s major celebration of African cinema, the festival aims to present audiences in Glasgow and Edinburgh with a varied range of stories from the African continent, from documentaries right the way through to coming-of-age dramas.

Highlights from this year’s

programme include Wanuri Kahiu’s Rafiki (pictured), a touching queer love story from Kenya, which was banned by the Kenya Film Classification Board for its LGBTQ+ themes. With 2018 marking the centenary of the birth of Nelson Mandela, the festival will also commemorate this anniversary with a number of screenings and events, including the political documentary Mandela: A True Pan-Africanist and Standing on Their Shoulders, which places emphasis on female activists both during and post-apartheid.

Elsewhere in the programme, you’ll find the South African western Five Fingers for Marseilles, the superhero fantasy Supa Moda and Sahara Desert-set acid western Zerzura, alongside the festival’s mentoring programme for aspiring film curators, Reviving Scotland’s Black History, which returns for its third year. Keep an eye out for the full programme announcement on Tue 25 Sep. (Arusa Qureshi) ■ Various venues, Glasgow & Edinburgh, Fri 26 Oct–Sun 4 Nov.

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FILM | Reviews

DRAMA

LUCKY (15) 88min ●●●●●

ROMANCE

COLD WAR (15) 88min ●●●●● The love of a lifetime takes everything you have in Cold War, an exquisite heartbreaker from Ida director Pawel Pawlikowski. Dedicated to his parents and shot in ravishing black and white, it offers a stunning marriage of haunting imagery and heartfelt emotion.

Beginning in the rubble of post-war Poland, the film feels like being given privileged access to a cherished album of family photographs. In 1949, Wiktor (Tomasz Kot) is among those charged with establishing a propagandist music and dance academy that will celebrate the country’s folk traditions. He is struck by the fiery spirit and vocal talent of Zula (Ida’s Joanna Kulig).

It is the giddy spark that lights a passionate relationship which unfolds in music halls and hotels – from the repressive, melancholy gloom of Soviet domination to the highrisk freedoms of a jazzy, smoke-filled Paris in the 1950s. Jealousy, betrayal and eternal devotion all play their part in a romance that is constantly at the mercy of the era’s politics but also reflects wider tensions within the country.

Steeped in song, this could almost be a musical: dance numbers are staged with exuberance, jazz club performances smoulder, lyrics sigh with emotion. It is a treat for the eyes, with shots of a ruined church in Poland, a languorous night-time trip on the Seine, or anxious figures silhouetted against a window having the quality of something Murnau might have composed in silent-era Hollywood.

Kulig is the heart and soul of the film with her emotion-charged singing and ability to convey the fire and frustration of a woman for whom love becomes the most dangerous act of all. Every bit as beguiling as its Oscar-winning predecessor, Cold War is one of the films of the year. (Allan Hunter) ■ Out now.

An elegant, deeply moving meditation on life and death, Lucky is made all the more bittersweet following the passing of its star, Harry Dean Stanton. As a eulogy, it couldn’t be more fitting for an actor who played a chameleonic range of characters, but was always resolutely recognisable. Stanton is proud, poised and utterly perfect in a role based around his own worldview.

Cantankerous yet charming, Lucky is a committed atheist who takes a quiet pleasure in life – and, indeed, in causing some mischief – while coming to terms with his own end.

The film does little more than follow Lucky as he goes about his well-worn daily routine. If some moments work better than others – the sharing of stories with Tom Skerritt’s fellow army veteran, a hilarious strand involving the missing turtle of Howard (David Lynch) – the interactions combine to create a richly textured portrait of a fascinating man. With his directorial debut, character actor John Carroll Lynch avoids the temptation to introduce any major arc. Instead Lucky’s success rests largely with Stanton’s wonderful central performance. The film is a true celebration of a life well-lived, both for its protagonist and its incomparable star.

(Nikki Baughan) ■ Selected release from Fri 14 Sep.

DRAMA

THE WIFE (15) 100min ●●●●●

GHOST STORY

THE LITTLE STRANGER (12A) 111min ●●●●● Things go bump in the night but not as frequently as you’d expect in this convention-defying take on the ghost story which weaves toxic masculinity into its prim 1940s setting. Based on the novel by Sarah Waters, it’s directed by Lenny Abrahamson (Room) and features startling, career-best work from Domhnall Gleeson. We meet Warwickshire doctor Faraday (Gleeson) as he befriends impoverished nobles the Ayres family, with whom he has long been infatuated, visiting them first professionally and then in pursuit of Caroline (Ruth Wilson). His efforts are overshadowed by the appearance of a supernatural presence with links to a family tragedy. Abrahamson resists the desire to rev things up dramatically or skip to the scares.

Wilson is mesmerising as a sensible country lass, even if references to her being dowdy are ludicrous. And yet the show is stolen by Gleeson, who nails the growing resentment behind the good doctor’s stiff, sensible exterior as the film cleverly dismantles Faraday’s sense of romantic entitlement and fixation with the upper-classes. Those expecting a Woman in Black-style histrionic chiller will undoubtedly be disappointed but it does deliver some haunting performances. (Emma Simmonds) ■ General release from Fri 21 Sep.

The tradition of thanking one’s spouse when accepting an accolade becomes quite the provocation in Björn Runge’s gripping marital discord drama, adapted by Emmy-winning writer Jane Anderson from Meg Wolitzer’s novel. Built around a gloriously contained performance from Glenn Close that bristles with resentment, it sees a relationship unravel in tandem with the audience’s assumptions.

The film follows acclaimed novelist Joe Castleman (Jonathan Pryce) as he travels to Stockholm to receive the Nobel Prize in Literature. By his side is stalwart spouse Joan (Close); although describing herself as a ‘kingmaker’, the strain of living in the author’s shadow, tending to his needs and making small talk as he basks in the adoration is starting to show.

If the flashbacks are less persuasive than the main narrative (Close’s daughter Annie Starke plays the younger Joan but her performance is, by comparison, a touch flat) they do at least form a crucial part of the puzzle. The Wife crackles with contemporary angst, with lines bemoaning old men declaring the genius of other old men, while first impressions are left in tatters in a film that delights in letting the scales slowly fall from our eyes. (Emma Simmonds) ■ General release from Fri 28 Sep.

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DOCUMENTARY

CRIME THRILLER

DRAMA

(15) 95min ●●●●●

(15) 116min ●●●●●

(15) 103min ●●●●●

In the era of fake news, there are few more heroic figures than the investigative journalist. Their status as fearless truth seekers is emphatically underlined by this gripping account of the last assignment undertaken by war correspondent Marie Colvin and photographer Paul Conroy. In 2012, the pair illegally entered Syria to report on the relentless shelling of the rebel stronghold in Homs. The formidable Colvin, with her trademark eye patch, had a reputation for going where other journalists feared to tread.

Christopher Martin’s taut, compelling film is deftly constructed around extensive footage of what happened to the duo and hindsight testimony from the gruffly charismatic Conroy. The combination makes for an intense excursion into frontline journalism, where you feel as if you are living every moment. Conroy’s words make you aware of the dangers faced and what was at stake. The footage places you into the heart of a pitch-black night-time crossing of the border, the rumble of shell fire and the loss of life. As tense and thrilling as any fictional tale, this is an exceptional documentary which offers a powerful tribute to those willing to risk everything to bear witness to history. (Allan Hunter) ■ Limited release from Fri 7 Sep.

‘Ain’t nobody more gangster than the bank,’ runs a caustic line from this timely update of classic 1972 blaxploitation thriller Super Fly. With the location switched from New York to Atlanta, accessories pimped-out to current specifications, and Curtis Mayfield’s original score sitting alongside fresh tunes from Future, 2018’s Superfly is pretty good in its own right. Youngblood Priest (Trevor Jackson) is an affluent coke dealer suffering from nightclub ennui who decides to hustle one last score, swap his cash for crypto and head for Montenegro, with various factions blocking his exit route.

The ensuing war of attrition recycles parts of its predecessor, while Director X delivers copious B-movie exploitation elements, including a three-car chase. However Alex Tse’s script adds a political spin that ties the film into the modern world, addressing the activism of the Black Lives Matter movement without too much hypocrisy.

Ultimately, Priest’s game is ‘chess not checkers’, and Tse highlights the smart thinking of the protagonist in the same way that made the original so distinctive. The aesthetic may have changed with the passing decades, but this superfly guy remains the man of the hour. (Eddie Harrison) ■ General release from Fri 14 Sep.

A housewife throws her life into an exhilarating muddle when she picks up the pieces of a 1000-piece jigsaw puzzle. What unfolds is the most unassuming of domestic dramas, born of a truthful, sometimes painfully honest place. Directed by Marc Turtletaub, it’s based on Natalia Smirnoff’s 2009 Argentinean film. It follows Kelly Macdonald’s Agnes, a woman whose routine revolves around tending to her mechanic husband Louie (David Denman) and two fully grown sons Gabe and Ziggy (Austin Abrams and Bubba Weiler). Discovering a flair for jigsaw puzzles after cracking open a birthday gift eventually leads Agnes into the world of competitive puzzling. Tentatively, she forms a partnership with Robert (Irrfan Khan), a quirky, bone-idle inventor dining off one, highly lucrative success.

This humble addition to the canon of films looking at gender inequality plumps for subtlety at every turn; the possibility of a dalliance with Robert and rising tensions with Louie fail to produce fireworks and it avoids revelling in Agnes’s success. The approach can be refreshing, endearing even, and Macdonald is divine. Ultimately Puzzle is a charming, albeit slight look at learning to love and prioritise yourself. (Emma Simmonds) ■ General release from Fri 7 Sep.

UNDER THE WIRE

SUPERFLY

PUZZLE

DOCUMENTARY / HEIST MOVIE

AMERICAN ANIMALS (15) 117min ●●●●●

Since the world definitely doesn’t need another conventional male heist movie, Bart Layton gives us something a bit different.

The British director of BAFTA-winning doco The Imposter fuses documentary and drama in a masterfully balanced, insightful and impactful amalgam.

‘This is not based on a true story,’ reads the opening text. ‘This is a true story’. A recreation of events leading up to and including the 2004 Transylvania University library heist in Lexington, Kentucky, is interspersed with interviews with the quartet of participants and their crestfallen parents. Evan Peters plays anarchic ringleader Warren, with Barry Keoghan his more contemplative companion Spencer, a wannabe artist thirsting for a life-altering experience.

The two filmmaking styles should work against each other: one presenting a distorted version of reality, the other shattering our suspension of disbelief. Yet Layton blends them so adeptly that they feel complementary rather than contradictory; he adds substance to a barrelling, excitingly shot narrative by delving deep into his subjects’ motivations. Bravado morphs into breathtaking stupidity and, as their fictional counterparts unravel before our eyes, the shamefaced perpetrators regretfully reflect on their actions.

Directed with urgency but also an overriding sense of loss and folly, American Animals is an interesting paradox: a cautionary tale that easily disabuses us of the notion that there’s glamour in criminality, while itself being a stylish beast. The men’s differing recollections of events are drawn coherently together in a film that ends playfully, challenging at least some of what we’ve seen. It’s as audacious as the robbery it depicts, yet executed with infinitely more panache. (Emma Simmonds) ■ General release from Fri 7 Sep. 1 Sep–31 Oct 2018 THE LIST 63

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FILM | Reviews

DOCUMENTARY

MATANGI / MAYA / M.I.A. (18) 96min ●●●●●

DOCUMENTARY

FACES PLACES (12A) 94min ●●●●● There’s so much to love in this Oscar-nominated road trip documentary whose joyfulness spills from its seams. Directed by French New Wave legend Agnès Varda and photographer JR, two Gallic artists with a deep respect for one another’s work, it is an enriching experience showcasing a beautiful cross-generational friendship and working relationship between a nonagenarian woman and her thirtysomething companion.

Together they take us on a poignant and playful adventure through France, where the intention is to send home a collection of postcards that gather together the personal history of the places they visit. JR drives a van that is in fact a camera, which prints out giant photographs to be pasted on buildings or walls as they travel through the countryside, to factory plants and Le Havre.

The pair stop at a street in an old mining district that is about to be demolished to meet its last remaining resident, Jeannine Carpentier. Through their collaging, they create a tribute to the miners who once lived there, stirring up all kinds of memories and melancholy locally. They also pay homage to Jeannine by placing her face on the home she must leave. The film is packed full of moments like this and Varda’s typically mischievous spirit and empathy radiates throughout. JR also investigates the filmmaker’s life by delving into her body of work, the people she has met along the way and how her deteriorating vision is affecting her. They visit Henri Cartier-Bresson’s grave, honour Guy Bourdin by the seaside, and make an awkward social call on Jean-Luc Godard. Varda and JR truly are irresistible creative explorers, with infectious curiosity and a chemistry that fizzes with charm and warmth. (Katherine McLaughlin) ■ Selected release from Fri 21 Sep.

Stephen Loveridge’s debut feature is a fascinating and intimate portrait of his close friend Maya Arulpragasam, otherwise known as rapper M.I.A. He takes the viewer through her evolution from a kid on a London council estate dancing to Madonna, to an outspoken, wildly successful artist residing in LA. This affectionate and vibrant documentary is protective in the way it defends Maya from her detractors and places you in her shoes. Loveridge sorts through hours of home movies, concerts and television appearances, the production of hits such as ‘Paper Planes’ and footage Maya filmed during her college years on a seminal trip home to Sri Lanka, with his choices making a focus of her vulnerability.

You see Maya as she gets to grips with not only her immigrant status but also the guilt she feels for escaping the violence of Sri Lanka, while other family members suffered. After her eyeopening trip Maya decides she can’t look the other way, and so her musician alter ego is birthed as a fusion of provocative politics and the pop music and hip hop she loved growing up.

Loveridge gives the viewer a real sense of the passion that lies behind the artist and why fury often fuels her lyrics.

(Katherine McLaughlin) ■ Selected release from Fri 21 Sep.

WESTERN

THE RIDER (TBC) 104min ●●●●●

PERIOD DRAMA

THE SEAGULL (12A) 99min ●●●●● Celebrated, ageing actress Irina (Annette Bening) and her younger lover, famous writer Boris (Corey Stoll) descend on the country estate of Irina’s ailing brother Sorin (Brian Dennehy). The seemingly idyllic lakeside scene is a hotbed of love triangles, including one involving Irina’s angst-ridden son Konstantin (Billy Howle), Elisabeth Moss’s vodka-swilling Masha and Saoirse Ronan’s innocent Nina.

At the helm of this adaptation of Anton Chekhov’s first play is Michael Mayer, an acclaimed stage director with a less accomplished track record when it comes to film. He has a cast he can do a lot with: Ronan is luminously longing and Bening is a wow as the self-absorbed star anxiously clinging to her allure and illusions. But the directorial overview connecting these dots is a little wanting, as is the screenplay by Tony-winning playwright Stephen Karam. Perhaps less attention to pretty pictures would have been better, because the subtleties and subtexts in the piece are only superficially touched on. Thus we arrive at the umpteenth retelling of a masterwork that is open to endless interpretation. Like so many, it is interesting and in parts fruitful, just not entirely satisfying or affecting. (Angie Errigo) ■ Selected release from Fri 7 Sep.

What does it do to someone when their core way of being is removed? Beijing-born, US-based director Chloé Zhao’s take on the existential traumas of an injured bronco-rider broods with an unforced inner tension, amplified by a strain of lyrical naturalism. Using non-professional actors, her cast re-enact recently lived stories. Brady Jandreau becomes Brady Blackburn, a rider with his head stapled together after a nasty rodeo accident. Advised that another fall could kill him, Brady is in quiet crisis. As we meet his tough-talking father Wayne, autistic sister Lilly and close friend Lane – now disabled after his own accident – our empathy with Brady deepens through a tender but non-sentimental understanding of his emotional ties.

Working with God’s Own Country DP Joshua James Richards, sophomore helmer Zhao drinks in the gorgeously craggy South Dakota scenery, drawing out Brady and his friends’ affinity with the landscape. Into this languid framework, pointed notes of heart-in-mouth anxiety emerge: as Brady gets back in the saddle, we never forget he is actually doing this.

Even if Zhao overstates one or two metaphors, she captures Brady’s soulful inner struggle with mesmerising authenticity.

(Kevin Harley) ■ Selected release from Fri 14 Sep.

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TEEN DRAMA

DRAMA

HORROR

(TBC) 100min ●●●●●

(12A) 104min ●●●●●

(TBC) 85min ●●●●●

Crystal Moselle follows her acclaimed documentary The Wolfpack with her first narrative feature. It’s a film that sets out to do for this generation what Larry Clark’s abrasive but influential Kids did for those growing up in the 90s, as it follows a posse of female skateboarders roaming the parks of New York’s Lower East Side. The ‘Skate Kitchen’ are a real crew, although Moselle takes fictional liberties.

Founding member Rachelle Vinberg plays Camille, an 18-year-old Long Islander whose mother (Elizabeth Rodriguez) wants her to stop skating. Naturally, Camille rebels, hooking up with some fellow skaters over Instagram.

The narrative is hardly complex, as the girls skate, smoke and banter. There’s a flirtation between Camille and Devon (Jaden Smith), a wannabe photographer; given Devon’s history with another girl, it means there are consequences, but Moselle isn’t interested in dramatic showdowns.

Realism is her weapon and her integration of the non-professional cast alongside pro actors is seamless. It’s nothing radical – and will doubtless be too slight for some – but, as a story of girls doing their own thing in an otherwise male environment, it carries a powerful feminist message. (James Mottram) ■ General release from Fri 28 Sep.

A snapshot of life in the small city of Columbus, Indiana, this sensitive and nuanced feature debut from documentary short filmmaker and video artist Kogonada plays on themes of inertia and unrealised potential to capture the power of real connection.

At its heart is the relationship between 19-year-old local architecture buff Casey (Haley Lu Richardson) and the much older Jin (John Cho), a Korean-born book translator who finds himself stuck in the town when his famed architect father is taken ill on a tour.

While a strong bond develops between them, it is not – thankfully – romantic in nature, rather it is about a shared desire for escape.

There are no grand gestures in Columbus, no sweeping soliloquies, instead its strength can be found in its quiet moments. The two performances are stunning, brimming with so much repressed emotion and the damage of everything left unsaid.

Through it all, Kogonada’s direction is unassuming, poised and unflinchingly focused, lending the film such intimacy, such permeating melancholy, that it’s like witnessing souls laid bare. Similarities with Lost in Translation are obvious and, like that film, Columbus effortlessly creeps under your skin and stays there.

(Nikki Baughan) ■ Selected release from Fri 5 Oct.

From Matthew Holness, the creator and star of cult TV series Garth Marenghi’s Darkplace, comes a disturbing debut feature that recalls the exquisite craft and unnerving rhythm of Paperhouse, Spider and Eraserhead. It unfolds, mostly silently, with a fuzzy logic as a disgraced puppeteer returns to his childhood home in Norfolk.

Sean Harris stars as Philip who is terrified of something hidden inside a leather holdall. Whatever is in the bag has started to creep out and haunt him, just like the time spent with his stepfather Maurice (Alun Armstrong) in his youth. Searching for Maurice, he enters a crooked, scorch-marked house, with the grubby, lingering imagery mimicking his stepfather’s threatening demeanour and indelible imprint.

Harris is a dab hand at playing anxious characters and adopts the awkward gait of a man who has lost control, moving his limbs in such a mechanical way it’s as if his body is being operated by the callous hand of a marionettist. Armstrong is an overbearing menace, cackling and coughing like a chain-smoking wicked witch. With Possum, Holness has constructed a dark and twisted contemporary fairytale, designed to confront the impact of neglect and abuse. (Katherine McLaughlin) ■ Limited release from Fri 26 Oct.

SKATE KITCHEN

COLUMBUS

POSSUM

HORROR

MANDY (TBC) 121min ●●●●● This fever dream turned all-out nightmare could hardly be more cult – from its subject matter (the pursuit of a group of heinous ‘Jesus freaks’ by a delirious vigilante), to its wicked and wild execution. Merging turbulent synth with hallucinatory visuals, Panos Cosmatos harnesses the full transportive power of cinema in a film that walks its treacherous path at a ponderous pace.

In 1983, mild-mannered lumberjack Red Miller (Nicolas Cage) is living blissfully in a woodland idyll with Andrea Riseborough’s ethereal Mandy. When failed musician turned drug-addled religious leader Jeremiah Sand (Linus Roache) rolls through town, the pair are placed in terrible danger, not least as Jeremiah and his gang are flanked by a group of ‘gnarly psychos’.

Mandy is one of the final films to benefit from the genius of Jóhann Jóhannsson (Sicario, Arrival), whose score compels and consumes it – the atmospheric bellowing is enough to make your ears bleed, while the red, raging visuals come courtesy of cinematographer Benjamin Loeb.

Although this intense blast of psychedelia-infused horror wears a heavy cloak of fear and tragedy it is punctuated by the kind of crazed levity perfectly suited to Cage’s skill-set. The actor is in his element showcasing his gift for outlandish antics, whether screaming in a luridly patterned bathroom, tangling with a buttnaked demon, or fashioning a giant axe. In fact, the casting as a whole is inspired: Riseborough is bewitching, Roache maniacal, while Ned Dennehy and Olwen Fouéré are the epitome of creepy cultists. If it errs unashamedly on the indulgent side – the twohour runtime can feel a roomy fit for a revenge narrative – it’s predominantly, often hellishly immersive. (Emma Simmonds) ■ General release from Fri 12 Oct. 1 Sep–31 Oct 2018 THE LIST 65

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FILM | Highlights

HITLIST

THE PREDATOR Shane Black (who played Hawkins in the original film) returns to direct the latest instalment of the Predator franchise. Out Thu 13 Sep.

A Star Is Born

A STAR IS BORN An alcoholic musician helps a young singer in her quest for stardom. Directorial debut from actor Bradley Cooper. Out Fri 5 Oct.

BAD TIMES AT THE EL ROYALE Dark thriller set at El Royale, a hotel that sits on the California / Nevada border. Out Fri 12 Oct. FIRST MAN Biopic depicting the life of Neil Armstrong, the first man to walk on the moon Out Fri 13 Jul.

HALLOWEEN Sequel to the classic slasher movie, featuring the return of Jamie Lee Curtis as Laurie Strode. Out Fri 19 Oct. AMERICAN ANIMALS Two students plot a daring art heist, while lacking the skill to carry it out. See review, page 63. Out Fri 7 Sep.

FILM HIGHLIGHTS Events are listed by city, then date.

Submit listings for your event at list.co.uk/add

Faces Places

HURRICANE The true story of a group of Polish men who flew for the RAF in an effort to win WWII. Out Fri 7 Sep. THE MISEDUCATION OF CAMERON POST Cameron Post is sent to a conversion therapy centre to ‘cure’ her lesbianism.

Adapted from Emily Danforth’s novel.

Out Fri 7 Sep. THE SEAGULL An ageing actress visits the estate of her elderly brother along with her lover.

See review, page 64. Out Fri 7 Sep. TAKE ONE ACTION! FILM FESTIVAL A film festival with a political slant, founded on the belief that ‘cinematic experiences can inspire lasting change’

and offering a series of talks and programmes showing how films can be used to empower communities on an international stage. See feature, page 26. Various venues, Edinburgh & Glasgow, Wed 12–Sun 23 Sep, takeoneaction.org.uk KING OF THIEVES After a couple of cheapy films, we get a big-budget heist movie based on the Hatton Garden robbery. Out Fri 14 Sep. REINVENTING MARVIN A young man escapes from his family to chase his dream of becoming an actor.

Out Fri 14 Sep. SUPERFLY A young drug dealer sets up one last job in order to retire from the game.

See review, page 63. Out Fri 14 Sep.

CRAZY RICH ASIANS Rom-com about Asia’s most eligible bachelor. Out Fri 14 Sep. GLASGOW YOUTH FILM FESTIVAL Innovative festival for young audiences featuring premieres, screenings, events and special guest speakers.

Celebrating the 10th year of Glasgow Youth Film Festival, GYFF enables 15–19 year olds to co-create a vibrant and diverse festival. See feature, page 38. Various venues, Glasgow, Fri 14– Sun 16 Sep, glasgowfilm.org/gyff.

MILE 22 More military shenanigans from director Peter Berg, following an elite US intelligence officer trying to smuggle a person of interest out of the country. Out Wed 19 Sep.

CLIMAX More genre-bending shock-work from enfant terrible Gaspar Noé. Out Fri 21 Sep. FACES PLACES Director Agnès Varda and photographer JR go on a road trip through France, intending to send home postcards that gather the history of the places they visit. Varda’s mischievousness and empathy radiate throughout, and the pair’s crossgenerational friendship is enriching, inspiring and irrestistible. See review, page 64. Out Thu 12 Jul. THE HOUSE WITH A CLOCK IN ITS WALLS Family fantasy / horror as a young orphan helps his uncle track down a powerful magical clock. Out Fri 21 Sep.

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Highlights | FILM

HITLIST

THE LITTLE STRANGER Spooky goings on in a country house during the long hot summer of 1948.

See review, page 62. Out Fri 21 Sep. A SIMPLE FAVOUR Stephanie (Anna Kendrick) tries to track down her friend Emily (Blake Lively) after she mysteriously disappears. Out Fri 21 Sep. BLACK 47 During the Great Famine, an Irish Ranger abandons his post to return to his family.

Out Fri 28 Sep.

VENOM Based on the famous Spider-Man villain, this is the story of photographer Eddie Brock and his connection to an alien parasite that turns him into the manipulative, violent Venom. Out Fri 5 Oct. MANDY In 1983, a broken man wreaks revenge on a religious sect who killed the love of his life. See review, page 65. Out Fri 12 Oct. EDINBURGH SPANISH FILM FESTIVAL Film festival for anyone interested in cinema and Spanish and LatinAmerican culture. Various venues, Edinburgh, Wed 4–Sat 13 Oct; various venues, Glasgow, Mon 17–Thu 20 Oct, edinburghspanishfilmfestival.com.

