The List Issue 774

GOING OUT

STUDENT GUIDE

CATHIE BOYD ON CRYPTIC’S NEXT 30 YEARS

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The important thing is to stay curious

If you remember the 60s, you really weren’t there. That’s how that hoary old chestnut goes, right? But what if the spirit of that decade is being reinvented by a brand new school of psychedelia-tinged artists and performers who also bring a contemporary sheen to the kaleidoscopic table? Ahead of the inaugural Edinburgh Psych Fest at Summerhall, we take a look back at some of those key players and moments (both good and terrible) in the original psych movement and consider the people who might be following in their (slightly wayward) footsteps.

If you’re feeling a little bit dizzy from all that front-cover trippyness (we think our covers are pretty good, but even we don’t think they would alter your mind . . . or do we?) who better to crash us straight back to earth than Ken Loach. The ultra-realist director and chronicler of working-class despair and hope ever since, yes that’s right, the 1960s, chats to us about his final-ever film (unless this is Status Quo ‘farewell tour’ territory and he ends up continuing to churn them out into his 90s).

Among our other interviewees are two innovative choreographers: Matthew Bourne, who is recalibrating Shakespeare’s famous story of star-crossed lovers, and Dickson Mbi, who is bringing a fresh hip-hop injection into the Scottish Ballet canon. We also chat to Danny Robins about scaring people in the theatre, Doon Mackichan about the misogyny she’s experienced in her career, and Devendra Banhart about taking a totally different musical direction (and he tells us who previously owned his fabulous new dress).

There are anniversaries to be marked such as Fischy Music’s 25th and Cryptic’s 30th while we look over the horizon and find out some of the plans afoot at Edinburgh Futures Institute. Talking of the future, we’ve produced another Student Guide which we hope will help ease those often tricky first days and weeks of student life as another generation embark on a hopefully very rewarding chapter. But remember, it’s not all about cracking the books, so get out and see some reasonably priced live entertainment.

Brian Donaldson EDITOR

CONTRIBUTORS

PUBLISHING

CEO

Sheri Friers

Editor

Brian Donaldson

Student Guide Editors

Megan Merino

Rachel Cronin

Art Director

Seonaid Rafferty

Sub Editors

Paul McLean

Megan Merino

Designer

Carys Tennant

Writers

Brian Donaldson, Carol Main, Claire Sawers, Claire Stuart, Craig McLean, Danny Munro, David Kirkwood, Dom Czapski, Donald Reid, Emma Simmonds, Fiona Shepherd, Greg Thomas, James Mottram, Jay Thundercliffe, Jessica Matthewson, Jo Laidlaw, Kelly Apter, Kevin Fullerton, Lucy Ribchester, Lynsey May, Marcas Mac an Tuairneir, Megan Merino, Murray Robertson, Neil Cooper, Paul Dale, Paul McLean, Peter Ross, Rachel Ashenden, Rachel Cronin, Robin Hodge, Sean Greenhorn, Stephen Fischbacher, Suzy Pope

Social Media and Content Editor

Megan Merino

Senior Business Development Manager

Jayne Atkinson

Online News Editor Kevin Fullerton

Media Sales Executive Ewan Wood

Digital Operations & Events Manager Leah Bauer

Events Assistant Eve Johnston

Editorial Assistant Jessica Matthewson

BILLIE ZANGEWA

PICTURE: SHERVIN LAINEZ

front

mouthpiece

As his organisation celebrates its 25th anniversary with a series of live shows, Stephen Fischbacher, founder of Scottish children’s charity Fischy Music, argues that thousands of young ones have found strength through singing their simple songs

For the last 25 years, Fischy Music songs have been sung by hundreds of thousands of children and adults across the world. Songs like ‘Build Up’, ‘You Are A Star’ and ‘Stronger’ are assembly anthems in many primary schools. It’s great to know that our songs are loved by so many children but, more importantly, what effect (if any) are they having on their wellbeing and resilience?

Fischy Music’s mission statement is ‘supporting the health and wellbeing of children through the transformative power of songs.’ Here is a story of Emma’s encounter with a Fischy Music song. Emma was born with some serious physical disabilities and throughout her school life she was made fun of for the way she looked by some children in her school. She would regularly come home in tears with cruel words said to her by other children ringing in her ears. When Emma returned from school, her mum would often play the song ‘You Are A Star’ with its line ‘you are a star/just the way you are’. Gradually these words started to be more dominant

In this series of articles, we turn the focus back on ourselves by asking folk at The List about cultural artefacts that touch their heart and soul. This time around, Sean Greenhorn tells us which things . . .

Made me cry: Discounting the multiple injuries I seem to have given myself in recent years cycling around Edinburgh, the last piece of culture which really moved me to tears was Russell T Davies’ It’s A Sin. It was an absolute masterful piece of television. Although you could probably guess the ending, the emotional journey to get there was no less heart-wrenching.

Made me angry: The way that boys and young men are being manipulated by these toxic online presences. It feels like your Petersons, Tates, and even the free-speech advocates that platform them, are all making money from centuries of emotional repression, radicalising young men in the process.

Made me laugh: After being burnt with stand-up as a student, I have found myself really getting into it in recent years. I have loved seeing Patti Harrison become a fixture at the Edinburgh Fringe. I love her sketches so much in I Think You Should Leave With Tim Robinson, so it is a delight to see her in person.

Made me think: I am currently obsessed with reading about AI, specifically what it means for creativity. There is a huge cultural shift approaching and I am really keen to get ahead of it rather than be left in its wake. I also just find the possibilities, and dangers, fascinating.

Made me think twice: Now I am constantly questioning if things are, or could be, made using AI (but not my reviews for The List, of course).

than the hurtful and damaging words she had heard in the playground. Emma still has her tough days but she is adamant that this song significantly helped her change her mindset on how she felt about herself and made her more resilient in the face of big challenges.

Over the last quarter of a century, we have heard many other stories of children who have been able to express a wide range of emotions through singing and listening to Fischy Music songs. Recently we did some research into the long-term impact of our music on children’s wellbeing, with 350 young adults who had experienced Fischy Music as a child. Many of those surveyed spoke about the ways that the songs had not just supported them emotionally when they were children, but also as adults, helping them feel good about themselves and making them stronger.

 Fischy Live 25, Glasgow Royal Concert Hall, Saturday 16 September; Queen’s Hall, Edinburgh, Sunday 24 September, fischy.com

playLIST

After a few months of busy Festival-filled fun, we are back to regular proceedings, as reflected in the more timely sounds of this issue. Listen to Mercury-nominated artists Young Fathers and Jockstrap, as well as new releases from Nation Of Language, Protection and Roisin Murphy, among many others.

Scan and listen as you read:

head head2

MEGAN

Who should win: This year’s shortlist contains multiple albums that I own and love (special shout outs to Ezra Collective’s Where I’m Meant To Be and Jessie Ware’s That! Feels Good! for soundtracking many solo dance parties).

However, one stands out as a particularly innovative and boundary-pushing body of work and that is Jockstrap’s I Love You

Jennifer B

Together, Georgia Ellery and Taylor Skye successfully combine delicate melodies and poetic lyricism with otherworldly production to create a meandering, textured and cinematic record that’s completely singular in its sound. Its 11 tracks showcase range while maintaining real sonic cohesion, and as if all that isn’t enough, one of the songs is titled ‘Glasgow’. Truly what more could you ask of them?!

