Ezra Furman

ALL FIRED

PICTURE: TONJE THILESEN

Writer, composer, performer, future rabbi: Ezra Furman isn’t resting on her laurels. The acclaimed musician talks to Fiona Shepherd about her take on religion, fears for the planet and being hit on by a heavily pierced admirer

You’d think Ezra Furman would be busy enough as a writer of righteous/neurotic punk rock, series composer for hit TV show Sex Education, a touring artiste with a band which changes its name more often than its members (current band name, according to its leader, is simply Ezra Furman) and parent of a toddler (who needs some attention before our Zoom chat can begin). Think again: she also recently started training as a rabbi, taking one class in the Talmud ‘which I really enjoyed. But that’s an intense commitment: maybe, predictably, in retrospect, that’s really too much for me right now.’

Furman has put the study on hold for now, and will not be joining the likes of ordained priest Sinéad O’Connor or Reverend Richard Coles in the ranks of rocking religious leaders just yet. ‘I’m curious; could I really be part of an organised religion?’ she wonders. ‘I tend to be more of a do-it-yourself mystic. But, then again, I’m in love with the stuff so I’m drawn to it. Maybe some day.’

Furman identifies as strongly with her Jewish heritage as with her recently declared transgender status, both of which which spill gloriously, thoughtfully, messily into her songs, informing her most recent trilogy of albums, Transangelic Exodus, Twelve Nudes and the forthcoming All Of Us Flames, which she playfully dubs ‘the thrilling conclusion’.

‘These albums are some sort of spiritual and emotional check-in, not just with myself but human civilisation almost,’ she says. ‘With all humility, I’m just a songwriter making rock’n’roll records but I saw them reflecting things about society at large. I began with this fear and panic and also hope; maybe we’re not going to be OK, but maybe we are if we stick together. Twelve Nudes is like that but without the hope, just pure panic, fury, alarm bells ringing louder; y’know, punk rock.’

Furman says her upcoming album, All Of Us Flames, concludes that society’s faltering might be a permanent state of affairs and we have to take care of each other for the long haul. ‘It’s what comes after punk for a lot of people: what’s a sustainable insurgency? I hope we learned something from watching civilisation grind to a halt when covid was hitting because I think we might have to do that again and more radically revise how we operate. Climate change is especially on my mind.’

Twelve Nudes, released in 2019, was very nearly titled Climate Change before Furman had a rethink. All Of Us Flames, meanwhile, is her philosophical response to the pandemic. ‘I got through it by writing and recording. I think everybody did their version of that. Some people learned to make a really good apple pie. I made a record. It’s been brutal but also I was anchored financially by having a corporate gig.’ Having bent the ear of anyone who would listen to her soundtrack ambitions, Furman got the dream call-up to score for television, creating a suite of songs for use in hit Netflix comedy-drama Sex Education. Musically, she is to the show as Paul Simon was to The Graduate, or Cat Stevens to Harold And Maude (one of Furman’s faves).

Post-lockdown, Furman’s plan is to ‘write my ass off and go round the world passionately performing’. Next stop: Edinburgh International Festival, rekindling fond memories of one day Furman arrived in the city to find the Fringe in full swing. ‘The most pierced woman in the world walked by and she hit on me! She loudly said to her friend, “I want a boy like that”, or something lurid and sexual like that. I was so honoured . . . ’

I can see why children would trust animals more than human beings ”

Master choreographer Akram Khan turns his attention to climate change and rewriting fables through feminine eyes in a modern take on The Jungle Book. Lucy Ribchester met him to chat about creating a positive message in troubled times

Akram Khan is no stranger to the Edinburgh International Festival. From his blistering Mahabharata-inspired Gnosis in 2014 to the autobiographical Chotto Desh two years later, and on to his solo-dancing swansong, Xenos, in 2018, Khan is one of the festival’s recurring superstars. And though he is no longer taking centre stage himself, his Jungle Book reimagined is certain to become one of August’s hot tickets.

Khan first encountered the Rudyard Kipling classic through Disney’s cosy (though now considered racially dubious) version, before he starred at the age of ten in an Indian classical-dance adaptation. His reimagining, however, is a radical departure from both of these interpretations, transporting the fable to a post-climate change world where Mowgli, the protagonist child, is a refugee trying to reconnect with nature in a barren landscape.

Despite the bleak nature of the setting, it was Khan’s nine-year-old daughter (and her relationship with animals) which drew him towards the themes. ‘She trusts animals more than she does human beings, let’s put it that way,’ he says. ‘And I can see why children would trust animals more than human beings because humans carry a language that is so deceiving. Our words do not match our actions. But my daughter inherently believes in action.’