FILM HIGHLIGHTS

THE GOSPEL ACCORDING TO ANDRÉ Internationally renowned style guru André Leon Talley allows director Kate Novack rare behind-the-scenes access in this documentary. Out Fri 28 Sep. Events are listed by city, then date.

THE WIFE Submit listings for your event at A woman questions her life choices list.co.uk/add as she accompanies her husband to Stockholm, where he will be the recipient of the Nobel Prize for Literature.

See review, page 62. Out Fri 28 Sep. COLUMBUS When his father is taken ill, Jin heads to Columbus, Indiana. There he meets Casey, who is full of bright ideas but is stifled by a complex relationship with her mother. See review, page 65. Out Fri 5 Oct.

BOHEMIAN RHAPSODY The story of the rise to fame of one of the most legendary bands of all time: Queen. Out Wed 24 Oct.

AFRICA IN MOTION FILM FESTIVAL Dedicated to showing the diversity of African cinema, AiM has screenings of animated films, features, shorts and documentaries, as well as a short film competition to develop the next generation of African filmmakers. See preview, page 61. Various venues, Scotland, Fri 26 Oct–Sun 4 Nov, africain-motion.org.uk

Bohemian Rhapsody

COMING IN SEPTEMBER

Young Fathers, Filmhouse House Guests , November 2017

Celebrating 40 years as Scotland’s leading independent cinema

M A.CO M E N I SEC AD MHOU OTHIAN RO L I F .

WWW OUSE | 88 L H3 9BZ E FILMH INBURGH | ED

The best in new arthouse cinema, including Cold War and BlacKkKlansman, cult classics from The Godfather to The Big Lebowski, edf ilmfestmemories.org.uk | memories@edf ilmfest.org.uk D VHDVRQ RI ùOP VHOHFWHG E\ Irvine Welsh and more!

1 Feb–31 Sep–31 Mar Oct 2018 THE LIST 67

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KIDS

Fo the latestr n listings a ews, reviews, g nd o list.co.uk to /kids

PLAYFUL TIGER, TIGER TALE AND TIGER Dance company take on three big cat tales

PHOTO: BRIAN HARTLEY

You wait ages for a tiger to come along – and then three arrive at once. Over the coming months, Glasgow-based contemporary dance company Barrowland Ballet will be taking no less than three shows about a tiger out on tour.

‘Tiger Tale is for children aged 7+ and their families,’ explains artistic director, Natasha Gilmore. ‘Tiger is for adults and teenagers, and Playful Tiger has been created specifically for children and young people who are profoundly autistic and mainly non-verbal. They all tell the story of a troubled family stifled by the rigidity of their lives, whose world is turned upside down when a tiger invades.’

While there may be commonalities between each piece, by separating them out into three distinct productions, Gilmore has been able to tailor her choreography accordingly.

‘All three pieces are immersive with the audience sitting up close to the action, and there is a sensory element with the smell of oranges and the burning of matches,’ explains Gilmore. ‘But being specific about who the pieces are for has given us the freedom to develop each production in a different way to suit the audience.

‘Playful Tiger has capacity for 6-8 young people and their carers and allows for interaction between audience and performers.

Tiger Tale tells the family’s story from the perspective of the daughter, so children in the audience can identify with her experience. And Tiger focuses more on the breakdown of the parent’s relationship.’ (Kelly Apter) ■ Platform, Glasgow, Fri 21 Sep, then touring.

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Previews | KIDS

list.co.uk/kids

HALLOWEEN CONCERT

COMEDY

Glasgow Royal Concert Hall, Sat 27 Oct; Usher Hall, Edinburgh, Sun 28 Oct.

The Stand, Glasgow, Sun 28 Oct

CHILDREN’S CLASSIC CONCERTS: BROOMSTICK RIDE

For the past ten years, Children’s Classic Concerts (CCC) has had two hugely talented musicians with a propensity for silliness at its helm. Since their arrival in 2008, Owen and Olly (aka Owen Gunnell and Oliver Cox) have dressed up, messed up (intentionally) and had a blast introducing the Royal Scottish National Orchestra to young audiences.

But all good things must come to an end, and later this year Cox will relocate to the US, leaving Gunnell to forge ahead with a new format for the shows.

As a fitting farewell during Broomstick Ride, his final appearance with CCC, Cox will present a song he wrote for the 2014 Commonwealth Games, reworked for the occasion. Titled ‘We Can Fly’, the inspirational piece will feature new material created by disabled children working with Drake Music Scotland.

‘When I was first writing the song, I envisioned it being performed by a variety of children and adults all over the world,’ recalls Cox. ‘And the theme of “you can do anything, you just have to try” is important and a universal one. I hope this project, and this particular version of the song, really captures the essence of that.’

Alongside Cox’s swansong will be a suitably Halloween-esque programme of music and mayhem. ‘We’ve got a good selection of “flying' music” - so the Ride of the Valkyries as well as some Harry Potter,’ says Cox. ‘Myself and Owen have been brushing up on our broomstick flying technique, and of course we’ll have the usual singing and dancing, with fancy dress encouraged as always.’ (Kelly Apter)

WHO STOLE FRANKENSTEIN’S BRAIN? Of all the classic monsters from the pre-war Universal movie era, perhaps Frankenstein’s monster is the most comedic: Dracula is too sleazy, the Mummy is hard to make a connection with, and the Creature from the Black Lagoon is just a bit wet.

So, it’s only right that the lab experiment with a forehead scar and bolt through its neck should be the key figure for an afternoon of scary Halloween fun, ideally suited for kids aged 8–12.

‘Who Stole Frankenstein’s Brain? is a live radio play whodunnit for children,’ says co-creator Bex Johnson, who also stars in it alongside stand-up comedian Billy Kirkwood and actor Russell Coid. ‘It’ll be a fun-filled show which allows children to be “the detective” and solve the central mystery. Frankenstein is one of our favourite scary monsters. His height and appearance is not only amusing, but his patchwork-body of different pieces lends the character to humour and mystery.’

The show (a joint venture between The Stand and Poisoned Apple Productions) features lots of interactive capers, plus there’ll be a special prize for the best fancy-dress costume. ‘Audiences can expect to lots of fun and laughs, and a show where they need to use their brains to work out the thief,’ adds Johnson, who is also keen to reassure any grown-ups who fear it might be too scary for their wee ones. ‘There might be mild frights based on costumes and appearances, but mainly there will just be lots of silly things for the kids to get involved with.’ (Brian Donaldson)

DANCE THEATRE

W-HAT ABOUT? Platform, Glasgow, Sat 13 Oct, and touring It was the memory of her own grandfather taking her to dance school that prompted Italian choreographer Giulia Montalbano to make W-Hat About?, a new dance-theatre piece for children.

Because regardless of the weather, or the steep stairs that kept tripping him up, he was committed to getting her there safely.

‘This show is a celebration of all the grandparents who help us grow-up, teach us to be brave and show us how to get back up after being knocked down,’ says Montalbano. ‘I love the idea that children are inspired by seeing their grandparents conducting normal daily activities. And by having a grandfather at the centre of this show, children can imagine their own grandparents in these situations.’

Montalbano co-founded Fuora Dance Project in 2014, and is now its artistic director. Aimed at children aged 4–10 and their families, W-Hat About? not only celebrates intergenerational relationships, but the language and culture of Scotland and Italy.

‘What the show conveys to children is that just because people might struggle to communicate,’ says Montalbano, ‘there is a whole world of ways for us to try and understand each other.’

Alongside this message of togetherness, the production features a set filled with colourful hats. Keen to champion recent graduates whenever possible, Fuora recruited young designer Louise Worral to create a world for the three characters to inhabit.

‘Louise kept the set simple to match the simplicity of the show, while still making it eye-catching for both a young and mature audience,’ explains Montalbano. ‘We use a giant hat as a chair, which reminds me of where my grandpa used to sit, and a bright wall made of stretchy fabric representing a wardrobe.

‘We want the audience to feel like they are in the grandfather’s home, but to also feel that the world the performers create is beautiful, engaging and magical.’ (Kelly Apter) 1 Sep–31 Oct 2018 THE LIST 69

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HITLIST

TIGER TALE Platform, Glasgow, Fri 21 & Sat 22 Sep, barrowlandballet.co.uk Barrowland Ballet’s lively and touching dance piece about a troubled family whose lives are turned upsidedown when a tiger comes to visit. Suitable for ages 7–14.

See preview, page 68.

CHILDREN’S

CLASSIC CONCERTS: BROOMSTICK RIDE Glasgow Royal Concert Hall, Sat 27 Oct; Usher Hall, Edinburgh, Sun 28 Oct, rsno.org.uk Hosts Owen and Olly are joined by the RSNO for this fun concert designed for wee ears, featuring a programme of flight-related songs. See preview, page 69.

W-HAT ABOUT? Platform, Glasgow, Sat 13 Oct, fuoradance.com Fuora Dance Project’s new piece celebrates the importance of intergenerational ties and grandparents, with a humorous take on ItalianScottish culture. See preview, page 69.

Tue 25 Sep–Sat 6 Oct, shrekthemusical.co.uk All-singing, all-dancing stage musical adaptation of the hit DreamWorks film about the iconic green ogre and his donkey sidekick.

Also touring, see list. co.uk/kids for details and review.

SHREK THE MUSICAL King’s Theatre, Glasgow,

LITTLE BABY BUM King’s Theatre,

Edinburgh, Fri 21 Sep–Sun 23 Sep, littlebabybumlive. com Live show based on the educational YouTube channel, which transports audiences into the colourful world of Mia, Jacus, Twinkle and their Nursery Rhyme Friends. Also touring, see list.co.uk/kids for details.

KIDS HIGHLIGHTS Events are listed by city, then date.

Submit listings for your event at list.co.uk/add

GLASGOW BRICK WONDERS Glasgow Cathedral, Thu 16 Aug– Sun 23 Sep, glasgowcathedral.org. uk Showcase of architectural, historical and natural marvels from around the world rendered in LEGO by artist Warren Elsmore, from Niagara Falls to the Hanging Gardens of Babylon.

CRAZY CLAY CREATURES Riverside Museum, Sat 29 & Sun 30 Sep, glasgowlife.org.uk Craft workshops where kids can create a small clay animal and decorate it using objects found in nature, like sticks, leaves, rosehips or pebbles.

GLASGOW YOUTH FILM FESTIVAL Various venues, Fri 14 Sep–Sun 16 Sep, glasgowfilm.org Film festival aimed at teenagers and curated by young people ages 15–19. This year’s programme includes Anna and the Apocalypse, Skate Kitchen, Never Goin’

MITCHELL CHILDREN’S TRAIL Mitchell Library, until Thu 9 May 2019, glasgowlife.org.uk Children’s trails for families to discover the secrets of the Mitchell Library, spread out over five floors and over a million books.

FOUR GO WILD IN WELLIES Eastwood Park Theatre, Thu 18 Oct, indepen-dance.org.uk Indepen-dance 4, Scotland’s only inclusive professional dance company, presents this whimsical adventure about friendship, tents, bobble hats and wellies. Also touring, see list.co.uk/ kids for details and review.

MARTHA Platform, Mon 8 Oct, platformonline.co.uk Catherine Wheels’ heart-warming show about Martha, a stubborn woman who lives by the sea and believes she doesn’t need anyone, until her life is changed by an unexpected visitor. Also touring, see list.co.uk/kids for details.

SCOTTISH OPERA: BAMBINO Motherwell Concert Hall, Mon 17 Sep, scottishopera.org.uk Operatic

adventure for little ones aged 6–18 months, which follows a bird named Uccellina who becomes parent to a hyperactive baby bird named Pulcino.

DINOSAUR SAFARI Motherwell Concert Hall, Sat 29 Sep, funbox.co.uk Stone Age singalong silliness with the FUNBOX team as Anya, Kevin, Gary and Bonzo get into pre-historic pickles and meet dinosaur friends old and new. Also touring, see list.co.uk/kids for details.

WHO STOLE FRANKENSTEIN’S BRAIN? The Stand, Sun 28 Oct, thestand. co.uk Stand Kids Comedy Club and Poisoned Apple present an interactive radio show that’s part comedy, part classic whodunnit. See preview, page 69.

EDINBURGH ART EXPLORERS Royal Botanic Garden Edinburgh, until Sun 6 Jan, rbge.org.uk Monthly family arts and crafts sessions that reflect the themes of exhibitions currently ongoing at the Botanics as PHOTO: BRIAN HARTLEY

Four Go Wild in Wellies

Back and more. See feature, page 38.

well as the natural world surrounding us.

COMEDY KIDS The Stand, Sat 29 Sep; Sat 27 Oct, tribeporty.org Eight young comedians from Tribe Porty Youth Theatre perform their pint-sized routines on The Stand stage. Suitable for ages 8–12.

GORY STORIES: THE KIDS’ TOUR Mercat Tours, until Sun 30 Dec, mercattours.com Daytime tour that delves into the city’s horrible haunts, including the infamous underground vaults, and weaves tales of stinking streets and ghastly ghouls suitable for young ears.

RECITALS FOR WRIGGLERS Palace of Holyroodhouse, Sun 30 Sep, recitalsforwrigglers.co.uk Interactive classical music concert specially tailored to babies, toddlers and their families, where little ones can fidget and wriggle about to their heart’s content.

SCOTTISH INTERNATIONAL STORYTELLING FESTIVAL Scottish Storytelling Centre, Fri 19 Oct–Wed 31 Oct, tracscotland. org A feast of traditional storytelling, featuring performances, workshops and events that celebrate oral traditions and cultural diversity, with a strong programme for young children.

IT’S IN THE BAG Scottish Storytelling Centre, Sat 8 Sep, tracscotland.org Enchanting storytelling events for young children that combine puppetry, music and games.

PICNIC & PLAY WITH LICKETYSPIT Lauriston Castle, Sat 13 Oct, licketyspit.com Licketyspit hosts a family picnic lunch following their inter-generational play, set in the surroundings of Lauriston Castle.

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THE LOVELY EGGS DIY indie duo inspired by books, witchcraft and our perplexing times Holly Ross has trouble with her voice. ‘It’s fucked. It’s been fucked for a bit, that’s why the new album sounds like it does!’ she laughs heartily. ‘No bad thing.’ It’s been a landmark year for the band: the release of fifth album This Is Eggland in February brought a run of sold-out shows across the country, with the duo (made up of Ross and drummer husband David Blackwell) making new fans at every turn, while remaining staunchly DIY. ‘Sometimes no one else will fucking help you,’ she says, ‘and you either stop or you fucking get on. We’ve always got on.

We’ve never let anything get us down, we stand up and fight.’

That infectious spirit of self-reliance is a nearconstant presence in our conversation. ‘People sometimes should stop moaning and get on with it!’ says Ross. ‘If you want to be in a band, keep doing it for the love of doing it. If we didn’t love doing it, we’d stop it immediately. If no one will release your stuff, fuck it – do it yourself.’

After four self-produced albums, the Eggs

decided to ask Dave Fridmann (Tame Impala, Sleater Kinney, MGMT) to produce This Is Eggland based on their admiration for the Flaming Lips’ classic The Soft Bulletin.

‘The production on that album is absolutely exceptional. We thought if he can do that, imagine how amazing it would be to work with him.’ Fridmann’s studio trickery has made the Eggs’ tunes louder and more in your face than ever before. Shifts in tempo and bursts of distortion envelop Ross’ trademark surreal lyrics, inspired by children’s literature, witchcraft trials and our perplexing times. If the wordplay makes you laugh, know that Ross isn’t trying to be a comedy performer. ‘It comes from a much darker place than you could ever imagine,’ she says.

‘Sometimes life is so shit that you have to laugh.

It’s just our way of dealing with it, to take the piss.’ (Craig Angus) ■ Beat Generator, Dundee, Thu 11 Oct; CCA, Glasgow, Fri 12 Oct; Bongo Club, Edinburgh, Sat 13 Oct. 1 Sep–31 Oct 2018 THE LIST 73

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MUSIC | Teenage Fanclub PHOTO: DONALD MILNE

TEENAGE KICKS As Teenage Fanclub get ready to revist their Creation Records years across three very special gigs, Henry Northmore catches up with founding member Norman Blake to reminisce

T

eenage Fanclub’s mix of jangling guitars and fuzz rock helped define Scottish indie and forge links with the American grunge scene. The band are getting ready to play a special three-night stand at the Barrowlands to celebrate those formative years and to mark the re-release of their most beloved albums from their Creation Records days. And with bassist and co-founder Gerard Love recently announcing his departure from the band, this could be your last chance to catch the original lineup together. Each gig will see them revisit a specific time period, playing two full albums from start to finish. Night one is songs from 1991–93 (Bandwagonesque and Thirteen), the second shows covers 1994–97 (Grand Prix and Songs From Northern Britain), rounding off with 1998–2000 (Howdy and a special b-sides and rarities set). Vocalist and guitarist Norman Blake takes us on a trip back through time as he recalls the highs and lows of the Creation years.

1991–1993 How did you first hook up with Creation Records?

I’d always known Alan McGee through Bobby Gillespie [from Primal Scream]. He wanted to know what we were up to, we said ‘we want to make another record’. So we headed down to Amazon studio in Liverpool and he started paying for the recording session. We had no contact at all, in theory we could have made that record and said ‘thanks for paying Alan’ and shopped it around.

That was the kind of label Creation was. Creation had [Primal Scream’s] Screamdelica and Loveless

by My Bloody Valentine and Bandwagonesque

all being made at the same time. Alan and Dick Green [Creation co-founder] had to remortgage their house to pay for it all, you can’t imagine a record label doing that now. Fortunately for everyone, the records were successful and the company went from strength to strength from that point.

Did it feel like you’d stepped up a new level when Bandwagonesque came out?

You find yourself on Saturday Night Live and think ‘how did that happen?’ It’s amazing how quickly it happened, six months later and we’re playing shows with Nirvana on their Nevermind tour. We just took it all for granted, we just enjoyed it, we had no expectations, we had ambitions to make great records but no ambition to be famous.

How was the Nirvana tour?

They’re all nice people. Kurt [Cobain] was such a nice guy, he had his problems, but he was a decent guy and it’s tragic what happened. They were great live, an amazing band, we had a lot of fun on that tour. It was amazing to witness that phenomenon the way that it went from nothing to this massive thing and I don’t think Kurt enjoyed that aspect of it, he couldn’t handle it.

Bandwagonesque had amazing reviews but how did it feel when the critics laid into follow up Thirteen?

I think a big part of that was myself and Gerry [Love] did an interview just before that album came out talking about how it hadn’t been a very good experience making the record. I think we just went down the rabbit hole recording it. We should have taken a break after touring

Bandwagonesque but we went straight in, so it was just a torturous experience. I think what we were unhappy with was the experience, not the music, but we learned a lot from it.

1994–1997 Do you remember playing the first T in the Park in 1994?

I remember it being about three miles from my mother’s house so that was nice. I went back to my mum’s for a cup of tea. I remember it quite well, Katrina [Mitchell] from the Pastels played keyboards with us for the first and only time. If I’m not mistaken, Crowded House played that night. I met Neil Finn, he was a nice fella.

How did you feel going back into the studio after the critical mauling of Thirteen?

After what had happened with Thirteen, we had a plan, we knew the songs we wanted to record.

We had about 16 songs and that’s all we recorded.

We brought in a guy called David Bianco, who sadly passed away a few months ago, who we’d met through Frank Black [Pixies] and he came in as producer, he was really enthusiastic and did a great job on [Grand Prix]. We recorded at the Manor Studios in Oxford, it’s where I met my wife. Krista was the housekeeper there, so that was a very pleasant experience for me.

Did that momentum roll into Songs From Northern Britain?

I think both those records go together in a way, it was a continuum, there’s a similarity in style, it felt like a very smooth transition from one into the other.

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Teenage Fanclub | MUSIC

Creation was the epicentre for Britpop after signing Oasis. How do you think TFC fit into the Britpop story?

We played with Pulp quite a bit and did shows with Blur and Oasis. We knew all those guys but we never felt part of anything, it was just a phrase invented to sell the NME.

1998–2000 What do you remember about recording Howdy?

I feel it’s a bit neglected. By that point, Creation had gone, Alan McGee called us midway through, saying ‘just to let you know we’re going to stop the label but keep recording and either Sony will put this out or you can just take the record and put it out yourself’. Sony decided to pick up the option. Unfortunately by the time it was released, we didn’t know many people there and they didn’t really know how to promote the band. It’s just one of those things, but we’re happy with the record, it’s got some great songs on it.

Did it feel like the end of an era?

It did. Creation were prepared to lose their homes to put albums out. It was a great little place, we’d go into the office after a show – Alan’s teetotal these days but around Bandwagonesque he’d be like ‘come round I’ll send for some beer’ – then seven hours later there’d be a total party going on, people popping ecstasy left, right and centre.

It was a real motley crew but there were real characters working there.

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MUSIC | Shinedown PHOTO: JIMMY FONTAINE

DARKEST HOUR Florida rockers Shinedown tell Henry Northmore of their battle with drink, drugs and depression as they return with their darkest, heaviest and most personal material

A

nyone who had written off Florida’s Shinedown obviously hasn’t heard new record Attention Attention. Their sixth album is their darkest and most personal work to date, a loose concept album that confronts their past mistakes and breakdowns. ‘In our minds, it’s actually more of a story-based record than a concept album,’ explains aptly named bassist Eric Bass. ‘It’s an autobiographical record . . . about the previous two-and-a-half to three years of our lives.’

The band first formed back in 2001 but it was the big bruising title track from third album The Sound of Madness (2008) that saw them break on the international stage. A huge stomping rock monster that kicked ass, smashed down doors and ignited mosh pits. The album added power ballads and southern rock to their rock / metal / grunge hybrid sound and went on to sell over two million copies.

However, they struggled to follow its impact. And Bass is honest enough to acknowledge their problems: ‘When we came off the road after touring Amaryllis [2012], we all fell apart. Especially [frontman] Brent [Smith] and myself. Brent fell back into his drug addiction and alcoholism, and I fell off the cliff with my depression issues. I could barely get out of bed or leave the house. We had been so busy working and touring that record, that when we came home and stopped, we drove right into a brick wall.’

2015’s Threat to Survival was slick and catchy but felt impersonal and disjointed. ‘Threat to Survival was a little more all over the place creatively. That was simply a by-product of having several different producers and mixers on that one.’

Attention Attention is probably their most ambitious album yet. Until this point, vocalist Smith and producer Dave Bassett had been the main writers in Shinedown, but Bass had been working on ideas while on the road.

He approached Smith with his writing and, while

radically reworked in the studio, they formed the core of the new record.

The band drew on their demons for inspiration and catharsis. ‘In essence, this record is that journey. From the insanity and chaos of rock bottom in a song like “Devil”, through the healing process of one friend helping another deal with depression in a song like “Get Up”, all the way to overcoming, but still being cautious, at the end of the album with a song like “Brilliant”. It’s a story about not being afraid to fail.

Failure is after all the greatest teacher. We just had to learn that.’

Their 2017 UK tour supporting Iron Maiden across the UK was also an integral part of the story, the intensity of the shows feeding into the recording process. ‘Feeling the energy of those fans night after night left a profound and lasting impression on the band and on me personally. Those audiences stayed with me throughout the making of this new record.’

They also go harder and heavier than ever to match the material. ‘Attention Attention is a weighty record,’ says Bass. ‘If you put these songs on a sonic and emotional scale, they would weigh more than a ten-ton hammer. They are carrying around a lot of baggage.

And it sounds like it. Is this our heaviest record? I like to think so. Is it Kill ’Em All by Metallica? Absolutely not. But neither is “Summertime” by Gershwin, and if sung right, that’s one of the heaviest songs I’ve ever heard. I guess what I’m getting at is that there are many different types of heavy. I’ll say this though, there was a genuine and purposeful intent by Shinedown to deliver to our fans, and to the rock and metal community, a record that felt heavy and real.

The four of us know in our hearts that we did that.’

Shinedown play O2 Academy, Glasgow, Tue 30 Oct.

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list.co.uk/music

SFD: STETSON – FOX – DUNN Summerhall, Edinburgh, Sat 29 Sep SFD is the latest project from Canadian saxophonist Colin Stetson.

His unconventional style (utilising a unique circular breathing method and slamming his keys as percussion) and forward thinking approach to jazz, post-rock and minimalism has seen him work with the likes of Tom Waits, Arcade Fire, Lou Reed, Bon Iver, the National, LCD Soundsystem and many more. Stetson has also produced a series of startling solo albums and soundtrack work. Most recently writing and performing the score for unsettling horror Hereditary.

This Edinburgh show marks the only UK date for his new trio with drummer Greg Fox and bassist Trevor Dunn, a collaboration that fell into place naturally and instinctively. 'It was a bit of a strange meeting actually,' explains Dunn, who has played with the Melvins, Mike Patton and many more. 'A mutual friend was booking gigs in a small rock venue in Brooklyn. She put the trio together on a hunch. I only met Colin and Greg on stage that night as we were setting up. This type of situation is not particularly uncommon and has the potential to be awkward but we all had a lot of fun improvising and fell into some common ground immediately. Thus we decided to continue on our own.'

Their music is hard to categorise drawing on elements of improv jazz, instrumental rock and electronica. '[It's] maximalism,' says Dunn. 'I say that because there is some relation to minimalism in our limited used of colour and form, yet it is not lightweight music by any means. It tends to be somewhat fierce, loud and cathartic. Maybe there is more akin to staring into a bright strobe light as opposed to an Agnes Martin painting. That said, it is a very open repertoire and anything can happen, so my description of what has happened in the past may or may not apply.' (Henry Northmore)

PHOTO: ALEX WOODWARD

E R U S EXPO

PHOTO: MARIE MAGNIN

AVANT JAZZ / POST ROCK

FOLK / ELECTRONICA

ALASDAIR ROBERTS, AMBLE SKUSE & DAVID MCGUINNESS Sneaky Pete’s, Edinburgh, Fri 28 Sep; What News? is out now ‘Our live show is pretty much a feat of “can we do this?”’ says electronic musician Amble Skuse, who is describing the performing set-up around What News, her recent album in conjunction with renowned Scottish folk artist Alasdair Roberts and composer and musical historian David McGuinness, being performed this month as part of Sneaky Pete’s Central Belters series. ‘Our three different takes all try to weave something magical together; Ali brings a kind of timeless traditional ballad singer sensibility to the record, David roots it in this regency piano sound, then I swoop in with electronics and try to lift it up and make it fly through time and space.’