Who will win: Probs Fred again.. and his pseudo-spiritual, wishywashy dance songs on Actual Life 3. I’m going to get into trouble for writing that, aren’t I?

from the archive

We look through The List’s 38-year back catalogue to see what was making headlines this month in decades gone by

This trip in our List-shaped time machine takes us back to September 1989 when Daniel Day-Lewis was about to star in his ‘favourite film to date’, My Left Foot. Interviewed by Richard Mayne for our cover feature, Day-Lewis speaks of his immediate infatuation with the film’s script and those famous method techniques. We also spoke to an animated John Sessions as he began his run as Napoleon at Tramway, and chatted with newly turned author Frank Zappa for, appropriately enough, The Real Frank Zappa Book

 Head to archive.list.co.uk to read our past issues.

We sit Megan Merino and Kevin Fullerton down in front of a contentious bit of current culture and ask them to write about it straight from the heart. This month, the duelling duo throw their toys out of the pram over who should (and who will) win 2023’s Mercury Prize on 7 September

KEVIN

Who should win: I heaped five-star praise on Young Fathers’ Heavy Heavy in our February issue, and my heart has only grown fonder towards their fourth LP since then. It’s a sugar rush of an album which is both a culmination of their trademark sound and a brave voyage into new directions.

The sheer force of its spirit and ingenuity should put it in line for every award this year, but the fact that it’s won them a raft of new fans simply shows that this is a band people are finally catching up with.

After years of being ahead of the curve, Young Fathers have transitioned from critical darlings to audience favourites. They’ve done so not by diluting their sound in any way, but by attacking it from a brand new angle, adding shimmers of light to their chaotic brew.

Who will win: Arctic Monkeys’ The Car: The Mercury grow weakkneed at Alex Turner for seemingly every record he’s involved with. Let’s not be surprised if the same happens this year.

Experience Jurassic Park as never before, projected on the big screen in HD with the Royal Scottish National Orchestra performing John Williams’ iconic score live.

FRI 29 SEP 2023

USHER HALL, EDINBURGH

SAT 30 SEP 2023

GLASGOW ROYAL CONCERT HALL

fReE yOuR mInD

As Summerhall gears up to host the inaugural Edinburgh Psych Festival, Paul Dale steps back into 60s subculture for a dive into the complex history and legacy of psychedelia

It’s 2002 and Arthur Lee has just dropped the phone on me. A thud is followed by silence. Thirty seconds on and his PR person comes on the line. ‘Oh hi, Arthur just wanted to make sure you’re not going to ask him any questions about his prison sentence or the charges?’ Mildly affronted, I’d like to think I said something like: ‘Arthur’s a psychedelic rock god, I’ve waited half my life to come close to touching his psilocybin-coated hem. Why the hell would I want to talk to him about the false, jumped-up charges for which he’s just spent five and a half years in the clink? This is the diseased legacy of President Clinton’s racist, pathetic, three-strikesand-you’re-out justice policy!’ But I think my answer was less prosaic than that. Back on the line, Lee gushed about the recent CD reissue of Love’s 1967 album Forever Changes, featuring a ton of extras. He detailed the Memphis to Los Angeles musician-drift that cemented the creation of Love around his old school pal Johnny Echols and others: ‘this guy was playing with Billy Preston in his teens and hanging out with composer Clarence McDonald. I was panhandling to set up a rock group. Yeah, I wanted to play with him.’

PSYCHEDELIA

Starstruck, gauche and no doubt hungover, I failed to make the most out of my 25-minute chat with the visionary leader of my favourite psych band, but Lee, at least, was revealing when it came to labels. I asked him the ‘musical legacy’ question beloved of this half-wit arts journalist at the time but clumsily tried to specify it within the psychedelic canon. He coughed lightly and then decided not to answer my question. ‘Man, I’m not a psychedelic artist; we played rock, folk, pop, even what we thought was classical or baroque music. On Reel To Real [1974 Love album] we even had a country track. Psychedelia isn’t a genre; it’s much bigger than that. It was the times, man. Yeah, we did our fair share of acid and other stuff, but you could ask a brother for the shirt off his back and he’d hand it to you. I wore one shoe for a year because this dude gave it to me. I was hoping for a pair but the other never came. That shoe became my expression. Politics, war, art, music, the vibe of that brief era changed everything.’ Within four years, Lee was dead from complications with leukaemia. His genius and truth went with him. Definitions of cultural phenomena are strange transitory beasts and psychedelia may be the hardest to define of all. Like the memoirs of anthropological hoaxer Carlos Castaneda, its story is an improbable stumble through longing, healing, medicine, shamanism and sorcery. Born of a social consciousness movement, psychedelia was defined by a commitment to civil rights, anti-war protests, flirtations with Marxism, eastern spirituality, and legalisation of recreational drugs, all underwritten by a post-war population boost resulting in a more empowered youth culture. It was an ether of positive dissonance and change.

Les Paul and Robert Moog’s instrumental advances gave it a soundtrack. Jimi Hendrix, The Beatles, The Rolling Stones, Janis Joplin, The Byrds, Cream, Jefferson Airplane, The Doors and, most crucially, Grateful Dead and The 13th Floor Elevators, went down the psyche rabbit hole, each emerging at far-out fields but unified in collective ambition and hope. But by 1969 the game was up. LSD was illegal, the Manson Family had killed Sharon Tate and Rosemary LaBianca (and others) to the proto heavy metal beats of The Beatles’ ‘Helter Skelter’ while teenager Meredith Hunter was stabbed to death in plain sight by Hells Angels security guards at the Altamont Free Concert in California. As musician and writer Gary Lachman notes in his incredible opus The Dedalus Book Of The 1960s: Turn Off Your Mind, ‘if the Age Of Aquarius dawned in August 1969, by December and Altamont, the sun had set and left behind a dark night of the soul.’

Psych warriors: Arthur Lee (main page) and Jimi Hendrix; (right) a dozen trippy album covers

Culturally and sonically, psychedelia began to buckle and fragment after Altamont, as the death of the hippie dream was extolled. The writings of occultist Aleister Crowley and cinema of Kenneth Anger had their moment with the counterculture’s jaded youth. Psychedelic folk and rock shattered into multiple shards. Acid rock as exemplified by Cream, The Jeff Beck Group and Led Zeppelin tripped out their machismo brand of blues. Mutations into heavy and progressive rock followed courtesy of Black Sabbath, Deep Purple, Pink Floyd, ELP and others. This begat Krautrock, P-Funk, P-Soul, P-Trance, space rock, stoner rock, trip hop and so on, until we can now rejoice in the manic, off-kilter joys of psych supergroup Mantra Of The Cosmos or the Swiss psych-jazz of L’Eclair, the glorious goth weirdness of Heartworms, and the Sun-Ra-ish bounce of Takeshi’s Cashew.

To make sense of all this, I spoke to Dr Alex Coles, musical anthropologist and author of the remarkable Tainted Love: From Nina Simone To Kendrick Lamar and the forthcoming Crooner: Singing From The Heart From Sinatra To Nas. I asked if he could find the pulse and home of modern psych. After some thought he ruminated, ‘with the decentralisation and globalisation of culture, it’s no surprise to find that Laurel Canyon and Haight-Ashbury are no longer the hotbeds for psychedelia. Today’s psych festivals and bands are just as likely to turn up in Hungary or South Africa. With the shift from Love to a band like Elder, the speculative sonic explorations of the 60s becomes the mannered ambient grooves of today.’

What about those non-musical aspects of the movement? Dr Coles takes a breath in. ‘Strangely, the shift in the drug culture from LSD to OxyContin works in the opposite direction to these geopolitics; where once drugs were mind expanding, today they are about maintaining a constant mood.’ And here may just be the point to all this. For a brief period between 1966 and 1969, rational and materialistic world views were held at bay by what can possibly be called the ‘psych sensibility’: equal parts LSD, invocations to mysticism, social consciousness and music. Some of these things have survived the decades of delusion and decline, but greed, avarice, commercialism and populism have undoubtedly taken their toll. And yet the psyche wind still carries. Brother, sister: lend me your shoe.