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Several years ago, Khan read Amitav Ghosh’s non-fiction book on climate change, The Great Derangement, and began to question the way we relate to nature through stories. Ghosh, he says, writes about the cutting of ‘the umbilical cord’ between nature and myth, and Khan believes we are living in a ‘myth gap’ just now, ‘where ‘the old myths haven’t died yet . . . but the new myths are not given time to be born.’

Part of drawing out a new myth, or at least a new perspective on a classic story, led to Khan’s other major creative decision in Jungle Book reimagined: re-gendering the character of Mowgli as a girl. Paying homage to the ‘strong, strong characters’ of his wife, mother and daughter, Khan believes we can re-evaluate the stories we have been told, and which were ‘designed by men to make sure the women serve the men, and because they fear nature.’

While myth has always been a common thread running throughout his work, he credits his mother with showing him that classic stories can have untold perspectives. From an early age, she would fill his head with tales, from Hindu mythology, Islam, Judaism, Christianity, Greek myths and Scottish folk legends. But there was always one caveat. She only ever told these tales from the perspective of the women: Genesis from the point of view of Eve, The Mahabharata through Amba. ‘She said, “most of the myths are written by men, so it’s a patriarchal perspective. We need to change that, Akram.” That’s what I’ve been trying to do all these years.’

When it came to recasting Mowgli as a young South East Asian girl, Khan also had the encouragement of his daughter. ‘I said, “OK, I think that’s a brilliant idea”. And then I realised my daughter was secretly trying to get herself the part. Then she started putting conditions on me like, “papa, I only rehearse two hours a day because I have schoolwork.” And I was like, “I haven’t even accepted you into the production.” And she said, “papa, I also want my name credited for giving you the idea”.’

In the current climate, where not only the planet is under threat but human rights too (particularly those of women), was it hard for Khan to create a work with an ultimate message of hope? ‘When you choose to come and listen to a story, it already means you have hope. Otherwise you wouldn’t come. When an artist chooses to tell a story, by default, that means you have hope.’

HOME TRUTHS

Multi award-winning, multicultural and multigenerational, Counting And Cracking is a monumental story of family and hardship. Its creator S Shakthidharan tells Rachel Cronin how a quest to find out about his Sri Lankan heritage turned into a theatrical epic

Considering playwright S Shakthidharan’s Counting And Cracking took more than ten years to research, it’s hardly surprising the finished product clocks in at a hefty threeand-a-half hours. In this ambitious play, a Sri Lankan-Australian family’s generational trauma and secrets are revealed over the course of six decades, from 1956 to 2004.

‘What I would say is that it’s a work of fiction, but everything in it is true,’ says Shakthidharan. ‘It’s simultaneously the story of a family over four generations, and the story of Sri Lanka postindependence. But it’s not the history you read in books or might hear retold in the media. It’s about dozens of people who lived through it, and using the act of theatre to assemble a truer history of that time.’

His initial motive for researching Sri Lankan history was to find out more about his own heritage, which eventually turned into an eight-hour-long first draft of what would become Counting And Cracking.

‘It started with me trying to learn about my homeland, as I didn’t know a lot about it growing up,’ he continues. ‘My parents hadn’t talked to me about it. And I used the play to kind of find out. And what emerged was a picture of a very united and diverse country.’ Directed by Eamon Flack, the play is not only astounding for its layers of cultural history told through the lens of an individual family; it’s also the first of its kind for Australian theatre in that it features 19 performers from six different countries, including India, Malaysia, New Zealand and France, as well as Sri Lanka and Australia.

‘It’s about kind of knowing that the people you pass by on the street (particularly in multicultural countries) have this immense heart and wisdom in them,’ Shakthidharan explains. ‘I remember an audience member in Australia saying after the show that they would never look at the lady sitting at the bus stop in the same way again.’

Reflecting on the significance of having his production appearing in Edinburgh, he says: ‘It’s amazing that a Sri Lankan-Australian story can be shown at Edinburgh International Festival for a global audience. It’s a very personal story for me and the Sri Lankan community, and I love that it can be on the world stage.’

Counting And Cracking, Lyceum Theatre, 8–13 August, 7pm; 11, 13 & 14 August, 1pm.

After innovating new ways of enjoying socially distanced live performance last August, Edinburgh International Festival makes an epic return to the city’s signature venues

HERBIE HANCOCK

One of modern music’s finest contributors is making his International Festival debut this year. Hancock hits the keys in style as he plays iconic compositions like ‘Chameleon’ and ‘Watermelon Man’ with an all-star band in Edinburgh’s largest seated theatre. n Edinburgh Playhouse, 7 August, 8pm.

AS BRITISH AS A WATERMELON

Aptly featuring watermelon in its title, this show written and performed by Zimbabwean artist mandla rae is part of the festival’s Refuge strand and explores topics of reclamation, identity and asylum through poetic monologues. n The Studio, 23–26 August, 8pm.