Such fantastical language seems fitting in describing the trio’s music, a selection of centuries-old tunes played on instruments assembled by McGuinness, all given a dream-like contemporary spin

by Skuse’s laptop work. While Roberts and McGuinness were already working together, the latter heard Skuse’s work on her very first day living in Scotland – a composition of hers’ was being played

by Mr McFall’s Chamber – and asked if she would like to collaborate with them.

‘I think it definitely helps that we're three very different musicians,’ says Skuse ‘Although I'm not sure we all made the same record, really. I received Ali and David's stuff already laid out, so I had to figure out what I could add. I listened to the tracks in my campervan while exploring lanes and mountains and lochs in Scotland, and decided I wanted to try to bring a sense of the magical.'

(David Pollock)

BETA WAVES Beta Waves are a new band from Dundee who have been gaining national attention with each single they have released.

With a knack for locking into some very radio-friendly synth-pop grooves, this duo are poised to explode over the coming year. The List speaks to the band’s Dale Easson about their accidental formation and what audiences can expect from their live shows.

How did you first get together? Beta Waves is a happy accident. I’d love to say it was very weird but to be honest, we started jamming with another couple of friends and it was turning into a jazz / blues-influenced band and the songs were 'vintage.' I got Harry involved after I met him outside a pub in Dundee and remembered he could play keys. But then bizarrely we found electronic drums and synths when the two of us had a jam (the other guys couldn’t make it this

time). Then later that week I ended up making two tunes, 'Love Love Love' and 'Let It Out'. And here we are less than a year later. LOL. Like some sort of Christmas miracle.

How has the last year been for you? Pretty damn hectic. It’s been full of stress, happiness and sadness, but it’s all been worth it. We could never have imagined getting to where we are in such a small space of time, in the space of nine months we have went from playing our first show to family and friends to playing a massive festival like Belladrum.

What can people expect from your live show? Sweat and tears (mainly from Harry). I’d like to think we improve after every show, we also don’t like to do exactly the same thing twice so there will be subtle changes in each live show, that keeps it more interesting for us. (As told to Sean Greenhorn) ■ New single 'Love Love Love' is out now; Beta Waves play Kilmarnock’s The Dirty Weekender, Sat 24 Nov.

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As one of Edinburgh’s longest running independent venues, Henry’s Cellar Bar has been home to an eclectic programme of live music, clubs, art events and more over the years.

From the critically acclaimed to the obscure, this basement venue has given various bands and club nights some of their earliest gigs and with its strong community atmosphere and diverse music policy, you’ll feel right at home regardless of what’s on offer.

Renowned for pulling in big names such as Oasis and Radiohead over the years, in 2002, a fire started by a faulty fuse box burnt the venue to the ground. However, in 2014, 12 years after the blaze, rebuilding began and the venue is now fully functioning again. You’ll find acts like Alabama 3, Craig Charles and Kurupt FM playing the venue over the next few months, with regular club nights including Nightvision, Pulse and Electrikal.

PHOTO: BEN GLASGOW

Cabaret Voltaire

CABARET VOLTAIRE

THE JAZZ BAR

THE MASH HOUSE

36–38 Blair Street, thecabaretvoltaire.com

1 Chambers Street, thejazzbar.co.uk

37 Guthrie Street, themashhouse.co.uk

This triple-roomed, subterranean Old Town venue has a programme that covers all aspects of underground music. Expect big name DJs as well as up-and-coming artists, with Cab Vol’s resident club nights showcasing some of the best local and international DJ talent on a weekly basis. When it all becomes a bit much downstairs, head to Café Voltaire next door, which has a weekday evening hangout and a speakeasy space which is open seven days a week until 3am.

Another basement venue with a brilliant vibe, the Jazz Bar is undoubtedly the place to go for all your jazz, blues, funk and soul needs. The award-winning venue opened in 2005 and has grown into a hub for multi-genre live music. As a major base of the annual Edinburgh Jazz & Blues Festival, it has played host to the likes of Christian Garrick and the Robert Balzar Trio this year but previous guests include Mike & Kate Westbrook, Ravi Coltrane and Valery Ponomarev.

This Cowgate events space spans three floors and has everything from club nights to chess classes.

The club opened in 2013 and specialises in electronic music, with previous guests including Slam, Marcus Hawkes, Borrowed Identity, La Fleur and Neil Landstrumm. There’s also a midsized, 250-capacity live venue, with the Dunts, Dan Owen and Darlingside all lined up to appear.

Plus, there’s a Kate Bush Dance Party next month featuring eight-piece cover band Baby Bushka.

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SUPPORTED BY

G N KI

With music venues facing an increasing amount of pressure across the board, there’s never been a better time to get out and support grassroots music and independent creative spaces. Here, we breakdown some of our favourite Edinburgh and Glasgow spots, with an emphasis on the small and mighty

GLASGOW

King Tut’s Wah Wah Hut

KING TUT’S WAH WAH HUT

GLAD CAFÉ

STEREO

272a St Vincent Street, kingtuts.co.uk

1006a Pollokshaws Road, thegladcafe.co.uk

20–28 Renfield Lane, stereocafebar.com

King Tut’s has been a vital part of Glasgow’s musical heritage since its birth in 1990. The 300-capacity venue has a reputation for hosting bands at seminal points in their careers, with the Verve, Radiohead and Oasis all playing within two weeks in 1993, and is famously where Oasis were discovered and signed. As well as the upstairs gig room, the basement bar and kitchen packs in gig-goers enjoying tasty dishes and drinks, like their very own King Tut’s Lager.

An artsy community café hub with loads of space for patrons to write, read or talk while enjoying top-quality food. This not-for-profit music venue in Shawlands showcases rising local musicians as well as internationally renowned acts, from indie and experimental to world and traditional. It’s also home to a great exhibition space which hosts varying kinds of visual art and creativity and has become known for its top quality programming which includes film, drama, storytelling and talks.

This chilled-out bar that’s snuggled into Renfield Lane has been around since 2007, located in a building designed by Charles Rennie Mackintosh. As well as serving an entirely vegan food menu, the bar has an endless variety of gigs, live performances and clubs in the downstairs venue. Over the next few months, Becky Hill, Bo Ningen, Goat Girl and Deer Tick will be playing there, alongside nights courtesy of J-Bone and Orbital’s Phil Hartnoll.

The Hug and Pint

THE HUG AND PINT

NICE N SLEAZY

SAINT LUKE’S

171 Great Western Road, thehugandpint.com

421 Sauchiehall St, nicensleazy.com

17 Bain Square, stlukesglasgow.com

This vegan bar, eatery and music venue was inspired by Arab Strap’s ‘Monday at the Hug and Pint’ and promises to provide ‘the friendliest atmosphere in Scotland’. A much-loved addition to Glasgow’s West End, the venue provides a music programme that is consistently forwardthinking in its curation, boasting some of the most exciting touring acts on the circuit.

Upcoming gigs include Campfires in Winter, Skinny Pelembe and Snail Mail.

Nice N Sleazy is a Glasgow institution now, with its atmospheric and distinctive late-night bar offering a great lineup of gigs, club nights and bargain drinks, plus a Japanese izakaya food menu courtesy of long-time collaborators Koko’s Japanese Kitchen. Downstairs is where the magic happens with performances from legends and locals alike in a distinctively intimate setting.

Grab a white/black Russian, head downstairs and you might just come across the next big thing.

On the outskirts of Glasgow’s Merchant City in a beautifully restored B-listed building, you’ll find Saint Luke’s, arguably one of the city’s most unique spaces. Just last year, this spectacular venue was used as part of the BBC 6 Music festival, where artists like Cate Le Bon, Car Seat Headrest, the Lemon Twigs, Anna Meredith and Gaika all played colourful sets. As well as great music, the venue’s Winged Ox bar and kitchen is open seven days a week, serving a range of food.

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MUSIC | Records TECHNO

ALBUM OF THE ISSUE

INDIE

CAT POWER The Wanderer (Domino) ●●●●●

Somewhere out there, in a Star Trek mirror universe which flips our own reality upon its head, Chan Marshall stands alongside the likes of John Grant and Bon Iver as an artist who has graduated from the life of a moderately successful alternative singer-songwriter to the kind of artist who inspires standing ovations in packed concert halls.

Some of the reasons why this hasn’t yet come to fruition have been well-documented, for those who follow her career closely; an extended period of drug and alcohol abuse, mental problems and personal bereavement. Yet Marshall has continued to create gorgeous music, and her heart-stirringly smoky voice remains undiminished.

Wanderer constitutes something of a comeback for Marshall, who has released only one album – 2012’s heavily electronic Sun – in the last decade; by comparison, the ten years before that brought five records.

It’s a return to the sound which made her name, a sparse and mournful form of country-rock which often focuses entirely upon her own guitar or piano, and that instantly recognisable voice. The opening title track is pindroppingly peaceful, with just Marshall’s vocal and a hymnal choir.

The whole album bears a sense of departure, from the strutting, confident slow groove of ‘You Get’ to ‘Horizon’s affirmative ‘you’re on the horizon / I head the other way’ sign-off. It feels as though she’s leaving something behind – her old life, old hurt, old people – but moving towards the brightness of the future. Whatever confessional might be going on between the lines of the sometimes veiled lyrics here, these songs capably bear the power of the name she’s chosen for herself. (David Pollock) ■ Out Fri 5 Oct.

ORBITAL Monsters Exist (ACP Recordings) ●●●●● If there’s such a thing as heritage techno, then Orbital are it; producers whose fame is generational, from the rave-bound success of their debut classic ‘Chime’ in 1990, to the huge impact of their Glastonbury-headlining set in 1994 which did for taking electronic music overground in the UK what Daft Punk’s 2006 Coachella set did in North America. Since this heyday, however, the Hartnoll brothers (Phil and Paul) have become a more familiar quantity, with plenty of mainstream film soundtrack work, eight albums in total, and a combined eight years’ hiatus in this decade and the last.

This album comes after their second and most recent split ended last year, even though we were told that departure would have been for ‘the final time’. To and fro aside, however, Monsters Exist is a welcome comeback; albeit one which seems drawn less from the duo’s days of chiming, acid-tinged monsters designed for use in an illegal motorway rave (the London Orbital, after all, is where they got their name), than from their latter soundtrack work for films and series like Pusher, Peaky Blinders and American Ultra (the latter two, Paul’s work alone).

Their original sound is most evident amid the upbeat house carnivalesque ‘Hoo Hoo Ha Ha’ and the squelchy, acid-tinged electronic bounce and beats of ‘P.H.U.K.’, with the best of the rest of the record focusing on a darker-edged atmosphere. ‘Buried Deep Within’ for the most part drives along at an insistent, crunching pace, the occasional moment of blissed-out reflection aside, and the title track bears an effective sense of sci-fi darkness and foreboding.

These are most of the best parts; otherwise there’s a slightness to ‘Tiny Foldable Cities’, an only halfway successful stab at Hudson Mohawk-esque contemporaneity on ‘The End is Nigh’ and a more than predictable spoken word guest appearance by Professor Brian Cox on the closing ‘There Will Come a Time’. It’s a mixed selection, in other words, but it all sounds cohesively and convincingly like Orbital, and old-school fans will find much to love here. (David Pollock) ■ Out Fri 14 Sep.

POP ROCK

PUNK

Go To School (4AD) ●●●●●

Joy As An Act Of Resistance (Partisan Records) ●●●●●

THE LEMON TWIGS If there is one criticism that gets levied at the Lemon Twigs (aka Brian and Michael D’Addario), it’s that they are just a bit ‘too much’. From their outlandish haircuts and outfits, to their kitschy music-hall singing and highkicking live shows, it's not difficult to see why they have their detractors. Yet the brothers, taking this criticism on board, have decided not to run away from it, but instead double down for album number two.

Enter Go To School, a rock musical about Bill and Carol, a pair of actormusicians who adopt a chimpanzee named Shane and raise him as their son.

Featuring contributions from Big Star’s Jody Stephens, Todd Rundgren and the brothers’ own mother, this is 15 tracks of big, ornate pop rock with plenty of horns, woodwind and string arrangements.

The opening song ‘Never In My Arms, Always In My Heart’ lays out the album’s tone from the moment it bursts in, with a memorable riff, heartson-their-sleeves vocals and glorious harmonies bringing to mind a Beach Boys-on-Broadway feeling. The album then continues in much the same way for the next 14 tracks, and, unfortunately, this ultimately becomes its downfall.

Although the brothers show technical mastery of their instruments and a deft ear for music’s past, their reluctance to let songs breathe, instead placing busy arrangement next to busy arrangement, makes Go To School an undeniably difficult listen at times.

Having said that, it’s a lot of fun, and when it works, such as it does on mid-album highpoint ‘Queen of My School’, it really works. It takes most rock bands at least two decades to work up the courage to attempt something on this scale, which makes the Lemon Twigs (currently aged 19 and 21) a very exciting prospect indeed. If Go To School shows us anything, wherever they go from here, it promises not to be boring.

(Sean Greenhorn) ■ Out now.

IDLES The word ‘important’ is overused in the context of new bands but don’t think twice about applying it to Idles. The Bristolian punk band’s second album Joy As An Act Of Resistance further marks them out as one of the most thrilling guitar bands of the present day. Their 2017 debut Brutalism, was both aggressive – in its attacks on austerity Britain – and tender, when frontman Joe Talbot laid bare the grief of losing his sick mother, who he’d spent years caring for before her passing. Talbot was also direct and prescient about #MeToo. ‘Sexual violence doesn’t start and end with rape,’ he sang. ‘It starts in our books and behind our school gates.’

Joy As An Act Of Resistance is another vital offering from the five piece. It boldly assesses what it means to be a man today, confronting and challenging societal expectations of the ‘strong and silent type’ passed on from generation to generation. It understands the frustration of feeling trapped and worthless and lends a sympathetic ear, while encouraging self-improvement rather than mindless violence. Even when the message is angry (‘I smash mirrors, and fuck TV’), it’s positive at its core (‘Love yourself’).

'Danny Nedelko’ humanises the immigrants who’ve contributed greatly to our society and are now so widely scapegoated, packing a chorus the Clash would have been proud of. ‘Great’ tackles national identity and the gentrification of our urban areas with the humour we’ve come to expect (the protagonist ‘cries at the price of a bacon bap’). ‘Cry To Me’ is disarming; reminiscent of a 60s standard as much as a punk staple. It follows ‘June’, in which Talbot sings about the loss of his daughter Agatha.

‘Baby shoes for sale, never worn'.

It’s haunting, and further evidence of his range as a writer and his commitment to encouraging vulnerability.

So this is an important record.

This is what punk can be – not a fashion statement, not a series of half-baked slogans with no sentiment – but music inspiring in its energy and heart.

(Craig Angus) ■ Out now.

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Records | MUSIC

list.co.uk/music ELECTRONIC

ELECTRO POP

Kingdoms In Colour (Ninja Tune) ●●●●●

Chris (Because) ●●●●●

Maribou State have come a long way since their early single releases. From success with tracks such as ‘Scarlett Groove’ and a string of Majestic Casual remixes such as their version of Ultraista’s ‘Gold Dayzz’, the electronic musicmaking duo are back with their second full-length album, Kingdoms In Colour.

It’s a mixed bag of a record, with some real standout tracks, but others – such as ‘Turnmills’ almost techno-esque sound – which seem slightly at odds with the rest.

First single, ‘Feel Good’, is a definite success; featuring the effortlessly cool, chilled-funk trio Khruangbin. Here, the relentless guitar-riff and edited vocal hook works to create a truly innovative – and addictive – sound.

The pair are reunited with the wonderful vocals of singer Holly Walker, familiar to fans from debut album Portrait’s huge single ‘Midas’. Sounding like part of the group, Walker’s smooth and understated work contributes to Maribou State’s trademark chilled, head-nod style. ‘Nervous Tics’ is undoubtedly one of the biggest earworms here, and it seems that, in general, the duo make better music when Walker is in the mix.

There are some melancholy moments, with a sense of epicness reminiscent of a film score at times. Tracks such as ‘Vale’ feel like a small shift in the sound we’ve come to associate with the duo, lacking the electronic drops which set their music up so well for club remixes and after-party selections.

Maribou State began writing this record after a year’s touring, citing international influences as inspiration, which is apparent in the mish-mash of moods and sounds. They're talented musicians whose unique brand of instrumental-led and vocally heightened music provides a great contribution to chilled-out, high-quality electronica, and they also make careful and successful choices in their features and collaborations.

There’s enough good music here to ensure this album succeeds; it just lacks a bit of ‘oomph’.

(Kenza Marland) ■ Out Fri 6 Sep.

French singer / performer Heloise Letissier first introduced her all-singing, all-dancing Christine and the Queens project via the streamlined electro pop of Chaleur Humaine. Now this intriguing Gallic pop star moves the goalposts a smidgen by striking a scribble through the latter part of her stage name, and declaring ‘it’s very much you allowing yourself to be even more, you know’. If you say so – though others might just call it a bit of a contrived concept and an image change for album two.

Letissier has already struck a chord with her focus on gender politics. For Chris, she has accentuated her androgyny, taking inspiration she says from Leonardo DiCaprio’s portrayal of Romeo – not that that is necessarily conveyed in the music. And there’s the rub: Christine and the Queens is an integrated audio-visual experience where the entrancing choreography – part street dance, part modern ballet – masks some pretty banal electro pop.

This time round, Letissier at least injects a modicum of funk with bass wobble, hi hat, vocal inflections and finger clicks lifted straight from Michael Jackson on the uncluttered ‘Comme Si’. The clean, trebly sound is refined even further on ‘Girlfriend’ which adds in some Nile Rodgers-style lean funk guitar for that je ne sais quoi appeal.

‘Doesn’t Matter’, hailed by Letissier as a ‘cathedral’, is her hooky, staccato musing on faith in a higher power, and she references north African vocal traditions alongside a spare funk bassline (think Frankie Knuckles’ ‘Your Love’) on ‘Goya Soda’.

‘Damn (What Must A Woman Do)’ is the kind of machine funk mover which Beyonce would do a number on, but is handled here with an unflustered economy of expression. In fact, the entire album is sonic nouvelle cuisine – classically crafted and presented, though wafer thin and insubstantial in places and lacking the body to really satisfy the senses. (Fiona Shepherd) ■ Out Fri 21 Sep.

ROCK

TURKISH PSYCHEDELIA

Perfect Shapes (Carpark Records) ●●●●●

Istikrarli Hayal Hakikattir (Glitterbeat) ●●●●●

Madeline Kenney is clearly in a hurry. Just a few months after the release of her 2017 debut Night Night at the First Landing, the Oakland singer, songwriter, neuroscientist, nanny and baker was back in the studio collaborating with Wye Oke’s Jenn Wasner who took production duties on what has now become the ten-track Perfect Shapes. Yet, the end result has no sense of someone rushing anything, as there is measure and restraint and tenderness among each number.

The shimmering and loopy ‘Bad Idea’ has a Heaven or Las Vegas-era Cocteau Twins sheen about its chorus while lead single ‘Cut Me Off’ has jerkier guitar rhythms (and a great promo video where she dances about an office building) but slips off into an ambient dreamscape around the two-thirds mark.

At this point, Kenney’s own description of her sound as ‘twang haze’ should finally make perfect sense.

The muggy summer feel of ‘No Weekend’ also takes a quick turn off the road when you least expect it, though this time with discordant, Bowie-esque brass instrumentation. There’s also a touch of the warmer months in ‘The Flavor of the Fruit Tree’ but it might be too much of a saccharine-fuelled Lily Allen take-off in places for some.

Not that there’s much time to get annoyed at any of the songs, with the longest track clocking in at the four-and-a-half minute mark. So when a lesser-enjoyed beast such as the largely directionless ‘I Went Home’ gurgles to its end, the title track looms immediately into view with an insistent synth-pop vibe which could also easily accompany mojitos by the pool, but which winds down into an airy dissolve. Leaving the best for very nearly last, penultimate song ‘Your Art’ is a swooning, instant indie classic with sharp guitar interruptions and a vocal melody that threatens to take off into outer space. (Brian Donaldson) ■ Out Fri 5 Oct.

‘Dreams keep you awake and it is time to wake up!’ writes Istanbul’s Gaye Su Akyol in the notes to her third album, Istikrarli Hayal Hakikattir. Translating as ‘Consistent Fantasy Is Reality’ the album title reflects Akyol’s dream of pure freedom, a ‘dreaming practice’ that challenges the increasingly oppressive reality of Erdogan’s Turkey, and the conservative turn of the wider world. ˘ Akyol’s music will appeal to fans of the 1970s Anatolian psychedelia that’s gained a cult Western following – the great Selda Bagcan, Erkin Koray, Baris¸ ˘ Manço et al – but it’s no retro affair. While her previous album Hologram Imparatorlugu ˘ arrived in a swirl of cinematic strings and twanging surf guitars, Istikrarli Hayal Hakikattir opens with a more contemporary punch, as an analogue synth squelches out a huge modal riff, followed by a syncopated strut and spidery guitars. Akyol enters, her voice graceful and poised as she picks apart consensus reality.

The gorgeous ballad ‘Bagrimizda Tas’ (‘Stones In Our Bosom’) follows, its dreamy melody graced by acoustic guitars, baglama and hand percussion. ˘ An eerie organ underlines the song’s bleak reflections on alienation and the quashing of human potential. ‘Gölgenle Bir Basima’ (‘All Alone With Your ¸ Shadow’) is darker still, a slow gothic creep set to electronic beats, sinister guitar and an apparition of strings. Akyol makes good use of a horn section on ‘Meftunum Sana’ (‘Captivated By You’), their sustained chords setting up a tortured meditation on ‘the blind darkness of love’.

A freewheeling saxophone solo drives home the sense of abandonment. There’s a nod to Turkish rock tradition with a cover of Baris¸ Manço’s ‘Hemserim ¸ Memlkeket Nire’ (‘Where Are You From, Mate?’), but its lyrics – ‘our earth is already broken and uninhabitable/no need to divide it more and more’ - fit perfectly with the album’s radical internationalist message.

(Stewart Smith) ■ Out Fri 26 Oct.

MARIBOU STATE

MADELEINE KENNEY

CHRISTINE AND THE QUEENS

GAYE SU AKYOL

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THE LAFONTAINES HOMECOMING Sun 23 Dec, 7.30pm Motherwell Concert Hall £20 (early bird) / £25

culturenl.co.uk 01698 403120

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Going Underground | MUSIC

list.co.uk/music

GOING UNDERGROUND Stewart Smith digs out some of the best underground, DIY and self-released music currently coming out of the Scottish music scene

DRAWN TO WATER Drawn To Water ●●●●●

A new quartet from the ranks of Glasgow Improvisers Orchestra, Drawn to Water features Raymond MacDonald on alto saxophone, Jer Reid on guitar, Una McGlone on double bass, and Stu Brown on drums.

Taped live at Glasgow’s Old Hairdressers in July 2016, the first three tracks give a clear sense of the musicians establishing lines of communication. An initial flourish of bright guitar and expressive sax slips into moody post-rock abstraction, with McGlone’s bowed bass sketching grainy charcoal lines over muted percussion. The rhythm section develops a slow ambient throb, their gathering momentum encouraging MacDonald to rise from the depths with spiralling Evan Parker-like loops. Brown rumbles with intent, before pulling back to give the other musicians the space to explore more delicate textures; McGlone’s lilting bass figures are particularly affecting. ‘ColderColder Warmer-Warmer’ brings the skronk and clang, while the closing ‘Softening’, recorded at the Glad Café, belies its title with a rollicking percussion climax.

FOOD PEOPLE Vetch ●●●●●

Otherworldly sonics and fragmented poetry from the trio of Lila Matsumoto, Matthew Hamblin and Greg Thomas, three musician/artist/writers with strong links to Glasgow and Edinburgh.

The creeping pulse of ‘Bone Moon’ supports a lunar viola figure and keening skirls of flute, before we dive into the murky interlude of ‘Ditch’, its grimly surreal poetics set to droning medieval folk. This dissolves into an uncanny realm of spectral viola loops and wraithlike vocal effects, followed by an unsettlingly dry Dictaphone account of some mysterious case. A long passage of muttering voices and ominous

drones is suggestive of Twin Peaks: The Return transplanted to the dark moors of David Peace’s Red Riding novels, while ‘Long Acre’ is an engrossing DIY take on the epic grandeur of Popol Vuh’s Aguirre, the Wrath of God soundtrack. There is an occult energy to Food People’s mesmeric drones and experimental poetics: reality warps around them.

CAROLINE MCKENZIE The November Meteors ●●●●●

Glasgow’s Caroline McKenzie makes her debut on Glass Miniature, a London-based label whose founder David Barker is a long-time champion of the Scottish underground, from the Pastels and the Vaselines, to Telstar Ponies and Richard Youngs.

A more compact affair than its 2017 predecessor, the epic song cycle The Drowning Of Ophelia, The November Meteors is a gorgeous evocation of the upper atmospheres. There’s an icy electrical charge to the processed fuzz guitar of ‘Heatherstorm’, as it fizzes and crackles through a minor key figure. McKenzie gradually fills out the sonic field with reverberant electronics and beats. The title track is reminiscent in mood, if not quite sound, of Fripp & Eno’s 1975 guitar and tape classic Evening Star. Lambent synth chords swell and overlap, on top of which McKenzie layers metallic percussion tones tuned to an alien temperament. The effect is luminous but uncanny, with McKenzie’s EBow guitar lifting us further into the troposphere.