Edinburgh Psych Fest, Summerhall, Sunday 3 September, edinburghpsychfest.com

Bed heads

are looking pretty shiny for shoegazers Bdrmm. The band’s Jordan Smith talks to Greg Thomas about humble beginnings, retaining creative control and their love for Mogwai

shoegaze revivalists Bdrmm, laughs as he recounts the various mispronunciations to which the four-piece has been subjected since breaking through with a 2020 debut LP called Bedroom

That was one of the best ones.’

The group is all set for Edinburgh Psych Fest: with a strong element of hypnotic krautrock in their sound (think Neu!, Can, Kraftwerk) they certainly fit the bill. But Bdrmm are channelling a kaleidoscope of influences on top of that, from Ministry Of Sound trance to free jazz and grunge, not to mention the golden-era shoegaze with which they’re most readily associated: Slowdive, Pygmalion,

The Jesus And Mary Chain, and sometime tour mates Ride.

It all started, suitably enough, in a bedroom; specifically that of Jordan’s older brother Ryan. ‘He recorded the first two EPs on his iPhone and uploaded a couple of tracks to the BBC Introducing site. A

this band?”’ Joe Vickers (guitar and bass) and Conor Murray (drums) were recruited shortly afterwards. The group saw an example, Jordan says, in the many ‘bedroom pop’ projects that had broken through over the past decade or so, since the advent of cheap, portable, high-quality recording gear obviated the need for long sweaty nights in practice rooms and endless touring in order to get noticed. Signing to well-regarded one-man label Sonic Cathedral in 2019, they released a debut album the following year, mining a gamut of influences in a heart-on-sleeve fashion while capturing the dream-pop zeitgeist of the day.

More To See

at Edinburgh Psych Fest

COSMIC EYES AND THE COLLIDERS

‘The future leaders of your new cult’ is how this reverb-happy local garage/psych quintet have been dubbed. Their sound is best described as fuzzy. Most psych-titled song: take your pick from ‘Acid Nightmare (Yeah!)’, ‘Rainbow Pill Dreams’ and ‘The Minotaur’s Message’

NO WINDOWS

After meeting at school, Edinburgh duo Verity Slangen and Morgan Morris have gone on to plough a furrow of dreamy and distorted punk-pop. Having played one of their first gigs at Connect and opened at Sneaky Pete’s and King Tut’s, they’re now ready to break on through to the other side. Most psych-titled song: ‘Found Cassette’

HEARTWORMS

Essentially the moniker of Jojo Orme, Heartworms occupy the gothy post-punk corner of the psych market and have plenty of rage to offload in songs produced by Dan Carey, whose sound-booth fingerprints have previously been all over the work of Wet Leg and Fontaines DC. Most psych-titled song: quite low on such leanings so far, but ‘Retributions Of An Awful Life’ probably comes closest

THE KUNDALINI GENIE

Arriving in the capital all the way from the outer limits (Glasgow), this collective have been compared to early Ride and Catherine Wheel, and include transcendental sitar, droning hypno-rock and spacedout aural dimensions in their groovy knapsacks.

Most psych-titled song: ‘The Sky Is Falling (But The Stars Look Good On You)’

ULRIKA SPACEK

Almost a decade old, this bliss-grunge outfit (pictured) who are possibly named after a mix of the ScandiBritish tabloid-fodder TV personality of yore, and the actress who was Carrie, recently returned with their first album in six years. They continue to do wonders for anyone who still believes in the power of guitars.

Most psych-titled song: ‘Strawberry Glue’ from the album entitled The Album Paranoia

our best interests at heart, and want to keep us at the centre of things creatively.’

After rave reviews, various majors started circling. But the group felt the threat of creative control slipping away. Into the breach stepped post-rock stalwarts Mogwai, who offered a spot on their ethically driven label Rock Action after choosing Bdrmm as tour support in 2022. ‘There’s a reason that group is so well thought of in the industry. The way they treated everyone involved on that tour was amazing; and we became such good friends that they decided to sign us, which has been a fairytale. We’re still really naïve about how the music industry works, but the people at that label have our best interests at heart, and want to keep us at the centre of things creatively.’

The first fruits of that Rock Action adventure can be tasted on sophomore effort earlier this year: a trancier, dancier proposition than its predecessor. Opener ‘Alps’ nods to Aphex Twin with its woozy electronic drumbeats, before a treble-heavy bassline reminiscent of era Radiohead takes over. With its Thom Yorke-ish lyrics on consumer-age paranoia (‘meaningless distractions / no place to run away / the shadows standing tall / surrounded by despair’), it sets the tone for a record that is as lyrically earnest as it is musically omnivorous, covering themes from romantic break-up to mental-health struggles, while shifting from EDM to MBV at the shiver of a cymbal.

reminiscent by a trek around the UK. They’re all still working at day-jobs and courses (the same technology that groups

Bdrmm are working on a new album and have a European tour coming up in the autumn, followed by a trek around the UK. They’re all still working at day-jobs and courses (the same technology that gave them their break is making it hard for groups to stay afloat, even with 320,000 Spotify followers) but the future is rosy. ‘To have that many people listening to our music, to see the same people coming to shows over and over again . . . that’s what makes it worth it.’

Bdrmm play Edinburgh Psych Fest, Summerhall, Sunday 3 September.

The long goodbye

He’s the standard bearer for social realism in the British film industry, with two Palme d’Or wins and multiple other honours to his name.

But, asks James Mottram, is director Ken Loach’s latest release really his final bow?

Back when Ken Loach made 2014’s Jimmy’s Hall, rumours circulated that it would be the veteran British director’s last film. Instead, he came roaring back with his Cannes-winning I, Daniel Blake and a heart-breaking look at the gig economy, Sorry We Missed You, two films set in England’s north-east. He returns to the region for his new movie, The Old Oak, completing an unofficial trilogy; and what is, this time, almost certainly his final feature film. It was, he says, a case of unfinished business.

‘Our thread through all the things Paul [Laverty, screenwriter] and I have done, has been work and how work has changed,’ explains Loach, when we meet in a modest hotel room during the Cannes Film Festival. Due to the demands of capitalism, he argues, ‘there’s a constant pressure to increase the exploitation of labour. That means insecurity at work. It means the end of the eight-hour day. It means the end of the sustainable wage. Not only that, but also there are whole areas where old industries are gone.’

Set around the titular crumbling pub, The Old Oak is the perfect microcosm, taking place in a ravaged former mining community, all but ignored by Westminster. It also happens to be the place where Syrian refugees are dumped by an uncaring British government, causing consternation among locals who feel their own needs are being overlooked. Loach’s deep-seated humanity extends here to those displaced around the globe: ‘people who are left with a need to leave their countries for their own safety’

In spite of all this, this is one of Loach’s more hopeful films, as The Old Oak landlord TJ (Dave Turner) befriends refugee Yara (Ebla Mari), a friendship that blossoms as they resolve to bring locals and Syrians together and find comfort in the idea of community. After rejecting the racist regulars in his pub who want the Syrians shipped out, he opens up his bar’s backroom to help feed those in need; a solidarity, he says, that stemmed from the traditions of the miners.

‘It’s very much that we support each other; and there’s a strength in that,’ says Loach. ‘Once they get to see each other, they sit alongside each other and laugh. That’s the hope in the film. We have that within us. You’re in trouble, I’ll give you a hand; I’m in trouble, you’ll pull me up. That’s waiting to be expressed. It’s what we hope.’ It is, of course, something that’s at the core of Loach’s socialist beliefs. ‘We only win if we’re a collective,’ he adds. ‘We can’t win as individuals.’