RUSALKA

Dvorák’s operatic masterpiece closely resembles the story of Hans Christian Andersen’s The Little Mermaid as a watersprite falls in love with a human prince. The mystical fable is brought to life by London’s Philharmonia Orchestra, Douglas Boyd and Garsington Opera. n Festival Theatre, 6–9 August, 7.15pm.

AROOJ AFTAB

Filling Leith Theatre with her captivating voice and Urdu lyrics is this Brooklyn-based musician and composer. Known for bringing Sufi music into the contemporary moment, Aftab won the first ever Best Global Music Performance Grammy this year for her song ‘Mohabbat’. n Leith Theatre, 21 August, 8pm.

COPPÉLIA

Together with Scottish Ballet, choreographing duo Jessica Wright and Morgann Runacre-Temple bring this classic work into the digital age, using an innovative blend of film, live dance and theatre. n Festival Theatre, 14–16 August, 7.30pm, 16 August, 2.30pm.

PICTURE: PETER DIBDIN INTERNATIONAL HIGHLIGHTS

MEDEA

National Theatre Of Scotland presents Liz Lochhead’s acclaimed adaptation of Medea, first performed in Glasgow in 2000. The reimagined version of this Greek tragedy is directed by Michael Boyd and stars Adura Onashile in the leading role. n The Hub, 10–28 August, times vary.

UKRAINIAN FREEDOM ORCHESTRA

Assembled by New York’s Metropolitan Opera and the Polish National Opera, the orchestra will perform a free concert featuring works by Chopin, Verdi and Ukrainian composer Silvestrov. n Usher Hall, 6 August, 2pm.

PICTURE: JULIAN GUIDERA PICTURE: BENJAMIN LIDDELL

EDINBURGH JAZZ & BLUES FESTIVAL 15–24 JULY JAZZ

TOM MCGUIRE & THE BRASSHOLES

Bringing their high-octane tunes to Edinburgh Jazz & Blues Festival are Glaswegian funk and soul outfit Tom McGuire & The Brassholes. The eight-piece, who went from busking on the streets of Glasgow to opening for the likes of Nile Rodgers & CHIC, George Clinton and Craig Charles, amassed a following with their 2019 single ‘Ric Flair’ before swiftly following it up with a self-titled album. Now with a few new releases under their belts, this group is sure to deliver an electrifying performance full of manic rhythms and heartfelt vocals. (Megan Merino) n George Square Spiegeltent, 15 July, 10.30pm.

CHANGING IT UP

Saxophonist Nubya Garcia is distinguishing herself as a leading name in UK jazz. Megan Merino fi nds out what audiences can expect from a musician who is not afraid to experiment both on and off stage

Within London’s blossoming jazz scene, tenor saxophonist Nubya Garcia is a creative force. From playing in a trio with Theon Cross (Sons Of Kemet) and regularly collaborating with Ezra Collective (lead by Gorillaz’ live band drummer Femi Koleoso), to releasing her Mercurynominated debut album Source in 2020, Garcia’s identifiably rich tone is central to the recent evolution of UK jazz. Her debut album’s release may have coincided with a global pandemic, but having recently arrived back on UK soil after touring the US with psych funk trio Khruangbin (just in time to make her Glastonbury set), Garcia is finally able to play the record live.

‘The core meaning of the songs have not changed,’ she explains, ‘but the arrangements and structure change at every show.’ Her regular band, made up of Joe Armon-Jones on keys, Sam Jones on drums and Daniel Casimir on double bass, are a tight group of musicians consistently able to maintain dynamism on stage. ‘We stay engaged by continuously challenging each other musically and never playing a song the same way twice,’ states Garcia. ‘Each one brings 100% to what they do and contribute enormously to the music. I think “wow” all the time when I hear them.’

As someone who spends a lot of time playing with other musicians, what does Garcia look for in a collaborator? ‘Someone who isn’t afraid to explore melding genres. Someone who can listen and is open to new ideas that might seem left of centre.’ It may come as no surprise, then, that Garcia’s music is a unique blend of grooves and textures that fuse American jazz with Afro-Caribbean and Latin rhythms, something she attributes partially to her Guyanese heritage.

‘Having South American roots I am heavily influenced by Latin sounds. I also spent some time in Colombia just before lockdown, where I first met multi-instrumentalist Diana San Miguel of La Perla, a young trio celebrating the nation’s traditional music. I soaked up the sounds of Cali and Bogotá and stayed with celebrated cantora Nidia Góngora, a custodian of Afro-Colombian music and culture. That’s where “La Cumbia Me Está Llamando” was recorded.’ That song, featuring La Perla, translates to ‘La Cumbia (a traditional Colombian dance) Is Calling Me’.