MAC-TALLA NAN CREAG The Sorrow Of Derdriu ●●●●●

This second album from Mac-Talla Nan Creag takes its inspiration from the folkloric figure of Derdriu, who narrowly avoided being killed before her birth after it was prophesised that kings and noblemen would go to war over her.

The core trio of Hoch Ma Toch (Drew Wright aka Wounded Knee), Lord of the Isles (Neil

McDonald) and Other Lands (Gavin Sutherland) enlist the latter’s daughter Eva to recite the opening track, ‘Derdriu’s Vision’, her voice reverberating over shimmering mandolin and synth. ‘Love’s Promise’ captures the more romantic elements of the Derdriu legend through airy Celtic jazz-pop piano, while ‘Lament For The Sons Of Uisliu’ evokes the tragedy via Hoch Ma Toch’s solemn baritone. Bodhran beats and sputtering trumpet drive the otherworldly ‘Flight’, while the superbly titled ‘Sketches of Spean’ features the lowing warble of the carynx, a replica Iron Age war horn played by ancient instrument expert Professor John Kenny.

Weaving together elements of folk, Boards Of Canada-like electronica, library music, free improvisation and post-rock, The Sorrow Of Derdriu is a magical invocation of the Celtic world, from ancient to the future.

MYSTIC ROCK School Of Mystic Rock ●●●●●

There’s an appealing wrongness to this debut tape from the Glasgow trio of Maria Tedelman, Jack Paton and David Roeder. Not wrong in the tedious Fat White Family edgelord sense, but wrong in the way its riffs are punchy yet skew-whiff, the vocals a little demented. On first impression, this is scratchy and sardonic lofi indie in the tradition of Yummy Fur and the Fall, but Mystic Rock have a wonky character of their own. Opening track ‘Alien’ is an unlikely romantic dialogue between Tedelman’s cooing extra-terrestrial and Jack Paton’s grunting caveman. Deranged absurdism set to scrabbling guitar and a crude garage stomp: what’s not to like? In lesser hands, the adolescent awkwardness of ‘Sex Song’ and ‘Zena’ might be pushed too far, but Paton is so committed to his persona that it works. The music itself is totally righteous, the guitars bent-out-shape yet full of vim, the drums pounding and urgent. A blast.

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MUSIC | Highlights

HITLIST

Fri 21 Sep, usherhall. co.uk The award-winning chart-topping Kilmarnock rockers (pictured) return with their unique brand of hard alternative rock and post-hardcore in this special unplugged acoustic show.

GARBAGE Edinburgh Festival Theatre, Tue 4 Sep, capitaltheatres.com/ festival-theatre; Barrowland, Glasgow, Wed 5 Sep, barrowlandballroom.co.uk Dark electro rock as Shirley Manson and co return.

JOHN CARPENTER Barrowland, Glasgow, Fri 19 Oct, barrowland-

BIFFY CLYRO Usher Hall, Edinburgh,

ballroom.co.uk PreHalloween treat as the legendary horror director and composer performs notable works from films including Halloween, They Live, Assault on Precinct 13 and many more.

IDLES Queen Margaret Union, Glasgow, Sat 20 Oct qmunion.org.uk High-

octane, blues-infused indie, punk and rock.

TEENAGE FANCLUB Barrowland, Glasgow, Mon 29–Wed 31 Oct, barrowland-ballroom.co.uk The Fannies play through their classics. Celebrating the Creation years with Night 1: Songs from 91–93, Night 2: 94–97, Night 3: 98–00. See feature, page 74.

MUSIC HIGHLIGHTS Events are listed by city, then date.

Submit listings for your event at list.co.uk/add

The Stone Age singer performs grizzly alternative rock. With Duke Garwood.

RICHIE HAWTIN: CLOSE O2 Academy, Thu 11 Oct, academymusicgroup.com/ o2academyglasgow The electronic visionary brings his award-winning audio-video show for two stand-alone UK dates.

GLASGOW THE THE Barrowland, Tue 4 Sep, barrowlandballroom.co.uk; Wed 5 Sep, Royal Concert Hall, glasgowconcerthalls. com Alternative rockers return to the stage for the first time in 18 years.

THE LOVELY EGGS CCA, Fri 12 Oct, cca-glasgow.com Quirky DIY lo-fi duo from Lancaster.

See preview, page 73. Also Beat Generator, Dundee, Thu 11 Oct, beatgenerator.co.uk; Bongo Club, Edinburgh, Sat 13 Oct, thebongoclub.co.uk

THE WYNNTOWN MARSHALS Stereo, Fri 7 Sep, stereocafebar. com Country rock and Americana with a smattering of indie harmonies from Edinburgh’s Wynntown Marshalls.

EUROPE Barrowland, Sat 15 Sep, barrowlandballroom.co.uk The Scandinavian rockers best known for the mighty ‘Final Countdown’ keep the hard rock flag flying.

THE GOON SAX The Hug and Pint, Mon 17 Sep, thehugandpint.com Australian indiepop trio.

SKINNY PELEMBE The Hug and Pint, Tue 18 Sep, thehugandpint.com Afro psychedelic soul from the South African-born, UKexiled beatmaker/guitarist. Also Sneaky Pete’s, Edinburgh, Wed 19 Sep, sneakypetes.co.uk SHANIA TWAIN The SSE Hydro, Wed 19, Fri 21 Sep, thessehydro.com The country-pop phenomenon in concert.

PALE WAVES SWG3, Fri 21 Sep, swg3.tv The Manchester-formed four-piece offer up a glittering alt.pop performance.

DIONNE WARWICK SEC, Sat 22 Sep, sec.co.uk The well-established singer, actress and TV presenter performs a selection of soul, easy listening and pop songs from her long career.

Darwin Deez

NICK MASON’S SAUCERFUL OF SECRETS SEC, Fri 28 Sep, sec.co.uk Pink Floyd drummer performs songs from two of the band’s earliest albums with Gary Kemp (Spandau Ballet) on vocals.

COLOURS CLASSICAL The SSE Hydro, Sat 29 Sep, thessehydro.com Colours and the Scottish Festival Orchestra have teamed up for a celebration of some of dance music’s most recognisable hits.

TENEMENT TRAIL Various venues, Sat 29 Sep, tenementtrail.com The likes of the Cribs, Tijuana Bibles, Yonaka, the Bliners, Man of Moon, Acrylic, Airways, Cheap Teeth, the Van T’s, Wojtek the Bear and more, play this Tenement TVpromoted gig crawl across 10 venues (including Nice’n’Sleazy, The Garage, Broadcast, Flat 0/1 and King Tut’s).

KYLIE MINOGUE The SSE Hydro, Sun 30 Sep, thessehydro.com Big hits from diminutive pop behemoth Ms Minogue.

GLASGOW AMERICANA Various venues, Wed 3–Sun 7 Oct, glasgowamericana.com Blues, country and folk fest. 2018’s lineup includes Yola Carter, Emily Barker, The Hellfire Club, Bennett Wilson Poole and Nathan Bell.

DARWIN DEEZ Òran Mór, Fri 5 Oct, oran-mor.co.uk Quirky New York indie troupe tour.

VOIVOD The Cathouse, Fri 5 Oct, cathouse. co.uk Avant garde, experimental thrash metal from Canada’s Voivod.

THE BLACK QUEEN SWG3, Sun 7 Oct, swg3.tv LA-based electronic alternative outfit featuring the Dillinger Escape Plan’s Greg Puciato, Telefon Tel Aviv/NIN’s Josh Eustis and programmer/guitarist Steven Alexander.

MARK LANEGAN Saint Luke’s, Sun 7 Oct, stlukesglasgow.com The gravel-voiced former Screaming Trees and Queens Of

RUDIMENTAL O2 Academy, Tue 16 Oct, academymusicgroup.com/ o2academyglasgow South London collective who mix quaking dubstep soundtracks with soul vocals.

STEPHEN MALKMUS & THE JICKS SWG3, Thu 18 Oct, swg3.tv Since dissolving much-loved indie types Pavement, Malkmus has concentrated on the Jicks.

ROBERT CRAY BAND City Halls, Fri 19 Oct, glasgowconcerthalls.com The award-winning US blues guitar maestro returns. Also Usher Hall, Edinburgh, Sat 20 Oct, usherhall. co.uk BICEP Barrowland, Sat 20 Oct, barrowland-ballroom.co.uk Belfastbased DJ duo perform live as part of their world tour.

ALT-J SEC, Sun 21 Oct, sec.co.uk Esoteric four-piece from Cambridge touring their third album, Relaxer, which features the singles – and radio staples – ‘3WW’, ‘In Cold Blood’ and ‘Adeline’.

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21–28 October

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du ne din co ns ort – lie bs ch er – ste ph enbro en en se mb le – the aly n co ske r gro frie nd s – ph ilip hig ho rne – do hn ányi trio – an drew mc up – fra nk be rke ley en se mb leha m an d ala sd air be ats on – ge novia tag ga rt an d qu artet – th so ng for arm ag ed do– gla sg ow ca the dra l ch oir an d ch ora l so cie ty – n ins tal lat ion – co ns fre e gu ide d tou rs ervato ire bra ss

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MUSIC | Highlights

DAVID BYRNE The SSE Hydro, Mon 22 Oct, thessehydro.com Music from the Talking Heads frontman.

GOAT GIRL Stereo, Fri 26 Oct, stereocafebar. com Wonky, weird DIY indie-rock fourpiece from London.

MAXIMUM PRESSURE SWG3, Sat 27 Oct, swg3.tv Glasgow techno duo Slam host this series of big club nights. Huge Halloween party with guests Blawan, Dave Clarke (electro set), Dax J, IDA (UK), Jackmaster, Matrixxman, Perc & Ansome (Hybrid live), Jasper James, Noncompliant and Silicone Soul. Last entry 9.30pm.

SLEAFORD MODS Barrowland, Sat 27 Oct, barrowlandballroom.co.uk Electro punk duo from Nottingham, whose music deals in working class life and culture, and austerity-era Britain.

SHINEDOWN O2 Academy, Tue 30 Oct, academymusicgroup.com/ o2academyglasgow Thumping hard rock and metal from Jacksonville, Florida. See feature, page 76.

FIRST AID KIT Barrowland, Sun 28 Oct, barrowlandballroom.co.uk Ethereal nu-folky music from Swedish sisters Klara and Johanna Soderberg. Also Usher Hall, Edinburgh, Fri 26 Oct, usherhall. co.uk; Perth Concert Hall, Sat 27 Oct, horsecross.co.uk

EDINBURGH ROSS FROM FRIENDS The Liquid Room, Sat 15 Sep, liquidroom.com Signed to Flying Lotus’ Brainfeeder label, Ross From Friends brings summery vibes with a sound that’s inspired by experimental hip hop and house music.

FLY OPEN AIR Ross Theatre Bandstand, Sat 22 & Sun 23 Sep, flyclub.co Dance music festival with Fly residents Theo Kottis and Jasper James curating each day. Guest DJs include Kerri Chandler, Henrik Schwarz (live), Move D, Theo Kottis and Hammer on Sat; with Jackmaster b2b Jasper James, Hunee, Peggy Gou, Palms Trax, Harri and Domenic on Sun. Plus afterparties at Bourbon on Frederick Street.

ALASDAIR ROBERTS, AMBLE SKUSE & DAVID MCGUINNESS Sneaky Pete’s, Fri 28 Sep, sneakypetes.co.uk Scottish singer Alasdair Roberts teams up with Amble Skuse and David McGuinness to tour their recent album What News. See preview, page 77.

KT TUNSTALL The Liquid Room, Fri 28 Sep, liquidroom.com The feisty Scottish

singer-songwriter with a Brit, Ivor Novello and Scottish Style Award under her musical belt returns with new material.

SFD: STETSON – FOX – DUNN Summerhall, Sat 29 Sep, summerhall. co.uk Avant-garde post rock/jazz/metal trio fronted by saxophonist and Arcade Fire/Bon Iver/the National collaborator Colin Stetson, with drummer Greg Fox (Liturgy, EX EYE) and bassist Trevor Dunn (Melvins). Only UK date. See preview, page 77.

THE REZILLOS La Belle Angèle, Fri 19 Oct, labelleangele.com The legendary Scots punks, fronted by the fabulous Fay Fife.

Playing Can’t Stand The Rezillos in full.

JACK WHITE Usher Hall, Sun 21 Oct, usherhall. co.uk Ragged blues from the former White Stripes/Raconteurs/Dead Weather guitarist-singer.

AIDAN MOFFAT & RM HUBBERT The Pleasance, Fri 26 Oct, pleasance.co.uk Scottish indie-folk power duo Aidan Moffat and RM Hubbert perform tracks off their new album, Here Lies The Body. Support comes from Siobhan Wilson. Also Carnegie Hall, Dunfermline, Thu 11 Oct, onfife.com/venues/carnegiehall; Mac Arts, Galashiels, Fri 19 Oct, macarts.scot; Paisley Arts Centre, Sat 20 Oct, thespree.co.uk; Perth Concert Hall, Fri 26 Oct, horsecross. co.uk TERMINAL V FESTIVAL HALLOWEEN Royal Highland Centre, Sat 27 Oct, thisisourvision.com Terminal V returns this Halloween with a big lineup of techno and electronic artists. Featuring the Black Madonna, Len Faki, Sam Paganini, Moodymann, Robert Hood, Eats Everything and more across three rooms.

DUNDEE 3D FESTIVAL Slessor Gardens, Fri 14 & Sat 15 Sep, vandadundee.org A two-day celebration of design, music and live performance to mark the opening of V&A Dundee. Lineup includes Primal Scream in a collaboration with artist Jim Lambie as well as performances from Lewis Capaldi, Gary Clark, Be Charlotte, Éclair Fifi and more. See feature, page 28.

SKYE SKYE LIVE The Lump, Fri 21 & Sat 22 Sep, skyelive.co.uk Two-day music festival on Skye offering a fusion of genres, with traditional music, bands, DJs and dance acts on the bill, along with excellent food and drink courtesy of Skye’s finest foodies. 2018’s lineup includes Denis Sulta, Vessels, Pictish Trail, Session A9, Niteworks, Moxie, Eclair Fifi and more.

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MUSIC | Classical

CL

Mark Simpson

CLASSICAL FESTIVAL

LAMMERMUIR FESTIVAL Various venues across East Lothian, Fri 14–Sun 23 Sep PHOTO: ROBIN MITCHELL

L A C I S AS

In the wake of the throngs who crowd out Edinburgh in peak festival season, it’s balm to the soul to come up for cultural air again at a completely different type of festival. Lammermuir Festival is rooted in its beautiful East Lothian location as much as its beautiful music. This year – its ninth – the ten days of performances by top-drawer classical musicians include song, opera, new commissions, chamber, orchestral and choral music.

Most visible is composer and clarinettist, Mark Simpson, who is artist in residence. Multi-talented – he also plays piano and conducts – Simpson is a big fan of Lammermuir. ‘I played there in 2013 with the Danish String Quartet and loved it. It was such a treat. It’s a perfect environment for any classical musician to work in.’ This year, Simpson’s presence extends over several strands. He is soloist in Nielsen’s Clarinet Concerto with the Scottish Chamber Orchestra, then plays John Adams’ virtuosic Gnarly Buttons with Red Note Ensemble, who also programme music composed by Simpson. Finally, he performs Mozart’s Gran Partita with SCO Winds, plus his own Geysir, written for the same forces.

Performing and composing are, he says, ‘both intrinsically part of who I am as a musician. I’m a performer and love being on stage. Can’t think of anything better than connecting with an audience. I could never let that go.’ Winning BBC Young Musician of the Year in 2006 propelled a 17-year-old Simpson to countless opportunities. ‘I started to use that platform to commission new work to extend the repertoire and as my clarinet career took off, my own composing career took off even more. Although not as high profile, I couldn’t do just wall-to-wall performances. I’ve got a wild imagination and creative energy. If not able to have a vent for that, I’ll turn into a bad person.’ He's such a nice guy, that's highly unlikely.

(Carol Main)

CLASSICAL HIGHLIGHTS HITLIST

SCO: VILDE FRANG PLAYS BEETHOVEN VIOLIN CONCERTO Usher Hall, Edinburgh, Thu 27 Sep, usherhall.co.uk Beethoven’s Violin Concerto with Norwegian violinist Vilde Frang, plus Sibelius’ Symphony No 3.

Also City Halls, Glasgow, Fri 28 Sep, glasgowconcerthalls. com/city-halls SCOTTISH OPERA: OPERA HIGHLIGHTS Various venues, Scotland, Sep–Oct, scottishopera.org. uk Autumn tour of 17 venues the length and breadth of the country.

WESTBOURNE MUSIC: MAYA IWABUCHI & SUSAN TOMES Merchant’s House, Wed 5 Sep, westbournemusic.org A chance to hear RSNO leader Iwabuchi in a lunchtime recital rather than on the orchestral stage, as she and pianist Susan Tomes launch Westbourne Music’s new series of chamber music concerts with music for violin and piano.

BBC SSO: HUNGARIAN RHAPSODIES City Halls, Thu 11 Oct, glasgowconcerthalls.com/cityhalls No end of melodic invention inspired by Hungarian and Russian folk-tunes from composers Dohnányi, Kodály and Borodin, the latter’s Symphony No 2 being one of his most popular pieces. And to find out more, all is revealed in a pre-concert talk from the orchestra’s Hungarian conductor, Gergely Madaras.

EDINBURGH SCOTTISH OPERA: THE BURNING FIERY FURNACE St Mary’s Parish Church, Haddington, Fri 21 Sept,

lammermuirfestival.co.uk For the first time, Scottish Opera appear at Lammermuir Festival, bringing a new semi-staged production of Britten’s church parable, The Burning Fiery Furnace, to the medieval St Mary’s Church in Haddington. All about King Nebuchadnezzar and the three Israelites who came out of his fiery furnace in one piece, the performance features five boy trebles as well as a strong cast of soloists.

See preview, above.

LONDON CONCERTANTE: VIVALDI – THE FOUR SEASONS St Giles’ Cathedral, Edinburgh, Sat 29 Sep, londonconcertante. com/concerts Two Scottish dates as part of a massive tour of UK churches and cathedrals, with an eye out for those who are firsttimers to classical music concerts.

Atmospherically performing in candlelight, this versatile group play ‘Spring’ and ‘Summer’ from the Four Seasons of Buenos Aires

by Piazzolla and ‘Autumn’ and ‘Winter’ from Vivaldi’s version.

Arensky in place of Piazzolla for Glasgow performance. Also St Andrew’s Cathedral, Glasgow, Sat 13 Oct.

Vilde Frang

PHOTO: MARCO BORGGREVE

SCOTTISH ENSEMBLE: PAUSE Glasgow Science Centre, Wed 12 Sep, glasgowsciencecentre. org Live music plus debate.

Violinist Daniel Pioro curates a programme ranging from Handel to Philip Glass. Also Assembly Rooms, Edinburgh, Fri 14 Sep, queenshall.net

GLASGOW

RSNO: SØNDERGARD CONDUCTS MAHLER FIVE Usher Hall, Edinburgh, Fri 5 Oct, usherhall.co.uk In his first season as music director of the RSNO, Danish conductor Thomas Søngergard starts as he means to go on for the next four seasons, over which the orchestra will play the whole of Mahler and Prokofiev’s symphonic output. For the opening concert, it’s Mahler’s Symphony No 5 that takes centre stage. Also Glasgow Royal Concert Hall, Glasgow, Sat 6 Oct, glasgowconcerthalls.com/ glasgow-royal-concert-hall

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THEATRE

Fo the latestr n listings a ews, reviews, g nd o list.co.uk to /theatre

CYRANO DE BERGERAC NTS, the Citizens and Royal Lyceum breathe new life into a French classic The National Theatre of Scotland’s collaboration with the Royal Lyceum and the Citizens Theatre (currently touring its work as its home venue is being renovated) sees the Citz’s artistic director Dominic Hill reimagine Edmond Rostan’s Cyrano de Bergerac, a French classic which has become a byword for eloquent romanticism. Hill’s reputation, based on his dynamic dramaturgy, promises a vigorous reinvention, but the arrival of Pam Hogg working on the costumes introduces a famous designer to performance audiences.

‘I don’t see myself as solely a fashion designer anyway,’ Hogg explains, ‘I create with no limitations so having to think theatre is just a new puzzle to solve.’ And that puzzle has its practical components as well as creative. ‘When I was first asked,’ says Hogg, ‘I imagined making every costume in full splendour, my ideas were endless. The challenge was that the actors were having to play multiple parts with swift changes, so I had to view it all in a different light.’

Fortunately, Hill’s approach is similar to Hogg’s: ’Dominic is awesome, we bonded immediately. His way of working is on a par with mine, we’re both fluid thinkers: nothing’s set in stone till it feels right!’ With Rostand’s script bringing pathos and humour, Hill’s mercurial direction and the everexcellent Jessica Hardwick and Brian Ferguson in the lead roles, Hogg’s presence adds to an adventurous take on one of theatre’s past glories. ‘Even without lights and set and costume, it’s incredible,’ concludes Hogg, ‘so it’s going to be phenomenal when everything comes together.’ (Gareth K Vile) ■ Citizens Theatre at Tramway, Glasgow, Sat 1–Sat 22 Sep; Royal Lyceum Theatre, Edinburgh, Fri 12 Oct–Sat 3 Nov.

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THEATRE | Previews

TRON AUTUMN SEASON PHOTO: JASSY EARL

ON I N I P O

UPCOMING WORK

INCLUSION AND DIVERSITY IN SCOTTISH THEATRE

With the long gloomy nights of autumn fast approaching, it would be tempting to hunker down and hide indoors. But the Tron’s new season hopes to entice even the most jaded into its cosy space, with a raft of bewitching plays which exist in shadowy places.

Pat Kinevane's characters are often marginalised, their stories untold. A superb storyteller, the Fishamble writer and performer presents a trilogy of his elegiac, powerful work. Forgotten (Thu 20 Sep) takes place in a care home, Silent (Fri 21 Sep) traces a homeless Dollywould man's steps, and Underneath (Sat 22 Sep) focuses on a disfigured woman. Kinevane's graceful movement, choreography and gorgeous words are a heady combination.

Sh!t Theatre's genre splicing Dollywould (Thu 25–Sat 27 Oct) is a provocative exploration of two women's love of country goddess Dolly Parton, which is a hilarious mash-up of storytelling, song and live art looking at the legacy of the mighty singer-songwriter. It often goes to some pretty murky places along the way. Eccentric, rather beautiful, and often extremely surreal too.

Enda Walsh is one of Ireland's foremost playwrights, his recent successful collaboration with the late, great David Bowie on Lazarus garnering praise both critically and with audiences. Now Andy Arnold directs Ballyturk (Thu 4–Sat 20 Oct), a lyrical, contemplative script about impermanence and small town life. Something is lurking outside a village where two men long to escape in this emotion-packed production.

Janet Horne, Rona Munro's lead character in The Last Witch (Tue 30 Oct–Sat 3 Nov), has been accused of witchcraft in the Highland town of Dornoch. Based on a true story, Munro's revival of her 2009 play looks at the supernatural, creating her own storytelling alchemy, and asking wider questions about women's roles in society, now and then. Her poetic and eerie production will be perfect for cold, clear and starry nights. (Lorna Irvine) ■ For full autumn programme, see tron.co.uk

UPCOMING WORK

EDINBURGH AUTUMN SEASONS Royal Lyceum Theatre & Traverse Theatre, Edinburgh, until late 2018

PHOTO: ALEX BRADY

While not entirely inclusive in all facets, the Fringe annually pulls in a wealth of BAME talent, with productions featuring individuals and groups from a range of countries, backgrounds and experiences. But what happens when September rolls around and we go back to our regularly scheduled programmes?

In the world of theatre in Scotland, the autumn seasons annually promise genuinely interesting, modern and innovative productions. But in comparison to the variety of multicultural and marginalised voices making and presenting work at the Fringe, it's fair to question whether theatre in Scotland truly reflects cultural diversity in a meaningful way.

Of course, it's not the responsibility of individual productions to carry the weight of inclusion, but the wider theatre community should and could be doing more to ensure that theatre in Scotland is a welcoming and encouraging space for people of colour and that the barriers to entry are diminished. In Glasgow, Project X, which is developed by lead artists Mele Broomes (pictured above), Ashanti Harris and creative producer Rhea Lewis, celebrates and champions dance and performance within the African Caribbean diaspora in Scotland through workshops and more. Project X is just one example of the positive steps being taken to broaden perceptions and representation in the arts, with artist-led annual performance festival Buzzcut being another.

Orla O'Loughlin, who is stepping down as artistic director of the Traverse, has been a great champion of equality and representation in Scottish theatre and her departure may be a cause for concern for many who have benefitted from her forward-thinking outlook.

But while there is certainly work to be done, the conversation has shifted and will continue to shift as long as adequate support is given to the artists and creatives that continually attempt to increase awareness and debate.

Ultimately, theatre in Scotland doesn't have to be diverse and inclusive just one month out of the year. (Arusa Qureshi)

Tron Theatre, Glasgow, until Nov

David Greig’s third season as artistic director at Edinburgh’s Royal Lyceum begins with Shakespeare’s Twelfth Night (Fri 14 Sep–Sat 6 Oct) – well in keeping with the theatre’s interest in classic scripts but more familiar than previous choices such as the dismal misogyny of Strindberg’s Creditors or the reframing of The Belle’s Stratagem. Directed by Wils Wilson – who demonstrated in her production of Cockpit that she can rescue a script from the awkwardness of the past’s political incorrectness – the Bard’s hoary old tale of love and disguise The Macbeths is reimagined in the Summer of Love, with a genre-clashing soundtrack by Welsh musician Meilyr Jones.