It’s been this way for Loach ever since the mid-1960s when his early, angry works like Cathy Come Home and Poor Cow exposed uncaring aspects of British society. At that time, Loach was heavily influenced by the new left-wing, anti-Stalinist, anti-Washington movements. ‘As your idea of politics was formed, your idea of cinema was formed,’ he notes. While he’s been a frequent target of the right-wing British press, he’s never been swayed from his staunch beliefs.

His work has often turned the spotlight on deprived areas of the UK, though it wasn’t until he met Glasgow-born Laverty (when they made 1996’s Carla’s Song with Robert Carlyle) that he found such a like-minded creative partner. Since then, Loach’s career has seen him elevated from well-respected to one of world cinema’s finest, with films such as alcoholism drama My Name Is Joe and Irish War Of Independence tale, The Wind That Shakes The Barley, which won Loach his first (long overdue) Palme d’Or, the top prize at Cannes. Still, the question remains whether The Old Oak will be Loach’s last feature. He turned 87 in June, and the idea of fronting another production feels like a mountain too far. ‘I can’t see myself getting around the course again. It’s quite demanding. I mean, we only shoot for six weeks, but it’s keeping the emotional energy going.’ Physically, it’s beginning to take its toll, he admits. ‘Just the normal things you do . . . when you get really old, they just get harder to deal with. I think it’s going to be difficult. Maybe a little documentary.’ Then he pauses. ‘I’d love to do another feature . . . I mean, who wouldn’t?’

Top 5

James Mottram chooses the best movies from Ken Loach’s long and illustrious career

KES (1969)

The BAFTA-winning film, about a boy caring for his pet kestrel, that put Loach on the map. With a first-rate cast including the likes of Brian Glover and Colin Welland, the director’s ability to empathise with working-class characters was writ large in this sensitive portrait of youth. Much imitated, but never bettered.

RAINING STONES (1993)

Humour, sometimes in the bleakest moments, has been a defining characteristic of Loach’s films. Witness this tale, starring Bruce Jones as Bob, trying to raise enough money to buy his daughter a first communion dress in the midst of unemployment-hit Britain. From stealing sheep to nicking sod, it’s both sweet and sour.

SWEET SIXTEEN (2002)

Loach has always been marvellous at introducing actors to the world. Here, a young Martin Compston plays Liam (pictured), a Scottish teen trying to support his mother as she comes home after a spell in prison. A hardhitting but desperately truthful drama perfectly portraying a society rife with drugs and violence.

THE WIND THAT SHAKES THE BARLEY (2006)

Loach previously tackled the Spanish Civil War (in 1995’s Land And Freedom), but here turned his eye to the Irish War Of Independence. Winning Loach his first Cannes Palme d’Or, it featured Cillian Murphy as an idealistic medical student who joins his brother to fight for the Irish Republican Army.

I, DANIEL BLAKE (2016) Loach’s second Palme d’Or win came for his powerful look at below-the-line poverty in England’s north-east. Dave Johns is superb as the carpenter fighting to get his benefits when he can’t work, but for pure heart-wrenching agony, the scene at the food bank with Hayley Squires’ mum just kills you.

The Old Oak is in cinemas from Friday 29 September.

ENIGMA

Cryptic has been a major force on the Scottish creative landscape for 30 years now. As the company marks this major milestone, founder Cathie Boyd talks to Neil Cooper about the importance of remaining curious and continuing to give a leg up to young artists at home and abroad

From top left, clockwise: Ahmed El Shaer, Tatsuru Arai, Robert Henke, muto major, Moritz Simon Geist

When Sonica Surge takes over Tramway and The Hidden Gardens in Glasgow for 48 hours this month, an intense feast of sound and vision will be an all-too-fitting way to celebrate the 30th birthday of Cryptic, the company behind this mini-festival. Since it was founded by artistic director Cathie Boyd (while still a student in Glasgow), Cryptic has become an ever-evolving, artistic shape-shifter that has moved from its roots as a leftfield music-theatre company into the delirious melange of sonic art that it is today.

The company’s early focus was on staging literary classics, including Françoise Sagan’s Bonjour Tristesse (1994); Molly Bloom’s rapturous soliloquy from James Joyce’s novel, Ulysses, in Parallel Lines (1996); and Virginia Woolf’s gender-bending novel, Orlando (2010). From the start, Cryptic’s mission has been to ‘ravish the senses’, with internationalism at its heart. This has seen it present more than 2000 artists to over 1.2 million people in 32 countries.

In 2009, the company founded Cryptic Nights, a platform designed to support emerging artists working in sonic art, and was followed in 2012 by Sonica, an annual festival of world-class sonic arts. Throughout, Cryptic has continued to commission major international work.

Sonica Surge is a bite-sized compendium, highlighting the likes of

Japanese artist Tatsuru Arai’s otherworldly sounds in Re-Solarization, Ahmed El Shaer’s radical re-imagining of 21st-century Islamic art in AI Heaven, and charming robot techno from Moritz Simon Geist’s Hard Times – Rough Sounds!. Also appearing will be Kyiv-based artist George Potopalsky (performing as ujif_notfound) who presents TER.RAIN, a comment on surveillance technology.

Closer to home, Scotland-based audio-visual duo, muto major (aka Nigerian-Scottish sound artist Samm Anga and digital visual artist Veronica Petukhov) present Waxen Figures, which uses sites of historical, spiritual significance in Scotland to explore how the country’s folkloric past interacts with the present.

Sonica Surge opens with the UK premiere of CBM 8032 AV, pioneering artist and musician Robert Henke’s fusion of art and engineering. CBM 8032 AV uses five 1980s Commodore computers to reanimate once cutting-edge visuals to create a retro-future construct that brings together analogue and digital in a mind-expanding audio-visual display.

These pieces and the rest of a packed line-up make up the first in a year of special Cryptic events that looks to the future as much as it reflects on the company’s past. ‘I’m absolutely thrilled we’re working with the artists we are at Sonica Surge,’ says a still-irrepressible Boyd over a shaky Zoom call. ‘Rather than deliver an 11-day festival across 11

PICTURE: RENZO MAZZOLINI

PICTURE: EAMONN MCGOLDRICK

PICTURE: RENZO MAZZOLINI

venues, the idea is we have little bursts of energy in one venue. It’s also about showcasing more Scottish talent than we’ve done before.’

This mix of global and local has been with Cryptic since the very start. ‘That’s because of Glasgow’s City Of Culture year,’ says Boyd. ‘I arrived in Glasgow from Belfast in 1990, originally to study at the Royal Conservatoire Of Scotland, and I didn’t even know what the City Of Culture was. Then I discovered Tramway, and all the international work that came there, like the Maly Theatre of Leningrad and Robert Lepage, and all that just changed my whole vision as a director.’

Boyd rcalls that seeing all those works and experiencing those companies from all over the world who were working with a visual language rather than a text-based one was a major factor in encouraging her to create Cryptic. ‘At that time, nobody was making the work I wanted to see. So I decided I wanted to do only one show a year, I wanted it to be with another country, I wanted it to work across art forms, and I wanted it to tour internationally. I was more interested in Europe than I was in London.’

Glasgow’s European outlook was also significant. ‘I feel really, really loyal to Scotland for the support it has given Cryptic over the years. We’ve had lots of different ideas, from deciding we didn’t just want to be a theatre company, but wanted to be a production company, and we were

supported with a lot of those ideas, and have been allowed to evolve and try out different things.’