Garcia frequently writes with a deep level of introspection on topics of identity, as witnessed in tracks like ‘Inner Game’ (also on Source). Explaining the story behind that song, she says, ‘it’s about the psychology of music and creativity, and takes its cue from books The Inner Game Of Tennis and The Inner Game Of Music, which focus on overcoming nervousness and self-doubt. Most musicians will be fighting themselves at some point. I’ve definitely fought myself and somewhat come out the other side. [The song] is about that inner push and pull inside yourself that nobody can see but plays out in so many things that you do, whether you’re aware of it or not.’

CHANGING IT UP

Garcia first picked up the tenor saxophone at ten years old. ‘I was drawn to the distinctive sound it made. Then Dexter Gordon became one of my huge influences in my teens.’ Also citing Alice Coltrane, Herbie Hancock and McCoy Tyner as her favourite jazz artists (‘there are too many to mention’), Garcia displays a strong respect and admiration for the greats that came before her. But a lesson she tries to pass on to aspiring musicians is ‘not to box yourself into a genre; or maybe what others define jazz to be.’ She promises her Edinburgh performance will be ‘dynamic, surprising and fun’, and we’re certain she’ll practise what she preaches, bringing an audience powerful compositions, classic musicianship and cross-genre flare.

Nubya Garcia, George Square Spiegeltent, 21 July, 9.30pm.

Edinburgh49

Photo © 2022 Brighton Studio; Illustration © 2022 Lisa Smith Fringe favourites Theatre Fideri Fidera are back with a hilarious reimagining of the legend of Swiss folk hero Wilhelm Tell

Perfect Summer holiday fun!

12:00

3 - 21 AUG 2022

(Not 10/17) (60 miNs)

Scat

Fresh faces

Stewart Smith highlights five emerging artists who encapsulate the thriving UK jazz scene

woman

Anoushka Nanguy

Ahead of her debut festival performance, Iain Leggat gets to know 2021 Scottish Jazz Awards Best Vocalist, Marianne McGregor

Scotland’s jazz scene is currently having a bit of a moment, with stars from the next generation continually giving the genre a new lease of life. Marianne McGregor is one such talent and is using her vocal skills to give the classics a contemporary twist. Self-described as ‘rooted in old jazz, with vocals influenced by pop and R&B’, the young singer will be one of the opening acts of the Edinburgh Jazz & Blues Festival. A worthy reward after being crowned Best Vocalist at last year’s Scottish Jazz Awards.

Joining McGregor on stage are Scottish powerhouse duo Colin Steele on trumpet and Brian Kellock on piano, experienced jazzers who the singer believes are key parts of why Scottish jazz is buzzing right now. ‘It’s down to this mix of younger musicians moving within areas of the genre coupled with established players who play more traditional jazz.’

Performing original tracks from her debut self-written album Good Morning Warning, sprinkled with iconic jazz standards, McGregor’s trademark is her thrilling improvising, a skill that gave her an entry point into the genre. ‘When I was a kid, my mum would be playing records and I would be scat singing,’ McGregor recalls. ‘I didn’t even know what that was and now it’s a big part of what I do.’

FERGUS MCCREADIE LARGE ENSEMBLE

The pianist known for wowing audiences with his lyrical and fiery Celtic jazz convenes a large ensemble to expand his folk-tinged compositions. Expect fireworks. Assembly Hall, 16 July, 7.30pm.

XHOSA COLE QUARTET

Tenor saxophonist and 2018’s BBC Young Musician Of The Year, Cole is on a hot streak following the 2021 release of K(no)w Them, K(no)w Us, a wicked blend of spicy post-bop and ingenious composition. Piccolo, 16 July, 8.30pm.

NOUSHY 4TET

Described by Soweto Kinch as ‘amazing’, trombonist and singer Anoushka Nanguy scooped the Rising Star Award at 2021’s Scottish Jazz Awards. She performs with her quartet: guitarist James Mackay, bassist Ewan Hastie and drummer Peru Eizagirre. The Jazz Bar, 17 July, 6pm.

AKU!

Featuring Harry Weir’s hearty saxophone, Liam Shortall’s sinuous trombone and Graham Costello’s dynamic drumming, AKU! specialise in meaty riffs and powerful rhythms. Their occasional detours into cosmic jazz and moody noir are imbued with a distinctly Glaswegian energy. The Jazz Bar, 19 July, 9pm.

KITTI

Winner of Best Vocalist at the 2020 Scottish Jazz Awards, Kitti’s smoky voice has a strong underpinning of 1960s soul and has earned comparisons to Amy Winehouse and Erykah Badu. Assembly Roxy, 21 July, 8.30pm.