Following this is Cyrano de Bergerac (Fri 12 Oct–Sat 3 Nov), a co-production with the NTS and the Citizens Theatre, retooled by the Citz's Dominic Hill, before the Christmas interlude brings Wendy and Peter Pan (Thu 29 Nov–Sat 5 Jan). The Lyceum has become the home of a particular tradition of well-crafted scripts, focused on strong ensembles, familiar playwrights or adaptations of popular work: moving into 2019, both Touching the Void and Local Hero tap into the latter. Greig’s statements about a relevant and contemporary theatre, expressed in the themes of Stratagem and Cockpit aren’t necessarily evident in these choices. They do, however, slot nicely into a broad, popular appeal.

The Traverse has often been cast in contrast to the Lyceum and while the departure of artistic director Orla O’Loughin is a sad loss, not least because of her support for female-led productions, their autumn season concentrates on new plays and immediate concerns. Along with the return of the A Play, A Pie and A Pint series comes a host of short-run visitors, including Manpower (Wed 26 & Thu 27 Sep), which examines working-class male experience, a selection of first readings of brand new plays from emerging playwrights, The Unreturning (Wed 24–Sat 27 Oct) from award-winning playwright Anna Jordan and the return of The Macbeths (Tue 16–Sat 20 Oct), focusing on Shakespeare's most difficult domestic duo.The range of Edinburgh’s theatre scene has always been marked by the contrasting approaches of the Traverse and Lyceum, and its health expressed by their successes beyond the drama of the Fringe. (Gareth K Vile) ■ For full autumn programme, see lyceum.org.uk and traverse.co.uk

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If music be the food of love, play on...

14 September – 6 October 2018 TICKETS 0131 248 4848 | lyceum.org.uk

Royal Lyceum Theatre Company Ltd is a Registered Company No. SC062065, and Scottish Charity Registered No. SC010509

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THEATRE | Previews & Reviews PHOTO: THE 16K DESIGN WORKS

PHOTO: MIHAELA BODLOVIC

R E V IE W

R E V IE W

NEW WRITING

SATIRE

NEW WRITING

Traverse Theatre, Edinburgh, Fri 7 & Sat 8 Sep; Tron Theatre, Glasgow, Thu 13–Sat 15 Sep; then touring

Touring across Scotland through Oct & Nov. Reviewed at Edinburgh Festival Fringe ●●●●●

Paisley Arts Centre, Tue 4 Sep; Cumbernauld Theatre, Fri 14 & Sat 15 Sep; Tron Theatre, Glasgow, Wed 19–Sat 22 Sep. Reviewed at Edinburgh Festival Fringe ●●●●●

NESTS

Nests straddles the divide between the magical and realistic: following the adventures of an alienated young boy and his crow, it is inspired by playwright Xana Marwick’s work with young people. ‘I hope it's not just a discussion of the excluded but with the excluded,’ she comments. ‘One of our aims is to attract an audience from all walks of life, from people who are living the experiences we present, to people who are in a position to make a difference.’

‘Xana has written a poignant script that celebrates the strength of young people,’ adds director Heather Fulton. ‘What I love most about the boy is his ability to see through the crap; to experience beauty and vulnerability in unexpected places. it’s hard to watch in places but also beautiful, moving, funny and hopeful.’

Marwick adds: ‘I think there is a real lack of representation of “the educated poor”. People make so many assumptions about poverty and class that if someone is well read or bright, some find it hard to equate that that person might also be working class or living in poverty. I wanted to try and challenge that, to show that you can have slipped through the net, been neglected, lost, bullied, but you still might be the most curious, bright kid on the block.’ (Gareth K Vile)

LET’S INHERIT THE EARTH

SOUTH BEND

A well-meaning satire on climate change denial, Let’s Inherit the Earth is an old-fashioned piece of agit-prop that mixes angry songs with two contrasting stories on the consequences of global warming. While the rich blame fake news, a group of survivors battle the environment in a world stripped of humans. The songs add angry commentary to the dwindling resources and the characters’ accommodation to the new circumstances that suit cockroaches and turtles better than people.

The broad comedy – being a co-production between a Swedish and a Scottish company, the humour is split between Caledonian and Scandinavian jabs – turns Let’s Inherit into a romp, with the anger dissolving into funny episodes that are light on information. The pessimistic message is undermined by the comedy, and there is never a sense of engagement with the nuances of environmentalism.

The script and dramaturgy hark back to the political ceilidh play format of 7:84, and the broad caricatures mock the naivety of the characters, leaving the sometimes jaunty playfulness of the exchanges uncomfortable against the seriousness of the message. (Gareth K Vile)

From the moment performer and writer Martin McCormick steps onto the stage and begins to tell his break-up story, most of the audience has already decided they're on his side. His character is one of those rare, loveable adolescents, who you can't help but sympathise with as he falls in and out of love for the first time. His trip to the US in search of his beloved, however, takes an intriguing turn.

McCormick switches seamlessly between narration and portraying his younger self, while Jess Chanliau does well to act every other character, from McCormick's disturbed girlfriend to her neurotic mother. This is all underscored by live foley artist David Pollock, who’s so good you don't really notice him until McCormick sends a hilarious torrent of abuse his way.

Grid Iron clearly had a lot of fun with this piece but there are a few poignant moments too. This unpretentious play immerses its audience in the nostalgia of young love and the early noughties and they only resurface as the fasten seatbelt sign is switched off and McCormick lands safely back on Scottish soil. (Clare McVay) NEW WRITING

SCOTTIES PHOTO: MIHAELA BODLOVIC

Tron Theatre, Glasgow Thu 13–Sat 15 Sep; Traverse Theatre, Edinburgh, Thu 27–Sat 29 Sep; and touring Scotland throughout Sep Starting with the tragic deaths of migrant workers in Kirkintilloch in 1937, Scotties is a collaboration between writers Francis Poet and Muireann Kelly, co-commissioned by the National Theatre of Scotland and Theatre Gu Leòr. It features four languages and considers the dangers of not passing down heritage between generations.

‘We view the tragedy through the lens of a young Glasgow lad today,’ Kelly explains. ‘The young Irish tattie howkers from Achill Island who lost their lives were all about the same ages as this lad. This connection becomes more relevant when you consider what happened to the plaque with the names of the boys lost in the bothy fire. Erected at the site of the tragedy, it was vandalised: the fear and hatred of outsiders is still part of what a young Glasgow lad might learn today. He faces challenges affecting all the generations in his family once we start to discover and learn about [them].’

Yet in its very process of creation, Scotties shows how embracing diverse cultures – represented by the four languages used – has its own communicative and artistic power.

‘We celebrate the pride and joy people have in the connections between their cultures,’ Kelly explains, ‘with live music, song and dance.’

(Gareth K Vile)

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Previews | DANCE

list.co.uk/theatre PHOTO: JOHAN PERSSON

E C N DA

NARRATIVE DANCE

MATTHEW BOURNE’S SWAN LAKE Edinburgh Festival Theatre, Tue 16–Sat 20 Oct It’s often incorrectly labelled the ‘all-male’ Swan Lake, which must be a little galling for the fabulous female dancers who perform in Matthew Bourne’s signature work.

What is true, is that the corps de ballet of swans in Act Two, usually danced by a large group of women, is performed exclusively by men. All those who have seen the show will know just what that injection of testosterone brings.

‘In terms of physicality and emotion they bring the menace of a swan and add a very dominant side to the role,’ says Max Westwell, who is about to make his company debut as the lead swan. ‘You think of swans as beautiful, but they’re also quite scary.’

Westwell spent much of his career to date dancing with English National Ballet, before moving into musical theatre in the West End to hone his acting skills. Which made Bourne’s New Adventures the perfect fit.

‘I’ve always been really interested in narrative and story, and always wanted to be an actor,’ says Westwell. ‘Matthew’s was the only company I could see that was completely narrative and told stories in that way. It’s like my two loves blended together, so I’m very happy to be here.’

To walk straight into the most coveted, and arguably most memorable, role in Bourne’s entire canon is quite an achievement. What was Westwell’s perception of the show before he joined the company?

‘I’d seen Swan Lake a few times and loved it because it was so powerful,’ he says. ‘It also doesn’t take itself too seriously – it has humour, serious grit and power, and you don’t often see those things put together so well. So I’m just really excited to be dancing in it now, and learning about the movement, what it all means and where it comes from.’ (Kelly Apter)

PHOTO: ELLIOT FRANKS

CONTEMPORARY DANCE

BALLET

Edinburgh Festival Theatre, Thu 20 & Fri 21 Sep

Edinburgh Festival Theatre, Tue 30 & Wed 31 Oct

Affectionately known as the founding father of British contemporary dance, Richard Alston has been choreographing for a staggering 50 years. With such a vast back catalogue to draw from, finding the best way to celebrate this landmark hasn't been easy – but Mid Century Modern attempts to do just that.

‘It’s been fascinating and a real joy to work on this piece alongside Richard,’ says associate choreographer, Martin Lawrance. ‘We’re recreating works that span from 1970–2018, including extracts from Nowhere Slowly, Rainbow Bandit, Fever and A Signal of a Shake.’

Lawrance, one of the UK’s choreographic treasures himself, has also created a brand new piece to premiere in Edinburgh. ‘Coming to the Edinburgh Festival Theatre is always a highlight of the year for me,’ he says. ‘Especially to premiere a new work on its beautiful stage. Detour is set to Jóhann Jóhannsson’s remix of Michael Gordon’s Timber, and the music pulsates in descending phrases as duets, trios and solos find ways around each other in the space.’

Two more works from Alston complete the bill – a revival of his popular 2006 work, Proverb, plus a brand new creation, Brahms Hungarian, set to music of the same name. And, for the first time, the company will be spending two nights in Edinburgh.

‘This year we’re presenting four works that the Edinburgh audience has never seen before, so they’re in for a real treat,’ says Lawrance. ‘And performing for two nights instead of our usual one is going to be amazing.’ (Kelly Apter)

Although impossible to quantify, it’s fair to say that Les Ballets Trockadero de Monte Carlo has brought many new people into the dance fold. For 40 years, the New York-based company has reached out to those who feel ballet is ‘not for them’, and proved otherwise.

A company of all-male dancers, each playing both male and female roles from the classical canon, the ‘Trocks’ bring humour and skill to the stage – an intoxicating mix that can’t fail to charm. ‘Sometimes ballet can be a bit difficult to understand,’ says Raffaele Morra, a dancer with the company for 17 years. ‘But we explain the stories in a very silly, but also very clear, way. We aim to bring back the soul of those ballets – the excitement of the opening night when it was first created.’

For this particular tour, the ballets in question will be excerpts from Paquita, Swan Lake, La Esmeralda, Les Sylphides and Merce Cunningham’s Patterns in Space.

And a few weeks earlier, on 13 Sep, Edinburgh Festival Theatre will also play host to Rebels on Pointe, a fascinating new documentary film charting the Trocks’ adventures to date.

Having worked with the company for almost two decades, Morra has observed the way different audiences around the world react to their unique style. ‘It’s always really rewarding going to the UK,’ he says. ‘The audiences there combine the politeness of British culture with the enthusiasm of an American audience, so we get a little bit of everything from the audience.’ (Kelly Apter)

RICHARD ALSTON DANCE COMPANY

LES BALLETS TROCKADERO DE MONTE CARLO

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HITLIST

CYRANO DE BERGERAC Tramway, Glasgow, Sat 1–Sat 22 Sep, citz.co.uk A classic is given a Caledonian heart in this Citizens Theatre co-production with NTS and the Royal Lyceum of the classic French play about war and unrequited love.

See preview, page 89. Also touring, see list.co.uk/ theatre for details.

BENIDORM Edinburgh Playhouse, Mon 17–Sat 22 Sep, benidormonstage.com Stage production of the hugely popular ITV show that follows holidaymakers and staff at the Solana hotel.

Also touring, see list. co.uk/theatre for details.

Thu 13–Sat 15 Sep; Traverse Theatre, Edinburgh, Thu 27–Sat 29 Sep, theatreguleor.com A young boy’s soul is awoken by the story of ten young Irish boys who died in a fire.

See preview, page 92. Also touring, see list.co.uk/ theatre for details.

Edinburgh Festival Theatre, Tue 16–Sat 20 Oct, new-adventures. net Britain’s most popular choreographer, and arguably his most popular work, return to Edinburgh.

See preview, page 93. Also touring, see list.co.uk/ dance for details.

SCOTTIES Tron Theatre, Glasgow,

MATTHEW BOURNE’S SWAN LAKE

LES BALLETS TROCKADERO DE

MONTE CARLO Edinburgh Festival Theatre, Tue 30 & Wed 31 Oct, trockadero. org The all-male ballet company pays hilarious homage to classical dance through its sassy sense of humour, with each performer transforming between male and female personae. See preview, page 93.

THEATRE HIGHLIGHTS Events are listed by city, then date.

Submit listings for your event at list.co.uk/add

GLASGOW DOLLYWOULD Tron Theatre, Thu 25–Sat 27 Oct, tron.co.uk Bold show about country star Dolly Parton, cloning, branding, immortality and death from Sh!t Theatre. See preview, page 90.

BALLYTURK Tron Theatre, Thu 4–Sat 20 Oct, tron.co.uk Enda Walsh’s meditation on the brevity of our existence, set in a small mundane village. See preview, page 90.

SATURDAY NIGHT FEVER King’s Theatre Glasgow, Tue 16– Sat 20 Oct; Edinburgh Playhouse, Tue 23–Sat 27 Oct, atgtickets.com

Stage adaptation of the 1977 John Travolta classic that promises more drama and more classics from the Bee Gees’ greatest hits. Also touring, see list.co.uk/theatre for details.

GIRLS NIGHT OOT! THE MUSICAL Eastwood Park Theatre, Glasgow, Fri 7 Sep, eastwoodparktheatre. co.uk The ladies of I Will Survive reunite for another riotous musical that follows the four friends on a hen night, set once more to an excellent retro soundtrack. Also touring, see list. co.uk/theatre for details.

DRAG-OPTICON Britannia Panopticon Music Hall, Fri 7 Sep; Fri 5 Oct, britanniapanopticon.org Cavalcade of drag queens covering a broad range of genres and talents, including lip-syncing, stand-up, ballet, burlesque and even saw playing.

CIRQUE DU SOLEIL: OVO SSE Hydro, Wed 5–Sun 9 Sep, cirquedusoleil.com Cirque du Soleil’s latest circus piece OVO is a headlong rush into a colourful ecosystem which features insects working, eating, crawling, fighting and looking for love. Also touring, see list.co.uk/theatre for details.

TIGER Platform, Fri 21 Sep, barrowlandballet.co.uk Dance piece for young people ages 14+. A troubled family’s world is plunged into chaos with a tiger invades their home life. See preview, page 68. Also touring, see list.co.uk/dance for details.

EDINBURGH MANPOWER Traverse Theatre, Wed 26 & Thu 27 Sep, twodestinationlanguage.com Play about the evolution of masculinity, expectation, work and economics in the 40 years since Britain became a part of Europe. See preview, page 90.

Also touring, see list.co.uk/theatre for details.

TWELFTH NIGHT Royal Lyceum Theatre, Fri 14 Sep–Sat 6 Oct, lyceum.org.uk Adaptation of the Bard’s genderblurring comedy, reimagined amid the psychedelia of the Summer of Love by Lyceum associate artist, Wils Wilson.

See preview, page 90.

TWILIGHT SEANCE Lauriston Castle, Fri 26 Oct, edinburghmuseums.org.uk Paranormal illusionist Ash Pryce hosts a traditional Halloween séance, conjuring up images of the netherworld, levitating objects and ghostly visitations. Over 18s only. See preview, page 50.

Tiger

RICHARD ALSTON DANCE COMPANY Edinburgh Festival Theatre, Thu 20 & Fri 21 Sep, richardalstondance. com Richard Alston celebrates 50 years of making dance with a

programme full of his trademark lyrical choreography. See preview, page 93.

Also touring, see list.co.uk/dance for details.

THE TROCKS DOCUMENTARY: REBELS ON POINTE Edinburgh Festival Theatre, Thu 13 Sep, capitaltheatres.com Documentary about the acclaimed all-male comedy ballet company that provides exclusive backstage access.

See preview, page 93.

OUT OF TOWN THE YELLOW ON THE BROOM Dundee Rep, until Sat 22 Sep, dundeerep.co.uk Stage adaptation of Anne Downie’s novelisation of Betsy Whyte’s autobiography. The play follows Betsy, a young girl growing up in a travelling community who finds her beloved way of life under threat. Also touring, see list.co.uk/theatre for details.

FUTUREPROOF Various venues, Scotland, Fri 28 Sep–Sun 28 Oct, nationaltheatrescotland.com Month-long festival taking place at ten locations across the country, featuring genre-defying works made in collaboration with young people and British or international creators to reflect what it means to be a young person in Scotland today.

SCOTTISH DANCE THEATRE Dundee Rep, Fri 28 & Sat 29 Sep, scottishdancetheatre.com Doublebill of dance works featuring Dreamers and Process Day (Fri) and TuTuMucky and Process Day (Sat).

WITHIN THIS DUST Macrobert Arts Centre, Stirling, Tue 11 Sep, shapercaper.com Three live dance works that blend with animation and survivors’ accounts of 9/11, inspired by photographer Richard Drew’s images of a man falling from the World Trade Centre.

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VISUAL ART

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BANKSY AT THE ARCHES Controversial restoration begins on lost works by famed street artist An IndieGoGo crowd funding campaign to restore three Banksy murals at Glasgow’s Argyle St Arches has recently gone live, so far reaching just over £1000 of the £30,000 needed.

Linked to the website banksy.scot, the campaign is a joint venture between Argyle St Arches and London-based Fine Art Restoration Co. The restoration is certain to be controversial for Glasgow’s creative community who have mourned the loss of the Arches as a nightclub and arts venue since its closure in 2015 following the withdrawal of its late licence.

The murals in question were made for the

2001 exhibition Peace is Tough which Banksy hosted along with artist Jamie Reid, who is well known for producing some of the most iconic imagery of Britain’s punk movement, including posters and album covers for the Sex Pistols.

According to the campaign, the three Banksy pieces were ‘tragically painted over’ when the Arches was shut down, but in a letter to The Scotsman, Andy Arnold, artistic director of the Arches at the time, says: ‘They weren’t accidentally painted over – it was our conscious decision to obliterate them to make way for other arts activities in the building.’

The Arches was renowned for lending visibility to up-and-coming performers and artists, and though Banksy’s work is now so valuable that it is prised off walls and sold at auction, he is just one among many artists who developed work in the space. Though doors will be open to the public while the restoration takes place and branded mugs, hoodies and canvases can be bought online to raise funds, the process looks set to stir up mixed feelings among the city’s arts community. (Jessica Ramm) ■ Argyle St Arches, Glasgow, restoration can be viewed on weekends, completion due Dec.

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EDWIN G LUCAS: AN INDIVIDUAL EYE City Art Centre, Edinburgh, until Sun 10 Feb ●●●●● Visitors to the Scottish National Gallery of Modern Art’s A New Era exhibition over the winter might have noticed a single painting by Edwin G Lucas, and wondered why they’d never heard of him. Now, for the first time, a major exhibition brings together work from across his career, and reveals a remarkable Scottish modernist whom art history has almost completely overlooked.

Brought up in the Edinburgh suburb of Juniper Green, Lucas’ artistic talent was clear at school but his family dissuaded him from going to art college. He did a law degree and worked all his life in the civil service, but produced a remarkable body of paintings, mainly in the 1930s and 1940s, which experimented with surrealism, abstraction and symbolism, as well as showing himself to be adept at more traditional work.

His paintings are difficult to categorise, and he drew on a varied repertoire of styles. Some show the influence of Miro and Magritte, others Picasso or Paul Klee. There is figurative work, such as the unsettling but ambitious family group in ‘Terrorism (Together)’, a semi-abstract depiction of the stairwell in his Edinburgh house, allegories such as ‘The Human Situation’, and a glorious painting of Edinburgh’s Caley Station, showing the movement of people through the silhouette of his own head.

What almost all of them share is colour. Lucas clearly had a love of colour and a facility for it, which is unusual in Scottish painting. Even his landscapes of Edinburgh and the Pentlands pulsate with vibrant colour. Though he quit painting in the early 1950s to concentrate on family life, returning to it briefly after retirement in the 1980s, this remarkable body of work shows a man courageous enough to plough his own furrow, even though he got little encouragement, and whose lack of a formal art education didn’t hold him back at all. (Susan Mansfield)

PHOTO: © THE ESTATE OF GUNNIE MOBERG. COURTESY ORKNEY LIBRARY & ARCHIVE.

P R E V IE

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Dundee Contemporary Arts, Sat 8 Sep–Sun 25 Nov

Stills Gallery, Edinburgh, until Sun 28 Oct ●●●●●

MIKE KELLEY & SANTIAGO SIERRA

Dundee Contemporary Arts are going big this autumn, with the Scottish premieres of two internationally renowned artists: Mike Kelley and Santiago Sierra. Kelley will be showing his Mobile Homestead film trilogy which explores the historic ‘white flight’ movement of people in 1960s Detroit.

In a facsimile of his childhood home attached to the back of a trailer, Kelley records a journey from the project’s co-commissioner, the Museum of Contemporary Art Detroit, to Kelley’s original home in the suburbs of the city. Footage is interspersed with interviews that chronicle the lives of those living in the area today, creating a moving portrait of a city in flux. The work will undoubtedly resonate with citizens of Dundee, as their own city undergoes significant cultural regeneration.

Santiago Sierra’s work documents a journey too; between the two most extreme points on the earth; the North and South poles. Here the artist plants the black flag (the universal symbol of the anarchist movement) into the ground. There is a subtle link to Dundee in the work here as well, given the city’s own history of polar exploration, while asking much broader questions about the notions of statehood and how it is built and maintained. (Rachael Cloughton)

GUNNIE MOBERG & MARGARET TAIT: THE DAYS NEVER SEEM THE SAME Gunnie Moberg and Margaret Tait both had a deep connection to Orkney, and seeing their work together creates a distinctive visual archive which isn’t always related to the islands, but which reflects in each part a kind of shared visual simplicity. One might imagine – although it would be debatable – that each is connected to the relative simplicity of island life.

Gunnie Moberg, who died in 2007, was a Swedish photographer who made her home on Orkney. The pin-sharp monochrome of her early photographs also lends itself to casual mid-80s portraits of figures including Liz Lochhead and Alasdair Gray. Her colour work, meanwhile, encompasses literary figures including Seamus Heaney, Irvine Welsh and Maya Angelou, as well as nature photography of Orkney’s flowers and dramatic images of the islands’ coastline.

Margaret Tait – who was born, lived most of her life and died in 1999 on Orkney – was most well-known as a filmmaker and writer, and a nearly two-hour selection of her meditative short films, which use the landscape of Orkney as their backdrop, can be seen in a screening room here. A selection of her photographic work also appears, not on the walls, but in a digital archive of her notebooks which gives an additional fullness to the show. (David Pollock)

INSTALLATION

SAMARA SCOTT: BELT AND ROAD Tramway, Glasgow, until Sun 28 Oct ●●●●● For her largest and most ambitious installation yet, Samara Scott has taken Tramway’s main gallery space and restructured it. Translucent tarpaulin sheets slice through the centre of the room, creating a horizontal plane that lowers the ceiling of this usually light and airy gallery so it becomes almost claustrophobic – an undersealike enclosure with colourful detritus laid across its rippling surface.

Scott has worked from above, splashing everyday items like make-up, mustard, soil and cleaning products onto the sheets. Audiences view the work from beneath, craning necks as though examining an ornately decorated church ceiling. There’s a religiosity to it, certainly – when the light catches the colourful mixture of objects they perform like stained glass. But it’s also a very earthly portrait of a city too. Scott has taken much of her material from building sites, motorway passes and pavement crevices – the peripheral sites of the city where waste seems to accumulate. Like the city too, the work is in a state of flux; organic materials promise to fuse together, decompose and decay; transforming the installation, and the space itself, continuously over the three month run of the show.

(Rachael Cloughton)

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SAMARA SCOTT: BELT AND ROAD Tramway, Glasgow, until Sun 28 Oct, tramway.org Site-specific installation by the artist, inspired by the main gallery space at Tramway. See review, page 98.

REMBRANDT: BRITAIN’S DISCOVERY OF THE MASTER

Scottish National Gallery, Edinburgh, until Sun 14 Oct, nationalgalleries.org An exclusive Edinburghonly exhibition that shows how interest in Rembrandt’s work has evolved in Britain over the past 400 years.

Including many of his most famous works, and those of British artists

inspired by him.

MIKE KELLEY: MOBILE HOMESTEAD Dundee Contemporary Arts, Sat 8 Sep–Sun 25 Nov, dca.org.uk The Scottish premiere of Mike Kelley’s remarkable Mobile Homestead film trilogy, made between 2010 and 2011 in the artist’s hometown of

Detroit. See preview, page 98.

the North and South poles.

See preview, page 98.

SANTIAGO SIERRA: BLACK FLAG Dundee Contemporary Arts, Sat 8 Sep–Sun 25 Nov, dac.org.uk Spanish artist addressing hierarchies of power and class, in which the artist planted the black flag (an anarchist symbol) at both

THE OPENING OF V&A DUNDEE AND 3D FESTIVAL V&A Museum of Design Dundee, Fri 14 & Sat 15 Sep, vandadundee.org Two-day festival of design, music and performance to mark museum’s opening.

See feature, page 28.

VISUAL ART HIGHLIGHTS Events are listed by city, then date.

Submit listings for your event at list.co.uk/add

Liberty Art Fabrics and Fashion

GLASGOW STEVEN BERKOFF: GORBALS 1966 Street Level Photoworks, until Sun 16 Sep, streetlevelphotoworks.org Images of the Gorbals in the late 60s, taken before the demolition of the older housing, from the veteran actor and writer who was performing there and who was drawn to documenting slum areas with his camera.