For Boyd, Cryptic Nights remains a crucial part of that evolution. ‘Cryptic Nights was started during the first financial meltdown in 2009,’ she recalls, ‘so to see all these amazing artists like Rachel Maclean and Oliver Coates who we showcased at Cryptic Nights go on to do such great work is really nice. Supporting a younger generation of artists is really important. My big passion now is not just younger artists at home and in Europe, but helping artists from further away places who have less opportunity.’

She cites collaborations with artists from Egypt and South Korea in this respect, with Cryptic set to ravish the senses into the next decade and beyond. ‘I want to stay responsive and see where my travels take me,’ says Boyd. ‘I hope I can discover more artists who we can collaborate with and learn from. We also need to look at where technology is going. Areas of AI are very interesting, and we need to explore how we use that wisely. But where Cryptic goes beyond that, let’s see. The important thing is to stay curious.’

Sonica Surge, Tramway and The Hidden Gardens, Glasgow, Friday 29 & Saturday 30 September.

From far left, clockwise: Parallel Lines (1996), Bonjour Tristesse (1994), Aquasonic (2017), Electra (1999), Optical Identity (2007)

Doubling down

With his latest work kickstarting an exciting new Scottish Ballet venture, choreographer Dickson Mbi says he simply wants us to enjoy some cool dance. As he debuts Twice-Born, Mbi talks to Kelly Apter about going on a journey with his dancers and the challenge of creating the show’s score on his own

It seems fitting that the first work to come out of Scottish Ballet’s Next Generation campaign started with the birth of a baby. A five-year plan to bring in early-to-mid-career choreographers, designers, composers and filmmakers, the project will see ten new works created by 2028. First up, it’s London-based dance maker Dickson Mbi with his new piece, Twice-Born, which Scottish Ballet will tour as part of a double-bill this autumn alongside Cayetano Soto’s Schachmatt

Fitting squarely into the ‘mid’ rather than ‘early’ career status, Mbi is a renowned hip-hop dancer and choreographer, recently taking home the Outstanding Achievement In Dance trophy at the 2023 Olivier Awards. Having made short pieces for the Royal Ballet and Northern Ballet, he’s no stranger to classical companies, but Twice-Born is still a big departure for him. So he’s mining some major events in his life to meet the challenge.

‘With pretty much everything I do, a lot of it comes from personal experience,’ explains Mbi. ‘And then I try and express it in a way that connects to universal themes. My wife and I recently had a son, and that was such an epic experience. Then during covid, my wife’s grandma passed away, which was hard for us because she was such an integral part of our journey. And I started thinking about the role matriarchs play in our society and how important that is, but that sometimes we don’t acknowledge it until they’re gone.’ Mbi noticed that, without that pivotal female character holding the family together, people began to meet up less. At the same time, his awareness of his wife’s new role as a mother further fed into his appreciation of matriarchal figures.

‘I wanted to respond to how I felt about that personally, which is basically where the whole idea for Twice-Born came from,’ he says. ‘How a matriarch passes the baton to the next generation and who becomes the next one. My knowledge of ballet, with stories like Cinderella and Sleeping Beauty, tells me there’s always a man coming in to save the women. And I’ve always thought, “well, maybe she could save herself, mate”.’ In much the same way, Mbi doesn’t arrive at a dance company ready to tell them what to do. He can, if you need that, but this is not his preferred way of working, either with his own company or as a guest choreographer.

As well as the ballet companies mentioned, Mbi has worked with Russell Maliphant, Boy Blue Entertainment and a plethora of big names in the music industry, including Chvrches and Robbie Williams. So he’s had to become fluent in a range of movement languages. ‘I come from two specific worlds. I originally come from street dance and then I went to London Contemporary Dance School. I’ve also worked with a choreographer who spent a lot of time in ballet. So I’ve learnt a lot of that language and how to express myself and communicate. When I go into those spaces now, I have a better understanding of what’s expected of me and what I expect of the dancers. Some people just want to be told what to do, and I’m fine to do that. But some people want to go on a journey, which is what I love; that way we can find things together.’

Not only is Mbi choreographing the 50-minute piece, he’s also composed the score. It’s something he’s done several times in the past, but always with a co-composer, so this is yet another new departure for the multi-talented creator. ‘This was a big challenge for me and I really applaud Scottish Ballet for giving me the opportunity,’ he says. ‘Yes, I’m known, but I don’t think I’m an established choreographer yet. Particularly in the ballet world, I’ve not even scratched the surface of getting my name out there. So I’m really grateful for someone to have belief in me to be able to create this thing. But I also think it’s important to give the next generation of makers a platform and a voice, because if we don’t have these opportunities, we can’t grow.’

For that very reason, Scottish Ballet’s artistic director, Christopher Hampson, calls the Next Generation campaign a ‘pivotal moment’ in the company’s history. Known for his ability to create choreography that moves an audience, Mbi is a great first choice. He also knows how to show us a good time. ‘Twice-Born isn’t a narrative piece,’ he says. ‘It has a narrative for me personally, but I don’t really want anyone to understand it. I do want them to feel something though. And also to be able to enjoy some cool dance. I think sometimes we lose that when we try to be arty. We’re doing dance, mate, so let’s do a cool one so people can enjoy it.’

Scottish Ballet, Theatre Royal, Glasgow, Thursday 21–Saturday 23 September; Festival Theatre, Edinburgh, Friday 20 & Saturday 21 October.

JOHNNIE WALKER PRINCES STREET

If you are planning a trip to Edinburgh, make sure to add Johnnie Walker Princes Street to your must-visit list. Having earned the 2023 Icons of Whisky award for World Visitor Attraction of the Year, this five-star destination is brimming with exciting adventures waiting to be uncovered.

Journey of Flavour

You won’t want to miss the Journey of Flavour experience, famous for converting non whisky lovers. Embark on a highly immersive 90-minute sensory adventure complete with light shows and dramatic storytelling that unveils the incredible history and flavours of Johnnie Walker. You’ll also enjoy three whisky drinks finely tailored with flavours that suit your palate.

Whisky Makers’ Cellar

Whisky fans will adore the Whisky Makers’ Cellar tasting experiencean opportunity to enjoy a 90-minute guided tasting of exceptional whiskies, straight from the cask, including rare blends matured in Johnnie Walker Princes Street’s underground cellar. You also get to choose your final dram and have it blended before your eyes, creating a truly unique and personalised whisky experience.

Retail

Johnnie Walker Princes Street also boasts an incredible retail store filled with exotic and exclusive whiskies from the four corners of Scotland, including the popular Harris Tweed edition, the first whisky to be blended in the building. You can also grab some really cool branded merchandise or even fill and engrave your own Summer blend whisky, making it the perfect place to find a gift. Best part? You get 10% off if you book the Journey of Flavour experience.

BUTE YARD

This summer saw the opening of Bute Yard, a versatile food and drink events space and year-round producers’ hub in the heart of Rothesay on the Isle Of Bute.

Like the successful Bowhouse initiative at St Monans in Fife, the contemporary design of Bute Yard integrates a flexible covered market hall and courtyard with linked units housing the permanent home for Isle Of Bute Distillery, Bute Brew Co and its taproom, as well as the historic Isle Of Bute Smokehouse.