THE HAPPENSTANCE The Lighthouse, until Sun 30 Sep, thelighthouse.co.uk A showcase for Scotland’s contribution to the 16th International Architecture Exhibition.

INNER CITY Gallery of Modern Art, until Sun 11 Nov, glasgowlife.org.uk/museums Work by Michael McMillen, LA-based artist, consisting of a large installation of a Los Angeles slum, first shown in 1978. Works by Glasgow artists Alberta Whittle and Mitch Miller offer a local context.

JACK KNOX: CONCRETE BLOCK Gallery of Modern Art, until Sun 13 Jan, glasgowlife.org.uk/museums A look back at ten years’ of the painter’s work, from the late 1960s onwards.

ROSENGARTEN Hunterian Museum & Art Gallery, until Sun 20 Jan, gla.ac.uk/ hunterian Installation by Anne Bevan and Janice Galloway, taking obstetrical tools and pairing them with water, light, human hands and garden plants.

RABIYA CHOUDHRY: COCO!NUTS! Transmission Gallery, Fri 14 Sep– Sat 20 Oct, transmissiongallery.org New work from the Scottish artist who explores ideas of love, loss and cultural identity.

EKTOR GARCIA: DESHACER Mary Mary, Fri 14 Sep–Sat 27 Oct, marymarygallery.co.uk Work from Mexican artist interested in how objects define gender, cultural identities and societal roles.

JAMIE CREWE: PASTORAL DRAMA Tramway, Sun 16 Sep–Sun 28 Oct, tramway.org Site-specific installation by the artist, inspired by the main gallery space.

ARTISTS’ MOVING IMAGE FESTIVAL Tramway, Sat 27 & Sun 28 Oct, tramway.org Work by artists working in the field of moving image, presented in partnership with Lux Scotland.

EDINBURGH ART WALK PORTY Various venues, Portobello, until Sun 9 Sep, artwalkporty.co.uk Art project celebrating the public space and artistic activity of Portobello, featuring open artist studios, sitespecific beach art, pop-up makers

markets and more.

FREE THE PUSSY! Summerhall, until Sat 23 Sep, summerhall.co.uk Exhibition curated

by Tamsyn Challenger in protest of Pussy Riot’s imprisonment by the Russian government in 2012 RIP IT UP: THE STORY OF SCOTTISH POP National Museum of Scotland, until Sun 25 Nov, nms.ac.uk/ national-museum-of-scotland National Museums Scotland and BBC Scotland come together to tell the story of Scottish pop music in a major collaborative project that explores the musical culture of a nation over more than half a century.

LIBERTY ART FABRICS AND FASHION Dovecot Studios, until Sat 12 Jan, dovecotstudios.com Dovecot celebrates Liberty Art Fabrics with a retrospective.

EDWIN G LUCAS: AN INDIVIDUAL EYE City Art Centre, until Mon 14

Jan, edinburghmuseums.org.uk The first major exhibition to focus on one of the most unique Scottish painters of the 20th century. See review, page 98. Part of Edinburgh Art Festival.

JESSE JONES: TREMBLE TREMBLE Talbot Rice Gallery, Fri 26 Oct–Sat 26 Jan, ed.ac.uk/talbot-rice Work touching on issues of gender inequality

by Dublin-based artist, which featured at the Venice Biennale, and consisting of a film featuring the Irish actress and performer Olwen Fouere performing a script devised by Jones and herself, plus studio pieces.

OUT OF TOWN PAUL NOBLE: POLITICS OF SMALL PLACES Cooper Gallery, Duncan of Jordanstone College of Art and Design, Dundee, Fri 14 Sep–Sat 6 Oct, dundee.ac.uk/cooper-gallery Exhibition of works by Paul Noble, in relation to the work of Patrick Geddes.

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TV

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THE LITTLE DRUMMER GIRL BBC follow success of The Night Manager with new John le Carré thriller After the success of The Night Manager, it's no surprise the BBC have returned to the John le Carré well. This autumn sees a lavish adaptation of his 70s set thriller The Little Drummer Girl in which a young actress gets dragged into a dangerous world of espionage after she strikes up a friendship with an Israeli intelligence officer in Greece.

Perhaps the most intriguing aspect of this new series is that it marks the television debut of noted Korean director Park Chan-wook, famed for his visceral, yet stunningly beautiful, depictions of revenge and violence (including Oldboy, Lady Vengeance and Stoker). Chan-wook has always had an affinity for thrillers, taking inspiration from the master. 'I was watching Vertigo by Alfred Hitchcock at university,' he explains, 'there is a sequence following the female that is very lengthy and it looks like something unrealistic, like you are dreaming,

and I fell in love with the sequence and thought, I'm going to be a film director.'

The Little Drummer Girl features an impressive international cast headed by Florence Pugh (Lady Macbeth), Alexander Skarsgård (True Blood, Big Little Lies) and Michael Shannon (Boardwalk Empire, The Shape of Water) while Chan-wook directs all six episodes. 'Of le Carré’s many masterpieces, the one I love ahead of any other is The Little Drummer Girl,’ says the director. ‘At the core of this story is an extremely painful, but thrilling, romance. This is what makes the story universal, reaching beyond borders and languages and remaining incredibly current. To adapt such a great work, without losing its integrity, it needs the time and depth of a television series.'

(Henry Northmore) ■ The Little Drummer Girl is on BBC One, Oct (date tbc).

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Previews | TV

HIGHLIGHTS PRESS BBC One, Thu 6 Sep New drama set behind the scenes at a (fictional) national broadsheet The Herald and their rival tabloid The Post. Stars Charlotte Riley, Ben Chaplin, Paapa Essiedu, Susannah Wise and David Suchet.

VANITY FAIR ITV, Sep (date tbc) Olivia Cooke takes the lead (alongside Michal Palin, Suranne Jones and Martin Clunes) in a new adaptation of William Makepeace Thackeray's literary classic. Though it will need to go a long way to beat BBC's fantastic 1998 version.

IRON FIST – SEASON 2 Netflix, Fri 7 Sep There's always one Marvel show per issue and this time it's the master of kung fu, Iron Fist. The first series didn't receive the best reviews but hopefully they've tightened things up for Danny Rand's (Finn Jones) return as they introduce schizophrenic villain Typhoid Mary (Alice Eve).

WAR OF THE WORLDS As Avengers: Infinity War hits DVD / Blu-ray, director Joe Russo talks to Henry Northmore about superheroes, working with Robert Downey Jr and shooting in Edinburgh

MANIAC Netflix, Fri 21 Sep Miniseries starring Emma Stone and Jonah Hill as two patients on a drug trial. Directed by Cary Fukunaga.

AMERICAN HORROR STORY: APOCALYPSE FOX, Thu 27 Sep, 10pm A crossover of season one (Murder House) and three (Coven) so expect plenty of ghosts, ghouls and witches. Best news of all: Jessica Lange is back.

A

vengers: Infinity War is the biggest superhero movie of all time. Featuring the largest roster of heroes (Iron Man, Dr Strange, Spider-Man, Hulk, Thor, Black Panther, etc, etc) and a gigantic cast (Robert Downey Jr, Scarlett Johansson, Chris Pratt, Zoe Saldana, Chris Evans and even more A-list stars than we have space to mention), it has hoovered up over $2 billion at the global box office. Now with its upcoming DVD and Blu-ray release, there's added extras, director commentary, extended and deleted scenes. And what's perhaps most surprising is that part of this megalithic blockbuster was filmed in Edinburgh. We caught up with Joe Russo (who co-directed Infinity War with his brother Anthony) when he was in the capital to find out more.

It must be hard getting so many actors in one place at the same time? Without question,

that was the reason we had to do both movies at the same time [Infinity War and its sequel were shot back-to-back]. We were going to block them off for a year and it's very difficult to get them all together. Basically we shut Hollywood down for a year because everyone was working on this.

Did you enjoy working with such a huge cast? We've worked with most of them the last seven years so it's a little bit like summer camp, everybody gets along really well, we have a lot of fun on set, we laugh a lot, it was a great experience. Downey's great at breaking the tension, he started the universe and everyone really looks up to him. He's the greatest actor of his generation and somebody who's very warm and inclusive; everyone looks to him as a leader.

We've seen these heroes saving the day across 18 films now, so how did you make Thanos [Josh Brolin] a credible threat? He's a very unique creature. He's a genetic mutation,

a one in gazillion genetic freak born on a planet called Titan with virtually invincible skin. He's stronger than the Hulk and he's genius level intelligence. He's like the Genghis Khan of this universe. So he's a very scary character, he has an incredible will, he's charismatic, he's sociopathic and he doesn't have a lot of flaws, so I think it's going to cost the characters a lot to beat him.

What brought you to Edinburgh to film? I love this city, I've spent a lot of time here, it's

beautiful. I'm surprised it hasn't been on film more, shocked frankly, because it's one of the most beautiful cities in the world and at night it can take on a gothic feel. And we had a sequence we wanted with heightened tension and it was a perfect place to shoot that scene.

Finally is there anything at all you can tell us about Avengers 4 (the sequel to Infinity War)? Frankly no. Marvel has been writing a book for the last ten years and this is the final chapter.

This is it. If you have been following along for the last decade this is the movie to see, this brings it all together and brings it to a close.

DOCTOR WHO – SEASON 11 BBC One, Oct (date tbc) The first ever female incarnation of the world's favourite time traveller as Broadchurch’s Chris Chibnall takes over writing duties with Jodie Whittaker as the 13th Doctor.

THE LITTLE DRUMMER GIRL BBC One, Oct (date tbc) Adaptation of John le Carré's thriller from acclaimed Korean director Park Chan-wook starring Florence Pugh, Alexander Skarsgård and Michael Shannon. See preview, left.

THE WALKING DEAD – SEASON 9 FOX, Mon 8 Oct, 9pm Negan has been dealt with so where next for the survivors in the zombie apocalypse? We know Andrew Lincoln is leaving but how? Could it be the cabal plotting behind his back we saw in the closing minutes of season 8?

THE ROMANOFFS Amazon Prime, Fri 12 Oct New anthology series from Mad Men creator Matthew Weiner about the modern day descendants of Russian Romanoffs.

Avengers: Infinity War is released on DVD and Blu-ray Mon 3 Sep. 1 Sep–31 Oct 2018 THE LIST 101

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CLAIRE ASKEW................................. 129

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EVENTS & ORGANISATIONS .......... 118

CITY ROUND-UP ............................... 130

COFFEE & CAKE ................................ 110

MUSIC NOTHING EVER HAPPENS HERE ... 120 NEW MUSIC........................................ 122

COMEDY

GREAT DEALS.................................... 112

CULTURAL CALENDAR DATES FOR YOUR DIARY .............. 106

EAT & DRINK BARS ...................................................108

SHOPPING RECORDS, VINTAGE, BOOKS, GIFTS, FASHION & MORE ................ 114

FLO & JOAN ...................................... 132

VISUAL ART

FILM FILM COURSES ................................. 125 STUDENT DEALS .............................. 126

CLASSES ............................................ 134 FREE GALLERIES ............................. 135

IN ASSOCIATION WITH

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If you like your pasta handmade and fresh, and a choice of long, short or even spelt, then Vapiano is the one.

Handmade pasta is cooked in front of you, exactly as you like it. Extra fresh chilli? Sure. No garlic? No problem. From our classic Carbonara to the massively popular gamberetti e spinaci, alongside homemade dough pizzas and proteinpacked salads. Vegan and halal options, too.

You’re given a chip card on arrival, use that to register whatever you order and pay on the way out – no splitting bills

Prices from £6.99. Deliveroo and Uber Eats.

VAPIANO EDINBURGH 7 South St David Street | EH2 2BD 0141 3709290

VAPIANO GLASGOW 235 Buchanan Street | G1 2NG 0131 285 6123

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DON’T GET BURNED. DRINK RESPONSIBLY. JACCKK DAN JA ANIEEL’L’S AANND TE TENN NNES NN ESSSE ESSE SEE FIFIRE REE ARE RE TRA RADE DEMA DE EMAARK RKS. S. ©20018 1 JAC ACK DAANI NIELL’SS. WH WHIS ISKKEEY SPPEC ECIAALTY, ECIA LTY,Y, 35% LT 5% ALC LC/V /VVOLL. (770 PR /VOL PROO OOF) F). JJAACK CK DANNIEIEL DI DIST IST S ILILLE LERY RY, LYNC LYYNC N HBUR HBBUR URG, G TENNNE G, NESS SSSEEEE.

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CHRYSALIS This annual festival is hosted

by Youth Arts Theatre Scotland, and celebrates all of the excellent work young people do in the world of theatre. It takes place at the Traverse throughout November, and participants can explore new styles of stagecraft, as well as how to write for theatre, and how to approach criticism.

For audiences, it’s also a great chance to see rising talent being celebrated early.

Edinburgh, Thu 1– Fri 30 Nov.

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SAMHUINN The Celtic New Year starts with fire and fun in Edinburgh, when the Beltane Fire Society bring the traditional Samhuinn parade to the city centre. If you’re hunting for a visual, think packs of people leading a torchlight parade down the Royal Mile, with acrobatics, dramatic performances and more. It’s supposed to mark the beginning of the darker half of the year, but with all that fire and light, it’s positively glowing. Edinburgh, Wed 31 Oct.

EDINBURGH’S CHRISTMAS AND HOGMANAY Nobody does the festive season like Auld Reekie.

Edinburgh’s Christmas is a six-week celebration of all things festive, glittery and good, with markets, rides, attractions and more. And once Santa’s packed up his sack for another year, there’s Hogmanay to look forward to, with concerts, ceilidhs and general merriment setting the tone for 2019. Edinburgh, Fri 16 Nov–Sat 5 Jan.

THE SPREE Paisley may have been pipped for City of Culture (boo), but it’s still programming top-notch entertainment, and this music, comedy and arts festival is a great example. This year’s lineup includes Martha Reeves and the Vandellas (pictured), the Orb and Wolfgang Flür (ex Kraftwerk) and it’s all just minutes from Glasgow on the train. Paisley, Fri 12–Sat 20 Oct.

GLASGOW YOUTH FILM FESTIVAL The Glasgow Youth Film Festival is very youthy indeed: it’s aimed at teenagers, and it’s also the first film festival in Europe to be curated by 15–19 year olds. Alongside a solid, inspiring range of films, there are also talks, workshops and Q&As, as well as advice for young filmmakers on how to break into the industry. Glasgow, Fri 14–Sun 16 Oct.

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We know, we know, you’ve already got a reserved sign placed on that one special seat in the library that gets the afternoon light. Studying is your absolute number one priority and who are we to try and sway you from the hallowed halls of academia? If you do somehow find the time to put down the books and treat yourself to a wee bit o’ culture though, you’ll find plenty going on in Edinburgh, Glasgow and beyond. Here’s our pick of the autumn / winter action

PHOTO: EOIN CAREY

GRAPHIC DESIGN FESTIVAL SCOTLAND If you’re a young designer interested in learning more about the industry, this festival is a great way to get going. Now in its fifth year, the festival showcases creativity, and has a series of competitions designed to nurture engagement. Plus, in 2018 the festival features a showcase of design and visual communication created by young people entitled Young & Powerful. Hoorah.

Glasgow, Sat 20–Sun 25 Nov.

BLOODY SCOTLAND Tartan Noir is a big deal, you guys. Every year, there is an entire festival dedicated to Scottish crime writing, and it draws quite a crowd. The festival has big-name authors, as well as a criminal cabaret, a writer’s football match, and the highlight is always the opening gala, which features a torchlight parade through the streets of Stirling. Stirling, Fri 21–Sun 23 Sep.

PHOTO: ROSS FRASER MCLEAN

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V&A DUNDEE OPENING Scotland’s been waiting with baited breath, and now the V&A Dundee is finally here. The opening weekend will feature the 3D festival, celebrating design, music and performance, headlined by none other than Primal Scream, plus Lewis Capaldi and Be Charlotte. Dundee, Sat 15 Sep.

GLASGOW AMERICANA Get yer stetsons out: this festival of blues, folk and country is coming west. Yola Carter, Emily Barker (pictured), and Anthony D’Amato are all on the bill this year. The only question remaining: will you wear those cowboy boots you secretly keep stuffed in your wardrobe? Glasgow, Wed 3–Sun 7 Oct.

MACKINTOSH FESTIVAL Every October, the legend that is Charles Rennie Mackintosh is celebrated with an all-encompassing festival.

The programme includes exhibitions, tours, workshops, activities and more. 2018 is the 150th anniversary of the man himself’s birth, so expect some rather special events.

Glasgow, Mon 1–Wed 31 Oct.

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EAT & NK DRI

Hey, listen – we heard a rumour that some students like to occasionally spend time has rounded-up some of the best bars in Edinburgh and Glasgow (for when

EDINBURGH PHOTO: CINNAMON SKY PHOTOGRAPHY

BEST FOR PREGAMING:

PARADISE PALMS This tropical-themed bar doubles as a record store. Enjoy some good tunes, well-priced drinks and classic cocktails for only a fiver before you head out-out.

41 Lothian Street, theparadisepalms.com

BEST FOR NURSING A QUIET PINT:

SALT HORSE This craft beer bar is perfectly placed just off the Royal Mile, and offers 350 types of beer. They even have their own bottle shop.

57–61 Blackfriars Street, salthorse.beer BEST FOR SPLURGING ON A COCKTAIL:

PANDA & SONS Welcome to a speakeasy-style bar hidden behind an elusive entrance. They have an extensive menu of expertly-mixed cocktails and very knowledgeable staff to help you choose.

79 Queen Street, pandaandsons.com

BEST FOR SHARING A BOTTLE OF WINE:

PICKLES The perfect place to cosy up and share a bottle with a pal. The wine list will satisfy those who know their rioja’s from their cab sauvs. Fancy.

56a Broughton Street, getpickled.co.uk BEST FOR TAKING THE PARENTS TO:

THE DOME This Edinburgh institution will impress your rents with its sheer fanciness. It has a variety of rooms to drink in and makes a great spot for a family pic.

14 George Street, thedomeedinburgh.com BEST FOR HEARING LIVE MUSIC:

WEE RED BAR This small, lively bar is a hotspot for new acts as well as established musicians. It stands out for the quality and range of music it puts on.

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in bars. Working off the wild assumption that this is in fact true, Katharine Gemmell you’ve had a long day at the library and deserve a wee treat, obviously)

GLASGOW

PHOTO: DANNY MCLAREN

BEST FOR SPLURGING ON A COCKTAIL:

BEST FOR TAKING THE PARENTS TO:

ÒRAN MÓR A traditional venue in a refurbished church with multiple bars and a restaurant to explore, as well as a ceiling painted by Glasgow legend Alasdair Gray.

Top of Byres Road, oran-mor.co.uk

TABAC Oozingly cool space with super-dim lighting. It has an impressive cocktail menu made up of classics and inventive mixes like the Vogue and Sobranie.

10 Mitchell Lane, tabacbar.com BEST FOR PREGAMING:

MAX’S BAR A pregamers’ paradise: it has cheap drinks (just £2.50 for spirits and mixers), a 3am license and regular DJs that will get you ready for the night.

Plus, they do a mean lunch deal (just £5) and La Cheetah Club is right down the stairs.

73 Queen Street, maxsbar.co.uk

BEST FOR HEARING LIVE MUSIC:

NICE’N’SLEAZY

BEST FOR SHARING A BOTTLE OF WINE:

Where the Glasgow music community like to enjoy a few drinks. It hosts some of the best live music in the city by regularly showcasing upand-coming talent.

421 Sauchiehall Street, nicensleazy.com

THE ARK

BEST FOR NURSING A QUIET PINT:

Massive pub known as an unofficial student union. The wine menu has a neat selection and no bottle goes for more than a tenner.

42–46 North Frederick Street, facebook.com/ TheArkGlasgow

WEST ON THE GREEN Have a break from the student crowd at this beerhall style bar in a working brewery. Their beergarden is the perfect spot to enjoy the sun.

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The only way studying can officially be taken care of is with coffee and cake. We didn't make the rules, we just strictly abide by them. Katharine Gemmell rounds up some of the best places to get your caffeine and sugar fix

EDINBURGH

THE PASTRY SECTION A contemporary pastry house in Stockbridge that creates luscious inventions. The coffee and cake are extremely well-presented and totally Instagrammable.

86 Raeburn Place, instagram.com/the_ pastrysection

LOVECRUMBS A coffee house right next to Edinburgh University that provides home baking made with love. Daily gluten-free options are available, allowing everyone to enjoy a treat. 155 West Port, lovecrumbs.co.uk

SÖDERBERG Luckily for those with a sweet tooth and need for caffeine, there are numerous branches of this Scandinavian bakery around the city, and they specialise in Scandi classics like cinnamon buns. Various venues, Edinburgh, soderberg.uk

ARTISAN ROAST Enjoy freshly roasted, hand-brewed artisan coffee alongside a sweet treat, with branches in Stockbridge, Bruntsfield and Broughton Street.

Various venues, Edinburgh, artisanroast. co.uk

CASA AMIGA LEITH Traditional Portuguese pastries and savouries as well as coffee from Portugal. Expect the best traditional custard tart (pastel de nata) in the city. 294 Leith Walk, casaamiga.co.uk

MIMI’S LITTLE BAKEHOUSE The little sister of the family-run cafés around Edinburgh, where cakes and tarts take centre stage. A cosy place to shelter from the rain, with good coffee too.

250 Canongate, mimisbakehouse.com

RIVERHILL COFFEE BAR Situated right in the centre of Glasgow, this coffee bar offers classic and reinvented baking options alongside stellar coffee and a smile.

24 Gordon Street, riverhillcafe.com

KEMBER & JONES Ask anyone about coffee and cake in Glasgow, and Kember & Jones will probably be the first suggestion. It serves up a signature espresso blend alongside home baking. 134 Byres Road, kemberandjones.co.uk

EAST COFFEE COMPANY A new coffee shop in Glasgow’s East End. The range of cakes changes daily and includes sumptuous cheesecakes and cookies. 354 Duke Street, facebook.com/ EASTcoffeecompany

GOOD COFFEE CARTEL Kinning Park is probably not the first place you’d think to go for coffee and cake in Glasgow, but these artisan coffee roasters may persuade you otherwise.

12 Cornwall Street, thegoodcoffeecartel. com

GLASGOW

CORNERSTORE COFFEE BAR This Southside gem only opened its doors in June this year.

Expect different daily delights, like chocolate tahini brownies, lemon poppyseed cakes and cannoli. 186 Battlefield Road, facebook.com/ cornerstorecoffee

COTTONRAKE Sumptuous fresh bread, British home baking and French patisserie are what this little Kelvinside bakery does best, with coffee courtesy of Dear Green coffee roasters.

497 Great Western Road, cottonrake.com

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Uni living doesn’t have to be all about ramen noodles and discounted ready-meals. In fact, there are plenty of nice places that offer affordable lunch and pre-theatre deals – if you know where to look.

Deborah Chu checks out some incredibly delicious, nourishing food that won’t break the bank and will give your poor mama one less thing to worry about

EDINBURGH

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THE OUTSIDER A stalwart of the Edinburgh scene, this bustling, upscale bistro serves tasty seasonal fare, like steamed mussels and pan-fried gnocchi and beetroot. Their lunch menu is typically half the price of their evening offerings, with mains starting from as little as £6.20.

15–16 George IV Bridge, theoutsiderrestaurant.com

L’ESCARGOT BLEU A true celebration of the Auld Alliance, L’Escargot Bleu’s ever-changing, two-course set lunch features classic French dishes with a local Scottish twist, like Dexter beef ourguignon or Orkney rib eye steak with bordelaise sauce.

Best of all, it’ll only cost you £12.90. 56 Broughton Street, lescargotbleu.co.uk

CAFE ST HONORE Cafe St Honore brings a Parisian pedigree to Scottish cuisine, with their express lunch menu – which starts from £10.50 – featuring such stars from Scotland’s larder like battered coley and hash of pork belly on a bed of heritage potatoes. 34 Thistle Street North West Lane, cafesthonore.com

TIMBERYARD With a focus on foraging and locality, you won’t get a more authentic experience of Scottish cooking than at Timberyard. Their two-course lunch and pre-theatre menu is organised by portion size, ranging from the £2.50 ‘bite’ option to the £12.50 ‘large’ option. 10 Lady Lawson Street, timberyard.co.uk

RONAQ Ronaq’s tapas lunch menu lets you sample a variety of different Indian dishes for cheap, like their crispy onion bhajis for £2.95 and creamy chicken kormas for £4.25. The view out over the train station towards Calton Hill is similarly splendid.

31 East Market Street, ronaqrestaurant.co.uk

THE SISTERS KELVINGROVE Traditional Scottish dishes using the best of seasonal produce, such as Ramsays of Carluke ham with buttered savoy cabbage, or roasted cauliflower with Mull cheddar.

Choose two courses off their lunch menu for £11.95. 36 Kelvingrove Street, thesisters. co.uk/kelvingrove_restaurant

CHAAKOO BOMBAY CAFE Harking back to the IranianIndian cafes of old, sample the char of a classic Iranian grill alongside a Bombay curry for £9.95, or opt for a lighter tiffin lunch of a roomali roti wrap, stuffed to the brim with a filling of your choice, alongside masala fries for a mere £7.50. 79 St Vincent Street, chaakoo.co.uk

MILLER & CARTER GLASGOW Despite an abbreviated menu, lunch at the steakhouse is still an abundant affair, with robust portions of baked cheddar mushrooms, chicken schnitzel and prime steak burgers on offer. Get two courses for only £11.50, but be sure to bring an appetite. 47 St Vincent Street, millerandcarter.co.uk

ALCHEMILLA Serving up simple, shareable Mediterranean plates made from the best Scottish produce, Alchemilla’s innovative flavours received a nod in this year’s Michelin Guide. Get two dishes from their lunch menu – which changes daily – for only £10. 1126 Argyle Street, thisisalchemilla.com

CELINO’S Celino’s dishes up authentic Italian cuisine just the way your nonna used to make it.