Monthly markets take place on the first Sunday of every month (10am–4pm), featuring all the permanent businesses along with a gathering of food and drink stalls from local and guest producers. Plus there are pop-up food vendors, links to various community initiatives, and local arts and crafts, including creatives from the Isle Of Bute Artists’ Collective. (Donald Reid)

n 61–67 High Street, Rothesay, Isle Of Bute, buteyard.com

eat drink shop

SUMMER JUST GOT TASTY

Easy does it

With the cost-of-living crisis, how we eat and drink on a night out is shifting shape. Laid-back dining, small plates and winecentric venues staying open later are the order of the day, says Suzy Pope

Remember when there used to be a multi-block queue outside Cosmo, the all-you-can-eat diner at Edinburgh’s Omni Centre? Dark times. Trends in portion size and plating have ebbed and flowed over the years, from classic a la carte menus to mighty burgers and the ill-advised fad of buffet dining. The latest trend sweeping Edinburgh and Glasgow is small plates, grazing platters, small pours and natural wines. It feels like every Michelinrecommended chef and award-winning restaurateur has opened a wine bar, swapping ten-course tasting menus for tapas-style small sharing plates and precision wine lists.

In July, the family team behind Michelin-starred Timberyard announced the opening of a new wine-forward venture in the capital this autumn. Montrose House in Abbeyhill will offer a dining room on the ground floor and a wine bar in the basement. They follow the likes of Dean Banks’ Dulse, Sam Yorke and Tomás Gormley’s Skua, and Roberta Hall-McCarron’s Eleanor in Edinburgh, plus Bar Brett in Glasgow. Seoridh Fraser from Skua says it is all down to a gap in the market: people in Edinburgh and Glasgow want a laid-back place to dine that stays open a bit later than the average restaurant.

It’s all about time too for Karly Zagorac, who gave up a career in teaching to open a wine bar in July last year. A Wee Taste on Leven Street in Edinburgh offers picture-perfect grazing boards that the American influencers of TikTok, who have just discovered ‘picky tea’, would go mad for. Zagorac wanted to counter the post-lockdown culture of time slots for dining, turfing folk out after their two hours are up, and turning tables around fast. ‘The food doesn’t get cold, so there’s no rush to eat it,’ she says. ‘With grazing boards, you’re encouraged to take your time, enjoy the wine and chat. You don’t wolf down a block of IJ Mellis cheese like you would a burger in a gastro pub.’ Of course, a famously high mark-up on wine takes off the pressure to turn that table around quickly, as long as the vino is flowing.

A Wee Taste only has eight wines on the menu. ‘I decided on a wine bar because I didn’t want to over-complicate things,’ Zagorac says. ‘A menu of grazing boards means there’s no need to hire a chef or kitchen porter. I can do it all single-handedly which keeps costs down and I want to pass that on to the customer.’ The most expensive bottle on the menu is a £37 Tasmanian champagne-style sparkling wine and it has only been ordered once. People don’t want to splash out, they just want something they can sip. While nursing a pint is bad pub etiquette, you’re encouraged to take your time in a wine bar.

During the cost-of-living crisis, going out looks different. People want to feel like they’ve got their money’s worth and maybe that’s not about heavy portion sizes and all-you-can-eat buffets. The people have spoken: they don’t want big plates, they just want more time.

A Wee Taste, 36 Leven Street, Edinburgh, aweetaste.co.uk

Karly Zagorac

street food

We choose a street and tell you where to eat. David Kirkwood heads west to Glasgow’s Hyndland Street where he tucks into guilty pleasures, artisan ice-cream and Italian deli delights

David Kirkwood reports on the latest news and openings with pasta on the up, a street-food dead heat and unfortunate casualties in Glasgow

It was a three-way tie at the top of the Scottish Street Food Awards this year, with Nepalese husband-and-wife outfit Choola, the Texan vibes of Fred’s Backyard Barbecue and Bia’s riffs on beloved Scottish and Irish flavours all sharing the top gong.

In Edinburgh, Asian eatery Pomelo Cafe has snagged a bigger space in the old Elliott’s site on Sciennes Road, and Gulp Ramen is now Mirin (and ramen is now ‘an ever-changing Asian snacks menu’), while after seven months in the making, Darcie Maher (formerly of The Palmerston) has had queues around the block every day since opening Lannan Bakery in Stockbridge. Near the university, Dizzy Izzy’s is a new bar from the 4042 team, with a rock’n’roll demeanour, smashed burgers and late opening, while down in Leith, Malones is up and running on Constitution Street and serving tank Tennent’s, if that’s your thing.

ZIQUE

This neck of the woods does not want for brunch options, but the window seats at Zique are one of the more pleasant vantage points to gaze out from as you enjoy your poached eggs. A small plates menu runs in the evening with nods to Spain, Greece and beyond (patatas bravas, lamb spanakopita, scallops with dukkah).

NOWITA

A street is really ticking over in gastro terms when it’s got its own artisan takeaway ice-cream shop. Husband-and-wife team Jamie and Jill Inkster use milk and cream from Ayrshire’s much-loved Mossgiel Farm to churn out flavours like chocolate caramel & peanut, or custard & jam sponge. And it’s open until 9pm.

PESCADO

A happy combination of fish restaurant, neighbourhood tapas bar and good-value option. There are punchy and generous small plates, like seabass in a buttery white wine sauce, or king prawns in pesto and pasta, alongside a fair spread of meat choices too. A ‘3 tapas for £17.95’ deal runs until 6pm every day.

PARTICK DUCK CLUB

‘Guilty pleasure’ food that’s posh and plush; and so are the surroundings. Brunch runs all day and West Enders sit outside grabbing a cocktail when it’s arguably too early to be doing so. Duck fat fries are a signature item, with elegant bistro plates and hearty vegetarian options like a halloumi and potato rosti barbecue burger.

CELINO’S

It just always seems to be busy at Celino’s, the restaurant at the foot of the road using top-drawer ingredients from their adjoining deli. As well as lots of classics, there’s a decadent pizza with burrata and San Daniele ham, or (on the lunch menu) the Celino’s Smorgasbord starter, a lucky dip of meats and cheeses from the deli that’s laughably good.

Jumping to Glasgow, with both restaurant and deli going great guns, Santa Lucia are opening a dedicated pasta place in the old Tony Macaroni’s on Byres Road. Pasta’s having a bit of a moment right now, but pizza’s not going down without a fight: Edinburgh’s Civerinos has been heading west for a while but their spot near Kelvingrove Park is almost, finally, upon us, and Caesar’s Pizza (most recently residing at McNeill’s in the Southside) has moved to its own unit in Cathcart on Clarkston Road. Still in the south, Charlie Brown’s (it’s a Kill Bill reference) is a new high-end cocktail bar tantalisingly located up the stairs off Victoria Road.

Sadly, there are closures too, and this month has hit hard: Bearsden’s much-loved Monadh Kitchen (a Bib Gourmand and List Best Newcomer) and Brian Maule’s Le Chardon d’Or have both closed with immediate effect, citing (inevitably) the cost of running a restaurant in the current economic climate as the reason.

side dishes

Charlie Brown’s

What’s On At One Square

From Pickering’s Social on the Square* to Champagne Brunch at the Brasserie, whether grabbing a drink with colleagues or catching up with friend at the weekend, there is something for everyone at One Square Bar + Brasserie.

Stylish and relaxed, enjoy signature menus, speciality cocktails and over 100 different gin varieties.

BOOK NOW AT WWW.ONESQUAREEDINBURGH.CO.UK

1 Festival Square, Edinburgh EH3 9SR

*Fortnightly on a Thursday 5pm – 8pm

BOOK NOW 0131 558 1947

10 Antigua Street, Edinburgh, EH1 3NH

RESTAURANT NON VIET BA

Glasgow’s Vietnamese restaurants can be counted on one hand; and three of those fingers now represent members of the Non Viet family. The group has expanded since impressing with their original Charing Cross operation, with Non Viet Hai (as in ‘two’) near Kelvinbridge, and now with number three, or Ba, noticeably dropping all animal products and declaring itself the vegan of the family.

The new place, close to Partick’s unofficial Chinatown, is compact, with restrained, tasteful decor (bicycles, flowers, lampshades) and a bamboo-clad tiny back bar, where efficient staff busy themselves with Vietnamese beers and a small cocktail list. In an era of QR menus, Ba’s hefty number feels oldschool, belying choices that are actually fairly light: essentially the meatless bits from the other venues’ menus. No bad thing: Non Viet’s cooking is dependable, fresh, vibrant and well executed. Same here at the new spot.

Most appetisers feature in the house platter, where excellent frying skills produce crispy spring rolls, Ha Long cakes of tofu with seaweed, and spicy salt and pepper tofu pieces. Fresher, rawer textures arrive with summer rolls, fragrant with herbs and dunked in rich peanut sauce, and addictive sweet-and-sour salad dotted with chillis and peanuts. It’s all enjoyable eating, if a wee bit pricey (some starters can feel like you’re paying for the seafood option but getting the vegetable).

Of the mains, benchmark Hue spicy noodle soup is an eyecatching riot of rice noodles, tofu, beansprouts and mushrooms, with plenty of flavour, pepped up with lemongrass, chillis, mint and lime. Coconut curry comes rich, creamy and nicely spiced, with tofu and sweet potato chunks dominating, while special fried rice, theatrically wrapped in a large leaf, is enhanced with homemade soy sauce and shredded salad. (Jay Thundercliffe) n 279 Dumbarton Road, Glasgow, nonviet.co.uk

RESTAURANT MOWGLI STREET FOOD

Former bank buildings give good bones; pair that with the Instaaesthetic of Mowgli Street Food’s founder Nisha Katona and you know this latest branch of the Mowgli empire (there are 17 across the country) is going to look great. And while this is clearly a polished opening from an experienced operator, there’s charm by the bucket-load too: the trademark swing seats, fairy lights and foliage all come together to fill a big space, split over two separate dining rooms.

Menu descriptions lean heavily on the home-style roots of each dish and deliver on the promise of bright, clean flavours. Yes, it’s small plates, everything comes out at the kitchen’s pace and there’s not quite enough table room; but go with the flow . . . and also with more than one other diner to avoid crippling order envy (unless you’re the sort who can put away a portion of the treacle tamarind fries and the fenugreek fries all by yourself; in which case, all power to you).

Dietary requirements are catered for confidently and clearly and, as in the best traditions of Indian cooking, the lack of meat in a dish like the comforting, complex and creamy holy chow (chickpea, potato and spinach curry) doesn’t even register. That said, meat-eaters won’t go wrong with the punchy chicken thighs of the angry bird, or the green chilli kick of the prawn curry. Drinks are fancy and this is a hugely likeable place, with more than enough pizazz to make it feel like Proper Night Out territory.

(Jo Laidlaw)

n 22 Hanover Street, Edinburgh, mowglistreetfood.com

Researched and compiled by The List’s food and drink team, our tipLISTs suggest the places worth knowing about around Edinburgh and Glasgow in different themes, categories and locations. This month we’ve been inspired by Doors Open Day to seek out those eating spots around town with compelling interiors (whether that’s art, architecture, design or heritage) with a reminder that the doors of these striking restaurants, cafés and bars are generally open all year round

Places with great interiors

tipLIST

Grab a bite near . . .

Edinburgh’s City Art Centre

EDINBURGH GLASGOW

CAFÉ ROYAL

19 West Register Street, caferoyaledinburgh.com

Café Royal has been in the same building since 1863, with claims to be Edinburgh’s oldest oyster bar. The bar’s ceramic tiles pay homage to inventors and engineers, while the dining room’s stained-glass windows depict Scottish pastimes as you dine on oysters and Arbroath smokies.

THE COLONNADES AT THE SIGNET LIBRARY

Signet Library, Parliament Square, thesignetlibrary.co.uk/colonnades

In the Signet Library’s former reading room, The Colonnades’ afternoon tea creates a sense of occasion amid towering shelves of gilded books. You still might see a librarian pop through to search the shelves as you enjoy dainty finger sandwiches, scones and patisserie.

THE DOME

14 George Street, thedomeedinburgh.com

Formerly headquarters of the Commercial Bank Of Scotland, the interior here is just as resplendent as the columns that adorn the exterior. The focal point is (you guessed it) the central dome, making this one of the most lavish spaces in Edinburgh for afternoon tea, cocktails or a bistro-style meal.

THE KING’S WARK

36 The Shore, Leith, thekingswarkpub.com

The King’s Wark’s history spans smugglers and royalty. Dating back to the 14th century, the building was originally designed as a storehouse and armoury for James I before taking a turn as a plague house and then wine merchant. Now, the pub is all about real ales and fresh seafood.

THE WITCHERY

352 Castlehill, Royal Mile, thewitchery.com

The Witchery restaurant is undeniably beautiful. Descending stone steps, enter a candle-lit interior of dark, carved wood and tables laid out like you’re at a medieval banquet. East Lothian lobster and aged Scottish beef tartare are highlights.

ART LOVER’S CAFÉ / SUGO /

MACKINTOSH AT THE WILLOW houseforanartlover.co.uk, sugopasta.co.uk, mackintoshatthewillow.com

Charles Rennie Mackintosh’s architectural works offer up a Mack-themed dining trail: breakfast at Bellahouston Park in House For An Art Lover; on to pasta specialist Sugo in the old Herald offices; finish with tea (or fizz) and cakes at the restored Willow Tea Rooms on Sauchiehall Street.

CAFE GANDOLFI

64 Albion Street, Merchant City, cafegandolfi.com

Iain Mackenzie brought a photographer’s eye to the interior when he opened this place in 1979. Glasgow School Of Art graduate Tim Stead created the furniture which still impresses today, while John Clark designed the two stained-glass panels.

ÒRAN MÓR

Top of Byres Road, oran-mor.co.uk

Art abounds in this converted church housing restaurants, bars and gig spaces, with Alasdair Gray’s epic ceiling mural towering above. Eclectic menus grounded in Scotland are served in the John Muir restaurant, the Fonn Mór wine bar, and among abundant drams in the whisky bar.

RADISSON RED

25 Tunnel Street, Finnieston Quay, radissonhotels.com

The city’s illustrative credentials are celebrated at this hip hotel, which is covered in works by two Glaswegians: comic artist Frank Quitely and illustrator Adrian McMurchie. Pizzas and bistro dishes dominate, or try a rooftop cocktail.

UBIQUITOUS CHIP / STRAVAIGIN

12 Ashton Lane / 28 Gibson Street, ubiquitouschip.co.uk / stravaigin.co.uk

The 50-year-old Chip serves up inventive Scottish food among Alasdair Gray’s 1970s murals and Michael Lacey’s 40-year celebration artwork, while younger stablemate Stravaigin features work by printmaker Murray Robertson.

THE BLACK GRAPE

240 Canongate, theblackgrape.co.uk

There’s both a casual bar and more traditional dining area in this Scandichic space on the Royal Mile. Expect an extensive choice of aperitivo and wines, plus luscious small plates to share.

THE MILKMAN COFFEE

7 & 52 Cockburn Street, themilkman.coffee

You’ll find Scotland’s best speciality roasters on the grinder in The Milkman’s two atmospheric branches. There’s plenty of nooks and crannies to coorie into with a coffee and a bun.

MIMI’S BAKEHOUSE

City Art Centre, 2 Market Street, mimisbakehouse.com

Old-school café staples sit happily alongside the sexy stuff here (scampi rolls, pea and pickle toasties), as well as a reliable eggs benedict with onion and burnt bacon crumb.

SCRAN BISTRO

7–9 North Bridge Arcade, scranbistro.com

Scran’s warren of spaces in North Bridge Arcade spill out into Cockburn Street, creating a busy, buzzy vibe for their all-day breakfasts, burgers, nachos, loaded fries and cocktails.