Two courses from the lunch menu of baked lasagnas and lamb fillets will only set you back £10.95, or grab a panino packed with Italian charcuterie for £7.60. 235 Dumbarton Road; 620 Alexandra Parade, celinos.com

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STUDENT GUIDE 2018

SHOPPING

Edinburgh and Glasgow are teeming with independent businesses and designers. So head off the high street and see what these shops have to offer, says Deborah Chu

EDINBURGH

GLASGOW

W ARMSTRONG & SONS Vintage clothing emporium W Armstrong & Sons is the first port of call for those looking to bulk up on cheap but genuine warm wool jumpers in the winter, or something snazzy for all your fancy-dress needs. 81–83 Grassmarket; 14 Teviot Place; 64–66 Clerk Street, armstrongsvintage.co.uk

STARRY STARRY NIGHT A wee boutique packed to the brim with vintage fashions and accessories, ranging from Victorian finery and Edwardian frippery to the less corseted looks of the 1980s. 19 Dowanside Lane, starrystarrynightvintage.co.uk

GODIVA BOUTIQUE Featuring a colourful hodge-podge of Scottish indie labels and hand-picked vintage items from across Europe, Godiva’s focus on ethical and local brands is the antidote to the monotony of fast fashion today. 9 West Port, godivaboutique.co.uk CURIOUSER & CURIOUSER Quality knick knacks from British artisans and a gorgeous Scandi aesthetic makes this framing and gift shop a true gem, with plenty of prints, jewellery, homeware and more for all your gifting needs. 93 Broughton Street; 106 Bruntsfield Place, curiouserandcuriouser.com HANNAH ZAKARI Stemming from the Japanese term hanazakari, or ‘blooming’, this jewellery boutique specialises in a wide range of handmade trinkets from independent designers, ranging from the loudest of statement pieces to the most adorable of enamel pins. 43 Candlemaker Row, hannahzakari.co.uk FRONTIERS MAN Frontiers Man focuses on unique, well-made and thoughtfully sourced menswear produced by indie labels the world over, from Copenhagen’s Norse Projects to Alex Mill from New York City. 18 Stafford Street, frontiers-man.com

MONORAIL MUSIC The perfect encapsulation of Glasgow’s vibrant music scene, Monorail Music is a record shop with a friendly community feel, boasting plenty of rare vinyl and limited edition finds. 97 King Street, 12 Kings Court, monorailmusic.com YOUNG’S INTERESTING BOOKS Get lost among the endless stacks of second-hand paperbacks (all loosely arranged by genre rather than author’s surname) at this bookworm heaven, which is also a hub for news and tickets to some of the most exciting happenings in Glasgow. 18 Skirving Street GOOD PRESS GALLERY Completely volunteer-run, the gallery and bookshop of Good Press Gallery stocks zines and books from independent publishers, as well as a charming miscellany of totes, cassette mixtapes and prints from local artists. 5 Margaret’s Place, goodpressgallery.co.uk VALHALLA’S GOAT This isn’t your grandad’s off-licence: packed floor-to-ceiling with craft beers, fine wines and spirits, this independent bottle shop exhibits a true passion for booze, from off-the-beaten-track tipples to their extensive stock of Scottish brews and gins. 449 Great Western Road, valhallasgoat.com

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Shop

129 9L Lauriston Place Tollcross, EH3 9JN

www.EdinburghArtShop.com info@EdinburghArtShop.com 0131 229 1809

Open 7 days.

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There may be the occasional night that you’re not tucked up in bed by 10pm — fear not: we’ve got you covered. Katharine Gemmell takes a look at some of the best club nights in Edinburgh and Glasgow

PHOTO: NICK STEWART

EDINBURGH SOUL JAM – SNEAKY PETE’S Every Friday at Sneaky Pete’s you can get down to the best old-school funk, soul and hip hop at this OG night that has been running since 2009. They regularly host guests picked from the best of the East and West Coast DJs. 73 Cowgate, sneakypetes.co.uk JACKHAMMER – LA BELLE ANGELE A techno, house and electro night that regularly brings the finest names in the genre to Edinburgh from around Europe. If you know your Detroit techno from your Berlin, then you’ll wanna throw some shapes on this dancefloor.

11 Hastie’s Close, la-belleangele. com FLY – CABARET VOLTAIRE Every Friday, all the disco dancers in Edinburgh get themselves down to Cabaret Voltaire for Fly Club.

There are three different rooms

spinning different records and genres. The night is responsible for launching the careers of the likes of Denis Sulta, and has even started its own festival. 36–38 Blair Street, thecabaretvoltaire. com BROKE – ATIK As a skint student sometimes all you want to do is bust some moves and not spend a pretty penny to do so. At the Broke night in ATIK, you get £1 drink deals and all the best cheesy student anthems. 3 West Tollcross, atikclub.co.uk HOTLINE – THE BONGO CLUB A bi-monthly Saturday club night that creates a safe clubbing environment for everyone and aims to increase representation of women, LGBT+ and non-binary artists. DJs play hip hop, R&B, soul, disco and house – a place to come and dance how you want.

66 Cowgate, thebongoclub.co.uk

GLASGOW I AM – SUB CLUB I AM is the weekly Tuesday club night at Sub Club that has become an institution of sorts for electronic music fans. Run by Matthew Craig and Ross Anderson, the pair are regularly joined by big-name guests like Jackmaster. 22 Jamaica Street, subclub.co.uk PUSH IT – STEREO This is the club night for the pop-star lovers and throwback queens. It plays nothing but R&B, hip hop and pop by female artists.

Event themes have included Divas, Back 2 Skool and Complic8ed.

It’s currently in residence at Stereo. 22–28 Renfield Lane, stereocafebar.com WALK N SKANK – BERKELEY SUITE Scotch Bonnet records run this reggae, dub, dancehall and bass club night on Thursday’s at Berkeley Suite. They pride themselves on their cracking

sound system and regularly feature residents Mungo’s Hi Fi and Chungo-Bungo. 237 North Street, berkleysuite.com KILLER KITSCH – THE BUFF CLUB With its slogan of ‘casually ignoring shite requests since 2005’, this is not the place you’ll find any cheese. Instead, the Killer Kitsch nights play the best in vintage sounds, giving you an evening that even your music snob of a mate can enjoy. 142 Bath Lane, thebuffclub.com SUNNY SIDE UP – VARIOUS VENUES You get techno with a side of charity at this night that doubles as a non-profit collective raising funds for sustainable technologies in impoverished communities. They host parties in venues across the city like Flat 0/1 and La Cheetah.

Various venues, facebook.com/ sunnysideupm8

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Kirstyn Smith seeks out the best LGBT+ events and organisations for students

C

oming to uni is a liberating time.

However, it can be a wee bit scary, particularly if you identify as LGBT+ and are moving to a new city where you haven’t yet found your tribe. Luckily, starting afresh is also the perfect time to re-evaluate what you love to do, who you love to do it with, and what you want to explore to make yourself happy. We’ve done some of the hard work for you and scouted the best LGBT+ activities for students in Edinburgh and Glasgow.

First stop should be your chosen uni’s societies.

Edinburgh Uni has BLOGS and Napier has Napier University LGBT society, both of which organise social, charity, educational and political events throughout the university year, for LGBT+ students and allies. In Glasgow, there’s Glasgow University LGBTQ+ Students’ Association and Glasgow Caledonian LGBT+ Liberation Group, who also organise campaigns and welfare resources as well as evening events.

Gay bars and clubs are well-represented across the cities: Edinburgh’s Regent Bar is a scene stalwart, offering a quirky feel and good old-fashioned comfort food, while The Street sits at the corner of the Pink Triangle and transforms into a club every Friday and Saturday. The other two points of the triangle are CC Blooms, where regular drag nights are held, and a few doors down there’s Planet, offering snooker and arcade games. In Glasgow, seek out the Flying Duck for LGBT-friendly vegan food, live music and club nights, mosey along to renowned gay spot AXM for chart-friendly music, or take on Club X, an S&M-themed dirty little secret.

To burn off energy not used up on the dance floor, there are plenty of other ways to get active.

LEAP Sports is a fantastic resource to find your club of choice. You can choose from womenonly, co-ed, and trans-friendly football, rugby, running clubs, and – if you’re up for getting knocked about a bit – roller derby and parkour.

Keep an eye on Northern City Waackers, who are keeping the ball scene alive in Scotland. Last year, they hosted the inaugural Waacking and Vogue Festival, featuring international guests, workshops, discussions and screenings. They also host miniballs and bootcamps in Glasgow and work closely with Vogue Scotland who teach – you guessed it – vogueing, to get you runway ready.

An important resource in the capital city is LGBT Health and Wellbeing. The organisation aims to promote a programme of activities, reduce the isolation and social exclusion of LGBT+ folks, support people to choose and maintain healthy lives, and make sure there are health resources available.

They also offer mental health and wellbeing support, an LGBT helpline, links to LGBT+ counselling and trans support, as well as links to community groups. Be sure to add them to your list of invaluable support networks and know you’re not alone.

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SOME THINGS DO REALLY

HAPPEN Broken Records’ Jamie Sutherland chats to Kirstyn Smith about keeping Edinburgh’s music scene alive

HERE

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IN ASSOCIATION WITH

DATES FOR YER DIARY David Pollock rounds up all the big music events to keep an eye on throughout the year

Broken Records, with Jamie Sutherland (middle)

J

amie Sutherland was a labourer working in Summerhall after coming off a tour with his band, Broken Records, when he realised the venue’s potential. In its zig-zagged warren of nooks and crannies, he noticed that the Dissection Room – unambiguously named when the space was still a vet school – would be a good spot for gigs.

‘We looked at the fact that a lot of music venues around Edinburgh were closing, or having noise issues,’ he says. ‘Summerhall reminded me of some of the European arts spaces we’d toured – like the Paradiso in Amsterdam – a refreshing change after having done the British toilet circuit.’

After giving a business plan to the venue’s GM, who trusted in Sutherland’s decade of music industry experience, they built a partnership based on the desire to see Edinburgh’s music scene thrive: Nothing Ever Happens Here was born.

The important thing about Summerhall, Sutherland says, is that it’s a step on a symbiotic ladder that connects a number of venues throughout Edinburgh.

‘Sneaky Pete’s and Leith Depot – those two venues in particular are ones that support absolute grassroots music,’ he says. ‘And we’re always keeping an eye on what they’re doing, so when a band is ready for the next step, they can start looking at us.’ After they’ve played Summerhall, bands can look to step up – to the likes of the Liquid Room, the Queen’s Hall and, eventually Leith Theatre and beyond.

In terms of bands Sutherland takes on board, there’s a short checklist: ‘where are they in their career? Who’s interested in them? Are they getting written about? Can they bring people?

Are they being really proactive about it? There’s value in everybody’s music, and we just try to provide a blank canvas for them to do their thing.’

In a city with a wealth of brilliant bands juxtaposed against venue closures and noise complaints, Sutherland’s advice to keeping the scene alive is pretty simple.

‘Support the venues, first and foremost. Buy a beer there, rather than somewhere nearby. The difference that makes in terms of how solvent a venue is is enormous.’

Unfortunately for councils, music venues aren’t the sexy option in terms of money-making, but Edinburgh’s history is in the arts, in literature, poetry, music and theatre. And Sutherland feels this needs to be acknowledged.

‘It feels like a proper capital city to live in, apart from this one thing: everyone’s happy to have one month of the year where the arts happen,’ he says. ‘And nobody wants to support it outside of that, and I can’t understand why that would ever be the case.’

As for what Nothing Ever Happens Here has lined up to continue their support of the arts, it’s looking good. Having built up an Edinburgh music audience, outside promoters are rallying to help with programmes and finances, resulting in some exciting bookings for the Summerhall space.

‘We’ve got Mark Kozelek coming through in October, Kathryn Joseph in September. We have Jon Boden doing a solo show. Balkanarama are coming back again. There’s a weird and varied programme running until the end of the year and into next.’ summerhall.co.uk/nothing-ever-happenshere

Mega festivals in fields are a bit out of fashion now. It’s all about events overseas, in cities, or in more compact countryside locations. But still, Scotland sustains a diverse landscape of music festivals in all sorts of locations. Although the once-famed T in the Park has been put on indefinite hiatus, for example, its spirit lives on in TRNSMT (Glasgow Green, Glasgow, Fri 12–Sun 14 Jul), a smaller city event which still attracts the biggest names. Back to a three day weekender from its odd five-day split in 2018, expect a lineup heavy on indie, rock and pop.

Or if you prefer to get out of the city to hear music, Electric Fields (Drumlanrig Castle, Dumfries & Galloway, Thu 29–Sat 31 Aug) is the next biggest thing, with one foot in boutique and the other in booking sizeable artists to headline; it was Noel Gallagher’s High Flying Birds, Leftfield and James this year. Belladrum Tartan Heart festival (by Beauly, Inverness-shire, dates not confirmed; Primal Scream, Paloma Faith and Gerry Cinnamon played in 2018) is of a similar scale, while smaller events with a good party ethos and distinctive sites include Doune the Rabbit Hole (Cardross Estate, near Stirling, Fri 19–Sun 21 Jul), Kelburn Garden Party (Kelburn Castle, Largs, Fri 5–Mon 8 July) and Eden Festival (Raehills Meadows, Moffat, Thu 6–Sun 9 Jun).

For even more unique locations, try out the clubby and extremely scenic Skye Live (Portree, mid-late Sep) or the town-filling Loopallu high up on the north-west coast (Ullapool, late Sep), while Glasgow hosts the party-focused Fiesta 2019 (Kelvingrove Bandstand, Sat 29 & Sun 30 Jun) and the electronic Riverside Festival (Riverside Museum, late May). Finally, winter weather is no barrier to a festival in Scotland; Celtic Connections (various venues, Glasgow, Thu 17 Jan–Sun 3 Feb) is Scottish folkbased in origin, but takes in a wide range of international styles.

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D N A S R B LLOWE IN ASSOCIATION WITH

STUDENT GUIDE 2018

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O F OF

Any well-rounded education should include a musical one, right? To keep you up to speed, David Pollock has put together a wee list of some of the best up-and-coming Scottish artists, so you can stay top of the class when it comes to new tracks PHOTO: EUAN ROBERTSON

APOSTILLE Michael Kasparis is perhaps most wellknown around Glasgow as the head of local indie label Night School, which has an exemplary reputation for releasing fun, strange, exciting music new and old, by artists including Ela Orleans, AMOR, Cucina Povera, Rose McDowall and the Space Lady.

With this year’s Choose Life album, however, he stepped firmly into his own spotlight with a fray-edged set of irresistible art school electro-pop straight out of the 1980s. apostille.bandcamp. com

HEIR OF THE CURSED Beldina Odenyo Onassis is a Kenyan-Scot who grew up in Dumfries, and whose music encompasses a crosssection of styles from folk to jazz. Her live set is an unusual and starkly affecting experience, a solo electric guitar performance which makes a feature of her striking voice, compositional skill and ability as a musician of reserve and dramatic timing; and it’s no surprise, given the latter element, that she’s also involved in theatrical work with the National Theatre of Scotland. facebook.com/ heirofthecursed

KUBLER-ROSS Named in ‘honour’ of the Kubler-Ross cycle – which is more commonly known as ‘the five stages of grief’ – Kubler-Ross are a Glasgow trio who create similarly mournful industrial electronic music. Led

by Dave Clark, who has plenty of previous on the Glasgow scene as a frequent remix collaborator with JD Twitch of Optimo (Espacio), and as one half of the fondlyremembered Big Ned, their number is completed by Carol Vortex and artist Katie Shannon.

LAPS The most exciting band Cassie Ezeji has been in since the last exciting band she was in, LAPS (Ladies as Pimps, named in honour of a Jay-Z track) are a raw and thrilling electronic duo whose sound bears all the soulfulness and raw punk power of Ezeji’s voice. She used to be in Glasgow’s Golden Teacher, an equally outstanding group, while Alicia Matthews DJs and fronts a show on NTS Radio as Sue Zuki. soundcloud.com/ ladies-as-pimps

SOLID BLAKE On her way to becoming one of Scotland’s most well-regarded young electronic producers, Emma Blake started out in her native Glasgow attending Optimo (Espacio) when she was too young to be there, while also producing shows for Subcity Radio. After moving to Copenhagen, she became a founding member of the international Apeiron Crew DJ collective, and now makes her own music for labels including Outer Zone. fieldartists.net/ artists/solid-blake

COLONEL MUSTARD AND THE DIJON 5 Not so much a new band as one whose gospel must be spread far and wide, Colonel Mustard and the Dijon 5 are an emphatically entertaining party band who take the sound of Happy Mondays or Primal Scream and turn it up to eleven.

Their fans wear colourcoordinated mustard yellow uniforms, and the band have been known to crowd-surf on inflatable paddling pools. They’re onceseen, never forgotten. facebook.com/ colonelmustard andthedijon5

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NEWB O LSEASON AT THE ROXY D NEW WORK // ALL YEAR ROUND

ISLANDER // 16-18 SEPTEMBER

ILIZA SHLESINGER // 6 NOVEMBER

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Check the Roxy’s website assemblyroxy.com for full listings of our programme of theatre, dance, music, spoken word and comedy all year round.

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23/08/2018 18:40

IN ASSOCIATION WITH

K A E R B G I B FILM

Deborah Chu looks at some of the ways students can get involved with the growing film industry in Scotland

In one guise or another, Edinburgh and Glasgow have both seen their fair share of the silver screen in recent years. From World War Z’s zombie hordes to the superhero tussles of Avengers: Infinity War, heavyweight production companies are increasingly taking their business to Scotland. With that in mind, there are plenty of opportunities designed for students and young people looking to break into the filmmaking world.

EDINBURGH INTERNATIONAL FILM FESTIVAL’S STUDENT CRITICS COMPETITION In addition to a plethora of internship opportunities across all their departments, the EIFF hosts an annual cohort of aspiring critics drawn from across the UK. Not only do these chosen few get to write reviews and attend press screenings, but they are also closely mentored by an established industry professional, who will offer advice on how to develop their work and build a career within film journalism.

BFI FILM ACADEMY NETWORK PROGRAMME From September to March, the British Film Institute runs a programme of hands-on filmmaking courses for young people aged 16-19. These courses take place throughout the UK, with opportunities at Screen Education Edinburgh and GMAC Film in Glasgow, and allow their students to work alongside industry professionals across a range of different projects. The deadline to apply for courses this year is 5 October.

SCOTTISH DOCUMENTARY INSTITUTE The SDI hosts free masterclasses on the art of documentary filmmaking led by established directors from around the world (many of which have been recorded and are currently free to watch on their website).

In addition to running the postgraduate programme in Directing Documentary in conjunction with Edinburgh College of Art, the SDI also manages the new talent initiative Bridging the Gap, which helps filmmakers develop ten minute documentary projects alongside industry professionals.

NATIONAL FILM AND TELEVISION SCHOOL COURSES The NTFS offer a variety of courses related to the creative industry, from Masters degrees to shorter programmes. Led by experienced tutors working in the field, these courses are ideal for bolstering the specific creative and technical know-how required to succeed in the film industry, whether it be using certain film editing software or writing the pilot to your own television show.

SCOTTISH FILM TALENT NETWORK’S SCOTTISH SHORTS PROGRAMME Designed to help foster new Scottish filmmaking talent, Scottish Shorts is a short film and production programme for those with a few student films under their belt, but who have yet to find actual work in the industry. Open to filmmakers of all stripes, theatre practitioners or writers looking to make the transition onto the screen, the chosen projects will be commissioned and given a budget to turn their ideas into reality.

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SEAT S

IN ASSOCIATION WITH

VI FR EW TH OM E

STUDENT GUIDE 2018

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When money is tight but you need your cinema fix, there’s still plenty of options, as Rebecca Monks discovers

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f you love cinema too much to wait for films to come out on Netflix, don’t worry: Edinburgh and Glasgow have plenty of independent cinemas which offer a unique place to kick back and shovel down some popcorn.

Most of the big chains operate across both cities too, and there are plenty of deals for students to take advantage of when you just can’t wait to see that new Star Wars, or when Mamma Mia 3 is inevitably pushed out.

INDIES

The Filmhouse on Lothian Road (filmhouse cinema.com) is Edinburgh’s best-known independent cinema, and it’s an absolute jewel in the city’s film-loving crown. It’s home to regular festivals and special seasons, and has a good mix of blockbusters and indie features on the bill. Student membership is just £5, and gets you £1.50 off future ticket purchases, plus 10% off DVDs, merchandise, snacks and drinks.

There’s also a £2 screening every Tuesday as part of See You Next Tuesday, their weekly screening for student members. Elsewhere in the city, the Dominion (dominioncinema.co.uk) is an art deco-style hub in the heart of Morningside, which screens big hitters and the occasional old classic. If you’re feeling fancy, you can also rent out the entire place for private parties. And while it’s not technically an indie cinema (since it’s run by Picturehouse Cinemas), the Cameo has all the hallmarks of a film-lovers hotspot, with comfy seats and a selection of modern classics (and classic classics) on the reel. A student membership gets you two free tickets that can be used at all regional Picturehouse cinemas, and up to £2 off tickets at all of their venues.

Glasgow Film Theatre (glasgowfilm.org)

is the city’s original independent cinema.

It’s also home to Glasgow Film Festival, the Glasgow Youth Film Festival and the Glasgow Short Film Festival and, like the Filmhouse, it hosts regular innovative seasons. If you join their free 15–25 Card scheme, you can get standard GFT tickets for just £5.50. You’ll also earn loyalty points for every pound you spend on cinema tickets and get special offers by email. The Grosvenor Cinema in the West End (grosvenorwestend.co.uk) screens the latest films plus a selection of old classics.

Student tickets are just £7, too.

BIG CHAINS

Both cities have the Vue (Ocean Terminal and Omni Centre in Edinburgh; The Fort in Glasgow, myvue.com). These guys operate a Super Monday deal, where you can get a promo code and activate big discounts on big films. If you get a Cineworld unlimited card (Fountain Park in Edinburgh; The Forge and Silverburn in Glasgow, cineworld.co.uk), you pay just £17.90 per month to see any film as many times as you like (terms and exclusions apply). So, if you go the cinema quite regularly, this deal could end up saving you a bundle. Or, if Odeon is your cinema of choice and you happened to get your student home insurance through comparethemarket. com, you can take advantage of Meercat Movies. Every week, you can get one voucher code to use on a Tuesday or Wednesday at any Odeon cinema (Lothian Road in Edinburgh, Westside Plaza and Springfield Quay in Glasgow, odeon.co.uk).

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ADVERTISING FEATURE

Beyond your

IMAGINATION Viarama owner Billy Agnew explains how VR has the uncanny ability to improve and benefit people’s lives When you think of virtual reality, your mind may automatically veer towards home gaming and low-budget arcade experiences. But Viarama, the world’s first VR social enterprise, is changing perceptions while simultaneously making use of this up-and-coming technology in innovative and socially conscious ways.

Owner Billy Agnew explains: ‘I decided the company had to be a social enterprise when I saw the effect VR had on many people; particularly the disabled and senior citizens. People were often crying tears of joy, and this emotional response is at the heart of everything we do, and it motivates us to do more. If you’re a senior citizen who has always wanted to see Mount Everest but can’t travel due to a disability, when you finally get there [in VR], it’s going to be a hugely emotional experience.’

As a not-for-profit, Viarama are committed to working closely with community groups and the public, as well as creating VR experiences for government, industry, and the third sector which all have a strong social focus. Their East Linton-based venue features a VRally car, a plane, and four roomscale VR pods where users can take part in all kinds of amazing experiences in VR. ‘At our venue, we might have a group of kids shooting robots in one pod and in the next pod, have a granny looking over the edge of a precipice in Yosemite,’ Billy says. ‘From a simple gaming perspective, a session is just tremendous fun. In terms of who can benefit, VR will eventually be used to help a wide variety of individuals. We were the first company in the world to take the VR we use into a hospice and we have found its use hugely beneficial to both the patient and their families, even at the

most difficult of times. We are currently working on an experiment in partnership with Queen Margaret University, Edinburgh, and St. Columba’s Hospice to test the efficacy of VR in a clinical environment and we will be the first in the world to do this.’

VR can certainly be hugely enjoyable and fun for anyone taking part in a session but Viarama have also worked with people that have greatly benefited from an individual experience, as Billy explains.

‘There are so many examples I could give but the one that springs to mind is a lady called Elda who was in a hospice. Margaret was very ill and in considerable pain prior to her session. Her family were in the room with her, as were two doctors from the hospice, while we let her try a number of VR experiences, mostly centred around travel.

The session lasted about 15 minutes and Margaret reported that she thought it was a wonderful experience, and that her perception of the pain she was in was significantly reduced. She smiled and seemed much more at ease after the session. Her son spoke to me afterwards and he was obviously very moved. He told me that he was very grateful to see his mum smiling as it had been so long since he had seen her like that.’

The idea of virtual reality may be relatively new to most people but Billy is hopeful that it will become more common due to the way that it can so positively impact people’s lives in varying situations. ‘I believe we will see that in years to come VR is ubiquitous in most care settings,’ he notes.

‘Education will be transformed by VR in so many wonderful ways and we want to see that happen soon.’

While Viarama have clear ideas and plans for the

future in mind, their goals over the next few years are encouraging and inspiring to say the least.

‘We want to train and employ more young people across Scotland, and want to work with as many schools, nursing homes, hospices, hospitals, and respite centres as we possibly can. We believe technology can be used as a force for good, and that VR in particular has the power to help people tremendously.

‘We are working with Scottish Enterprise to create a VR experience that will help sufferers of Alzheimer’s Disease and dementia and we’re very excited about that. We hope to be able to attract funding in the near future to scale our operations significantly and hope that funders will be able to understand the power of VR and its potential to help people.

‘Lastly we want to work with lots more people like Margaret and use the power of technology to make their lives a little better.’

■ Viarama, The Mart, Station Road, East Linton.

Find out more at viarama.co.uk

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E T I R W STUFF

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S BOOK

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All the Hidden Truths is a richly complex debut from the University of Edinburgh’s writer in residence, which explores the aftermath of a college shooting in Scotland.

Rebecca Monks talks to Claire Askew to find out more about the novel, her writing process, and why she almost quit the story forever

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hree years ago Claire Askew sat on her kitchen floor and cried. The awardwinning poet had just split from her literary agent, having disagreed about the ending of her debut novel, All the Hidden Truths: a contemporary crime story about the aftermath of a school shooting in Edinburgh. ‘She and I basically couldn’t carry on together,’ Askew explains. ‘She had very specific ideas about how she thought the book should end. She wanted much more of a clean resolution . . . but to me, there is no tying up of loose ends in the aftermath of an event like that. Life goes on, but it goes on in tiny increments for many years. There is no closure.’

At that point, Askew says she was ready to forget the whole ‘debut novel’ thing.

‘It was an amicable break up,’ she says, ‘but breaking up with your agent is huge. At that point, I really thought I was going to put the book in the drawer, and either start another one, or just go back to poetry and never write a novel again. I was in a really miserable place.

‘It’s only thanks to good friends who were very patient with me and persuaded me to send it out again, that fortunately I found another agent, and dare I say, a better one.

All’s well that ends well. But I think I very nearly lost my shit at that point.’

Now, Askew’s shit is very much together. Actually, her shit is shit hot. All the Hidden Truths was snapped up by Hodder after a fierce auction, and was launched last month to a packed crowd in Leith. It has been widely praised by readers and critics alike. The split narrative follows the mother of the gunman, the mother of a victim, and the detective inspector tasked with solving the mystery of Ryan Summers: the boy that walked into a college and started shooting.

‘It’s set in Edinburgh which surprises quite a lot of people,’ she says.

‘I think we feel quite safe from these events in the UK. But I wanted to remind people that this can happen anywhere, and it’s happened in Scotland before.’ She’s referencing Dunblane, of course: the 1996 school shooting tragedy that shook the nation. ‘I think that was quite a seismic event in Scotland’s collective psyche,’ she says. ‘I think I’ve always been interested in what happens to a community in the wake of such a massive tragedy that feels local and national at the same time.’

The psychology at work in the book is gendered and complex. Ryan Summers is not painted as a social outlier, for instance. ‘I was worried that people might think I was being sympathetic to him or trying to rehabilitate him and say its not his fault, which I’m not trying to do.

What I’m trying to do is go, well, he was actually quite normal,’ she explains. The book asks the question: what led to the extreme tragedy, if not some socially demonstrable abnormality?

Her debut is making waves for its gripping content and its (sadly) topical themes. Outside of creating startling new fiction, Askew works as the University of Edinburgh’s writer in residence, where she inspires and guides the next generation of writers. Students at the university can see her during office hours, and she runs a fortnightly creative writing workshop group that budding authors and poets can apply to be a part of. She also runs events throughout the year, which are open to the public and feature a selection of writers (this autumn, she’s got Mary Paulson Ellis on the bill).

And if you’re interested in writing as a career, let Askew’s confidence (and style) be a guide. ‘The main piece of advice I give everybody is you have to believe that you deserve it. You have to believe that your work is good enough to deserve a readership, otherwise, you’ll never get one.’ Yes, she says, you have to edit, take criticism, and redraft – but you also have to own it. After all, it’s continued belief that put All the Hidden Truths on the shelf, instead of in the kitchen drawer. And it’s belief that will no doubt take her to the top, where she rightly belongs.

IN ASSOCIATION WITH

All the Hidden Truths is out now. See review, page 54.

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STUDENT GUIDE 2018

EDINBURGH

E G N FRI TRE A E H

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E H T D N O Y E B

Rebecca Monks explores why Edinburgh’s theatre scene is still alive and kicking way beyond August

I

f you’re arriving in Edinburgh in September, you’re likely to be greeted by a litany of old Fringe flyers, with the occasional Festival poster still tacked up on a wall. But don’t for a second think this means that Edinburgh’s stages are winding down the action. The city is a year-round hub of theatrical goodness, with new, experimental writing, contemporary classics, modern dance, ballet, musicals and more on the docket all year.

If you’re interested in new writing, the Traverse is the place to start. Formed in 1963 by a group of passionate theatre enthusiasts, it was originally founded to extend the spirit of the Edinburgh festivals throughout the year. One of the most popular fixtures in the programme is the A Play, A Pie and A Pint series, in which the theatre partners with Òran Mór to bring six new plays to light up your lunchtime. Tickets are just £13.50 and include a pie and a drink. Outside of this, there’s a wide range of new plays being performed on a regular basis. The venue actively encourages new writing, with open script submissions and rehearsed readings of new works, while the venue’s wider engagement programme aims to bring as many people as possible within the walls of the theatre, offering projects, workshops and events to schools, colleges, universities, new audiences, artists and professionals.

The Royal Lyceum Theatre is one of Scotland’s leading producing theatres. Under artistic director David Greig, it programmes a strong range of classical, contemporary and community work. The company also runs a varied engagement

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and outreach programme through their creative learning team, while the Lyceum Youth Theatre also engages young people in the fabric of the city’s theatre community.

The Edinburgh Festival Theatre and King’s Theatre are where you’re likely to see large-scale touring productions. The Festival Theatre was designed as Scotland’s premier dance and opera house in 1994, and it’s often the place to see Scottish Ballet, Northern Ballet and more when they pirouette into town. Big productions, such as The Curious Incident of the Dog in the Nighttime, also play at this much-loved venue. The King’s Theatre was opened as a variety theatre in 1906 and is widely regarded as one of Scotland’s historic and important theatres. Here, you’ll find large-scale productions, such as Shakespeare in Love and Fame.

And if musicals are your thing, you’ll probably be living at the Edinburgh Playhouse . This former cinema is the UK’s largest working non-sporting theatre in terms of audience capacity, and is where all the big song-filled classics stop when they’re in town (Wicked, Cabaret, you name it).

Meanwhile, Bedlam Theatre (pictured) is where you’ll get a chance to see some strong student performances. Run by Edinburgh University Theatre Company, it’s a fully operational, 90-seat theatre housed in a former church at the junction of Forrest Road and Bristo Place. Go for the rising theatrical talent, stay for the treats in the cafe.

Basically, what we’re saying is that Edinburgh is a festival city year-round (minus the flyers).

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24/08/2018 13:15

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IN ASSOCIATION WITH

GLASGOW Lorna Irvine picks out the best stage antics in the city, for when you’re over staying in with Netflix

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lasgow is an exciting, vibrant city with theatre woven into its seams. A huge student population means that there are many welcome distractions for young people looking for momentary respite from writing up a thesis, last minute cramming or hitting the library. Here are just a few examples of what Glasgow has to offer throughout the term year.

The Panopticon at Britannia Music Hall is the oldest surviving music hall, but it’s by no means a dusty old institution.

For example, Mischief La-Bas recently staged their shenanigans Nursery Crymes there. During the warmer nights, the burlesque, variety and drag nights provide sauce and sass. And their adult pantomimes are nothing short of pure anarchy.

Gordon Barr’s Bard In The Botanics (pictured) brings a new spin on all things Shakespearean or Marlowe-related – for as long as the weather is good, anyway. Nicole Cooper, Andy Clark, Darren Brownlie and Esme Bayley have all dazzled audiences in the open air with beautiful and original performances. Stuffy it is not: think Leonardo and Claire in Baz Luhrmann’s Romeo + Juliet, rather than braying, tortured men in ruffs.

For those seeking more left field, edgy work, mini festival Buzzcut remains a cheekily subversive proposition. Usually found at the Pearce Institute, the lovely Karl Taylor curates some of the most daring live art around. Louise Orwin, FK Alexander and Sh!t Theatre are just some of the brilliant performance artists who have brought a bold and provocative aesthetic to the Govan setting.

A more sedate kind of theatre is made all year round by the celebrated A Play, A Pie and A Pint, the lunchtime theatre show formed in 2004. It’s steadily attracting more youthful theatregoers of late, thanks to work by younger writers such as the wonderful Morna Young, whose Aye, Elvis just smashed the Edinburgh Fringe; Taqi Nazeer who brought us Rishta, an Asian wedding comedy; or Blood Of The Young’s Meghan Tyler. Her superb recent play The Persians was an exercise in wilfully bad behaviour – there can be no finer endorsement.

The Royal Conservatoire of Scotland hosts lively performances by students The months of September through to January are buzzing. Last year, no less a legend than director / writer Johnny McKnight presided over an an uproarious adaptation of Pedro Almodóvar’s Women on the Verge of a Nervous Breakdown.

In the middle of summer, the Surge festival takes to the streets of Glasgow, transforming places we walk past every day into colourful and vibrant scenes. There’s everything from circus to dance to puppetry – and difficult to categorise strangeness everywhere – proving site-specific work doesn’t just belong to the Edinburgh Fringe.

And finally, for kitty kats’ and sewer rats – or simply those with a love of vintage threads and lethal-looking cocktails – Riding Room hosts many oh so naughty cabaret nights. Known to shake a tail feather or two, there are burlesque babies Molly Teaser and Tom Harlow, American badass Sabrina Chap, and the irrepressible Markee De Saw – all have been known to work their thing of an evening.

PHOTO: TOMMY GA-KEN WAN

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IN ASSOCIATION WITH

STUDENT GUIDE 2018

Flo & Joan (aka siblings Nicola and Rosie Dempsey) have been whipping up a musical comedy storm since debuting with their Victory Flaps in 2016. As they prepare to hit the road with a new tour, the duo tell Brian Donaldson about their student days and offer advice to aspiring comedy stars

When you were students, did you go to see much live comedy, and is there a gig that stood out from that time?

Nicola: I was at Cardiff uni, and the first

gig I ever went to was Eddie Izzard at the Motorpoint Arena (if it’s still called that). It was amazing, if a big way to introduce yourself to live comedy shows. Otherwise I didn’t start going to shows until much later.

Rosie: I went to uni in London so I started going to see the Comedy Store Players improv shows in Leicester Square. But apart from that, most of my comedy consumption was TV. One of my biggest regrets was not using my student loan to fund more trips watching live comedy in London.

Were you ever tempted to get up and do comedy while a student? What do you think stopped you at that point?

Nicola: I started writing songs and song

parodies at uni but never, ever had the balls to do them live. Firstly, I didn’t know where to start in looking for shows, because I didn’t know anybody doing it, and secondly it just terrified me. Those songs exist on a hard drive somewhere and have never, and will never, see the light of day.

Rosie: It was always in the back of my mind as something I could have attempted but that

urge wasn’t strong enough to overtake the ‘student lifestyle’ I was enjoying a little too much. I did a bit of theatre whilst at uni and that satisfied my need for attention but tackling comedy wasn’t something I felt ready enough for (which is a rubbish excuse for being too lazy to try it).

Do you remember the moment when you thought, ‘yep, doing live comedy is for me’?

Nicola & Rosie: It wasn’t an exact moment,

but once we had a few spots under our belt that didn’t tank that makes you know you’re not awful. Then when we took our first show to Edinburgh, and audiences came (and the number of audiences coming increased despite us being total nobodies), then you’re reassured that you might be onto something.

What do you remember about your first gig?

Nicola & Rosie: Our first gig was three years

ago as a spot on a show called Iron Maidens, in a basement black-box theatre in Toronto.

There were maybe 15 audience members, mostly people we knew. We landed on the name ‘Flo & Joan’ that night because we didn’t know how to be introduced otherwise. We did a sketch, a song and a poem. The sketch was bad

and we never performed it again; we held onto the song for quite a while, and we still perform the poem now. It was arguably not a disaster.

How did you conquer any nerves that were there initially?

Nicola & Rosie: I think with two of us there’s

safety in numbers, so that helps. There wasn’t any pressure of ‘this has to go well’, we were just having a go with basically no risk or reputation at stake. And also knowing that it’s OK to fail on stage, and in public, helps too.

If you had one bit of advice for any aspiring comic, what would it be?

Nicola: Don’t be afraid to eat shit, and just get

on and do it and do it and do it.

Rosie: Watch lots of comedy, all different kinds, and if you’re on a mixed bill watch all the people on the bill with you, especially the headliner.

And do you have a joke that you could tell us about students?

Nicola & Rosie: Paying back your student

loan.

T C A R E T S SI Flo & Joan: Alive on Stage, The Stand, Glasgow, Thu 17 Jan; The Stand, Edinburgh, Sat 19 Jan.

COMEDY

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ADVERTISING FEATURE

Cheeky

MONKEYS

Having come a long way in a short time, Craig Angus discovers that Monkey Barrel Comedy is building a thriving year-round community of its own

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here’s New York, there’s London and then there’s Edinburgh. The Scottish capital’s relationship with comedy is a tight one, going back a long way, thanks to the biggest arts festival in the world, which brings a vast numbers of stand-ups, sketch groups and improv acts to the city every August. Careers have been made here; tiny performances in Portakabins and pub basements have become arena tours, hit TV series and the stuff of legends.

With such an emphasis on the Fringe, it’s easy to forget that the city is one of the UK’s best for live comedy all year round. Monkey Barrel were voted Best Comedy Club at the Scottish Comedy Awards 2017 and 2018, a particularly impressive feat for a new club that’s dedicated to developing new talent. The club opened in August 2016 with the aim of cultivating a comedy community that performers and audience members alike feel invested in. Taking on their own venue was a risky undertaking in the current climate, but it’s not hard to find supporters of their work. Their passion for good comedy and building an infrastructure to support it is acknowledged by the venue’s regular Wednesday and Sunday compere Liam Withnail, who was recently honoured as the Best Compere at the Scottish Comedy Awards: ‘If they were purely business-minded, they wouldn’t have opened a comedy club,’ he says. ‘They want to build something that lasts and has a great legacy.

They’re well on their way to doing that.’

Withnail, who’s originally from Dagenham in East London, says that Edinburgh is ‘blessed’ to have another thriving venue. He sees Monkey Barrel providing an outlet both for talented artists, and for audiences who appreciate the range and value of what’s on offer. ‘We have people who come once,’ Withnail says, ‘and I see them in the audience the week after, and the week after, and the week after that. It ends up feeling like a community. I go out on stage, and there’s people who I’ve spoken to the week before. We build up a relationship.’

Another regular at Monkey Barrel is the Australianborn Oliver Coleman, who has been supported by the venue all year round. He performed his debut solo hour Delicious at this year’s Fringe, but says the assistance of Monkey Barrel’s experimental Project X showcases

(where a collective of like-minded acts take risks) has been hugely important. ‘The Edinburgh Fringe is a melting pot of various styles of comedy beyond traditional stand-up,’ Coleman says, ‘but outside of that there aren’t a great deal of comedy nights in Scotland that are set up to specifically promote and present a wide range of various comedy styles.’ For Coleman and his cohorts, Project X provides the opportunity to have fun experimenting and pursuing alternative styles, in an environment where the audience wants to see that sort of alternative comedy. ‘If you try a character act, or something that is a bit theatrical, at a night where the expectation is that the audience will be seeing conventional stand-up,’ he says, ‘then you have to work a lot harder to make the audience comfortable.’

With another academic year upon us, new Edinburgh students with an interest in comedy would be wise to check out Monkey Barrel. With Sunday to Wednesday shows free for students and plenty of discounted drinks on offer, new and emerging talent nights like Top Banana and Progress, and the aforementioned Project X, are affordable and sociable ways to spend an evening.

There’s also award-winning improv on a Thursday night for only £5, while the weekends see a host of established national and international acts hit the Monkey Barrel stage for The Big Show with resident host Rick Molland.

‘It’s a whole art form that a lot of people only really get a taste for on TV’, Withnail says, referencing Live at the Apollo and the specific type of observational stuff that reaches that stage. ‘People think that that they’re gonna go to a comedy club; that they’ll have to sit in the front row and that someone will make fun of the way they look, the way they dress – it’s not like that!’ He laughs, adding: ‘We talk to the audience and try to have fun with people but we’re trying to make them feel welcome.

The club is a great night out; you can sit and laugh with people you’ve never met, at people you might never have heard of. It’s a unique place and every week is different.

It’s a great escape.’

Monkey Barrel Comedy, 9–11 Blair Street, Edinburgh, EH1 1QR, (0131) 225 5149.

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E R U T CUL S STUDENT GUIDE 2018

RT A L A U S I V

CLAS

So you know all about the masters and the tastemakers – how about becoming one yourself? Rachael Cloughton takes a look at some of the hands-on visual art activities on offer in Glasgow and Edinburgh

PRINTMAKING Forget naff posters, how about creating something by hand to decorate the walls of your new student digs? Edinburgh Printmakers and Glasgow Print Studio offer a range of courses in printmaking – from afternoon classes in simple stencil screen-prints (very Matisse) and monotypes, to more advanced evening and weekend courses in etching and lithography. Prices can be a little steep (starting at £40) but once you’ve got the skills you can sign up to be a member and use both spaces’ facilities independently for decent rates.

Looking for something a bit more relaxed? Every month Look and Draw organise a very popular Drink and Draw life printing session at the Safari Lounge in Edinburgh. It’s a very informal life drawing session with ‘a monoprinty twist and good tunage’.

The class is untutored but the session

will begin with a short mono printing demo and handy drawing tips from the organisers. Printing materials are then available to use for the remainder of the session, which are included in the £12 price tag.

SCULPTURE Public courses at Edinburgh Sculpture Workshop and Glasgow Sculpture Studios not only offer you support to start an ambitious creative project, but they are led by some of the most exciting figures on the Scottish art scene. Previous workshops at GSS have included ‘printing the city’ with Tessa Lynch, casting with James Rigler and performance art with Gordon Douglas.

Students also get 20% off.

PHOTOGRAPHY Stills in Edinburgh and Street Level Photoworks in Glasgow are the

places to go for all things photography.

Get to grips with the city by taking part in one of Stills’ Street Photography project days, or sign up for a Photography Walking Tour with Street Level Photoworks. Both photography centres have open access production facilities too, complete with darkrooms and Hasselblad scanners – so you can get really arty with your fresher’s week photos. They also do courses in Photoshop, film editing and alternative processes like gum bichromate printing, which was invented in Edinburgh in the 1800s. Annual membership for students at Street Level comes in at £50 and annual Friends membership for students at Stills is just £20.

LIFE DRAWING Once Edinburgh University’s vet school, today Summerhall is one of the city’s most exciting arts venues.

On Wednesdays from 7–9pm, they run a life drawing session in their Anatomy Lecture Theatre for £6. The art collective All the Young Nudes (ATYN) also organise regular life drawing classes in Edinburgh and Glasgow. Like Summerhall, it’s a relaxed and informal set up for people who love sketching. No experience is necessary – and there’s no need to book in advance, just pop along when inspiration strikes. ATYN run sessions on Mondays from 7–9pm at Sloans in Glasgow and on Tuesdays from 7–9pm at Cabaret Voltaire in Edinburgh (both cost £6). It’s also worth keeping an eye on the group’s website, as they run some fun one-off sessions in addition to the regular programme – previous events have included art salons at Jupiter Artland outside Edinburgh and modelling workshops at Toad’s Caravan in Glasgow.

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IN ASSOCIATION WITH

You don’t have to break the bank to enjoy some world-class art in Edinburgh and Glasgow.

With a range of free galleries and exhibitions across both cities, Rebecca Monks finds there’s plenty of scope to have a very arty day out on a shoestring budget

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n Edinburgh, entry to all of the National Galleries doesn’t cost a penny. The Scottish National Gallery on the Mound has one of the best fine art collections in the world, and is open daily (10am–6pm). Here, you’ll find masterpieces

by Botticelli, Raphael, Titian, Rembrandt, Vermeer, Constable, Turner, Monet, Van Gogh, Gauguin, and many others. There are some special exhibitions which come with an entry fee, but you can still wander round the main halls and take in all that ancient arty goodness.

The National Portrait Gallery is on Queen Street, and is also open daily (10am–6pm). The gallery was designed by Sir Robert Rowand Anderson as a shrine to Scotland’s heroes and heroines, and has portraits of everyone from Mary Queen of Scots and Robert Burns, to Patti Smith and Muriel Spark. Over near Dean Village, the National Gallery of Modern Art (open daily, 10am–6pm) is spread across two buildings, with an extensive collection of work by Dada and surrealist artists, and work by the sculptor Eduardo Paolozzi, alongside free and paid-for temporary exhibitions.

There are also several independent galleries worth checking out, including the Fruitmarket (daily, 11am–6pm), which is currently showing work by Tacita Dean, one of Britain’s most respected and successful international artists. Plus, don’t forget to swing by City Art Centre (daily, 10am–5pm), which champions both traditional and contemporary Scottish art.

In Glasgow, the Kelvingrove Art Gallery & Museum (daily, 10am–5pm, except Fri & Sun,

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PHOTO: INGRID CALAME, INSTALLATION VIEW © THE ARTIST AND RUTH CLARK

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11am–5pm) is one of the most picturesque venues around, with everything from art to animals inside its 22 impressive galleries. The city’s collection of 17th-century Dutch and Flemish Old Masters can be found in the Dutch gallery, while the French gallery features works by important artists including Monet, Renoir, Pissarro and Van Gogh. The Charles Rennie Mackintosh and the Glasgow Style gallery features furniture, decorative panels and light fittings from the Ingram Street Tearooms, designed by Mackintosh in 1900–1912, plus reconstructed rooms including the Ladies Luncheon Room. And, well, we won’t go on – there are 19 more galleries filled with impressive works of international significance. Go fill your boots.

Elsewhere in the city, the Gallery of Modern Art, better known as GoMA, (open daily, times vary) has five exhibition spaces presenting a changing programme of temporary exhibitions. Cellular World is a group exhibition running until Sun 7 Oct, which explores questions of identity and individual and collective consciousness at a time of prolific social change and uncertainty, when reality can often seem more like science fiction. Inner City is running until Sun 11 Nov. This exhibition has work by Michael McMillen as the centrepiece, while artists Alberta Whittle and Mitch Miller explore our relationship with our urban environment and the often-hidden communities that inhabit it. Plus, don’t forget to check out the Hunterian (open daily, times vary), which is home to the world’s largest permanent display of the work of James McNeill Whistler and the largest single holding of the work of Charles Rennie Mackintosh.

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BACK PAGE FIRST&LAST THE TRAILER PARK BOYS As the Nova Scotia trio trundle our way for a show in a very swish venue, Bubbles, Julian and Ricky take on our First & Last quiz First great piece of advice you were given Bubbles: Don’t eat the yellow

snow.

Ricky: Don’t tell the truth cause it’s

easier to lie. That’s what my dad taught me when I was in grade 1.

Last time you were starstruck Ricky: I was starstruck when we

met David Gilmour.

Julian: David Gilmour.

Bubbles: David Gilmour from

Pink Floyd, when we all met him.

First thing you’d do if you ran the country Bubbles: I’d let kitties get their

Fi t th First three words d your ffriends i d would use to describe you Bubbles: Ricky and Julian describe

me as brilliant, handsome and hung.

Ricky on Julian: Unsmart.

Julian on Bubbles: Patient.

Bubbles on Ricky: Unsmart.

Last meal on earth: what would it be Ricky: Deep fried lobster burger.

First object you’d save from your burning home Ricky: My four chamber, blown-

glass water bong.

First song you’ll sing at karaoke Bubbles: I do ‘Sweet Caroline’ by

Bubbles: My kitties. They count as

one object.

Julian: Money

Neil Diamond or ‘Stayin’ Alive’ by the Bee Gees.

Last funny thing you saw online Bubbles: A kitty fucking around

Last time you exploited your position to get something Ricky: When we stole the

government furniture. We said we worked for the government and it probably needed to be replaced and nobody really batted an eye. That was pretty cool.

First time you realised you were famous Ricky: When someone came up

and handed me an ounce of weed for free.

Last time someone criticised your work Ricky: Twenty minutes ago.

with a monkey.

Ricky: A girl had her head stuck in an exhaust pipe.

First job Bubbles: Lemonade stand. Until

Ricky started selling weed from it.

Julian: Selling potato vodka when I was in grade 3.

Ricky: Stealing, I mean, picking pumpkins for a farmer and selling them in grade 6.

Last person you fantasized about Bubbles: I don’t really . . . do that

type of thing.

Julian: Cher Ricky: Halle Berry.

First word you spoke Bubbles: I have no fucking idea.

Julian: Can’t remember Ricky: ‘Asshole’.

Last crime you committed Bubbles: I was caught with two

kilograms of mushrooms but it was Ricky’s fault.

Julian: Stole a snow blower from a funeral home.

Ricky: I stole some flowers and trees from a government building and sold them to some people in the park.

First person you’d thank in an award acceptance speech Bubbles: Probably the person who

handed me the fucking award.

Julian: My father for abandoning me at the age of six or seven. If he had raised me, I would’ve turned out to be a fucking asshole.

Ricky: The Old Man. Last thing you think of before you go to sleep Bubbles: Kitties. And if I left the

fucking hot plate turned on.

Julian: Money.

Ricky: Whether or not I’m too high to go to sleep.

A Fucked Up Evening with Trailer Park Boys, Glasgow Royal Concert Hall, Sun 16 Sep.

NEXT ISSUE 1 NOV

PHOTO: CHRIS WATT

licence. Kitties should be allowed to drive automobiles.

Ricky: Lower taxes for the poor people. And legalise mushrooms.

We might be in the last flushes of summer but soon we’ll be reflecting back on the year that was and looking forward to 2019.

In the next issue, we’ll be publishing our Wish List supplement of Christmas gift ideas, and we’ll be giving you the lowdown on the street parties and gigs that will light up Hogmanay all across the country. And we’re all very excited about this year’s Hot 100, as we set out to discover who will take 404 Ink’s crown as the number one Scottish cultural personality for 2018.

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