WEDGWOOD

267 Canongate, wedgwoodtherestaurant.co.uk

Seasonal dining with a focus on Scottish produce and locally foraged ingredients are a cornerstone of Paul Wedgwood’s cooking. It’s à la carte in the evenings; the set lunch is also great value.

The Witchery Radisson Red

Drinking games

Like a pathetic booze-addled Tarzan, Kevin Fullerton is bellowing ‘me Kevin, you monthly drinks challenge’ into the void and onto these pages. This month’s challenge is . . . find the most refreshing mocktails on Leith Walk

Igot drunk last night and read too many advice columns on goop, so it’s time to try what I’m dubbing a ‘replenishment crawl’. It’s like a pub crawl but with no alcohol and a thorough colonic irrigation for the soul (or a soulonic, if you will). Donning a pair of hangover sunglasses, I decided to hit three bars on Edinburgh’s ‘I know everything is expensive here but look at our cool beanie hats’ Leith Walk for some refreshing mocktails.

First, I dragged my pre-corpse into Satyr, a dark and calming bar with tasteful mahogany furnishings. While there are no non-alcoholic mocktails on the menu, the bartender was kind enough to mix me a faux-jito with strong hints of mint and lime. You could kill a whole afternoon in these warm surroundings and, with a drink like this, you’d happily tickle your tastebuds without booze.

But I was killing bars today, not time. Next on my guzzle-thirsty murder spree was The Mother Superior, a hipster’s approximation of an old ‘awright squire, stick a jellied eel dan yer trasers and call me old woife Mary’ boozer (if you catch my drift). Again, there were no mocktails on the menu and, less than reassuringly, the bartender handed me my drink and said, ‘it’s not exactly perfect, but you get what you get.’ He was damning himself with faint praise, as the combination of pineapple juice, lime juice and almond syrup was basic but effective; a marzipan top-note with a fruity tang for complexity. Like the rest of this pub, it was an unfussy tipple serving a pleasant-enough function.

I hit the nuclear button in Abode Café Bar by ordering a Bloody Mary, a hangover cure that could revive the dead. Café by day and bar by night, Abode is a haven of comfortable high-backed chairs, colourful paintings and bright tones, and the assault-by-gazpacho of this Tabasco-fuelled concoction was that slap in the face I needed. It was there, dear reader, that I considered both my soulonic and my contractually obliged word count complete. Thanks, Gwyneth, for the goopiest time a guy could ever have.

BAR FILES

Creative folks reveal their favourite watering hole

ACTRESS GAYLE TELFER STEVENS

So, my perfect watering hole isn’t a place in the big bad cities of Edinburgh or Glasgow, even though my heart is in them. It’s a wee place 20 miles outside of Glasgow and faces onto the bonnie, bonnie banks of my hometown, Balloch. I live the full-scale country bumpkin life with two working dogs and a wee designer one. They are my happiness and stuck to my side, so going for a wee refreshment can be tricky. The Balloch House has a country-cosy feel, a roaring fire for dreich days, and welcomes my dogs for a drink or food. They have a seating area outside looking onto the mouth of the loch which is just picture perfect. I swear, if I come back in another life it’s going to be as that view of Loch Lomond. Takes my breath away EVERY time!

n Gayle Telfer Stevens plays Caitlin McLean in River City, BBC iPlayer on Mondays and repeated on BBC Scotland (Monday, Wednesday, 10pm) and BBC One Scotland (Tuesday, Thursday, 7.30pm).

PICTURE: ALAN PEEBLES

Glasgow-based perfumer Clara Weale is committed to educating people about the world of scent. Now with her own range of fragrances, she tells Claire Stuart what inspires her creations and the importance of music in the process

I‘t reminds me of something but I’m not sure what,’ could be an unofficial mission statement for Early Modern, a range of fragrances by Clara Weale, perfumer and founder/director of the not-for-profit scent education organisation, A Library Of Olfactive Material. Her small-batch Glasgow-made perfumes evoke storybook snapshots of feelings and memories through scent.

Early Modern was born through lockdown. With the Library closed, Weale found herself experimenting with scent compositions. The first launched were Life Of The Party and Veil, both responses to lockdown life. ‘Life Of The Party has that naïve adolescent feeling when you are getting ready for a party, feeling like it’s going to change your life,’ explains Weale. ‘I never went to prom, but I can conjure up the anticipatory feeling. It was a bit of a FOMO perfume, both about missing out and about being aware of the feeling of missing out.’

In contrast, Weale says Veil is a simple construction of materials ‘designed to make you feel comforted. As well as notes like amber and musk, it has honey and eucalyptus which was a nostalgia for the home remedies you go to when you feel under the weather.’

My first time meeting Weale was at a workshop on the scent of death. As the founder of A Library Of Olfactive Material, she hosts events deconstructing different scents and subjects. ‘Something I love in perfumery,’ she says, ‘is that often you need something a little bit wrong or harsh, something unpleasant by itself, in order to provide contrast to other notes. A good trick I was told by

another perfumer was to include dimethyl sulfide (DMS) in a rose composition. DMS smells like overcooked cabbage, or seaweed, but adds an amazing depth to a rose.’

Weale’s perfumes come with accompanying playlists too, dotted with the likes of Jenny Hval, Mitski and New Order. ‘The more I work with scent, the more I’m aware I personally can’t think about it in isolation,’ she says. ‘The playlist creation mostly happens at the same time as I work on a perfume, with a bit of editing afterwards. I use the playlist to try and define what I’m working on; sometimes that can shift quite a lot during the process.’

With infinite possibilities though, how does Weale know a perfume is complete; or as complete as it can be? ‘For me a scent tends to be finished when I have taken the formula apart and rebuilt it several times, starting from different points, and end up with mostly the same outcome. It also helps me to know that as much as I try to fine tune and control every aspect, I’ll never actually be able to control how someone perceives a scent: that’s based on their body, their memories, what’s going on for them that day.’

Weale says she’s always trying to keep her perfumes ‘somewhere in the middle of a scale from photo-realistic through to abstract. I love for some of my specific memories to be in there, but mostly I try to keep it open for other people to project onto.’

Early Modern, earlymodernperfume.com @early_modern; A Library Of Olfactive Material, 28 St Andrews Street, Glasgow, a-library-of.com

Sweet smell of success

what’s in the bag?

DRY SHAMPOO

I have an obsession with this; I genuinely don’t go anywhere without it. I have LOTS of fine hair so having something that’s good for a freshen-up between meetings or events helps me feel clean and fresh even when I don’t feel it inside.

DAN LEVY GLASSES

If you wave at me in the street and I don’t wave back, it’s because I’m not wearing these. I’m blind as a bat but these are always in my bag. They are well-loved (and scratched) but they have this tagline, ‘see with love,’ which I just really love as a reminder.

OPENED BAG OF PEPPERAMI

This week I started going back to the gym to lift weights. I’m a moron when it comes to macros but then I saw protein on this packet and thought, ‘that is exactly what I want.’ I love Pepperami so my entire fitness journey has become much easier . . . until someone pointed out the fat content and I realised my plan had gone awry.

TRUSTY INHALER

I’m particular about my inhalers. I’m a real inhaler snob and get very angry when my doctor tries to give me a different one. Without this, I would collapse while running for a train or taxi: a daily occurrence for me, so literally a lifesaver.

VIEVE EYELINER

By far my favourite make-up product ever, it goes on like a dream and you can do a winged eye with not very much effort. For someone who tries to dress up to go out but really can’t be bothered, it takes two secs to glide it on. I really love the Vieve range; I think Jamie Genevieve has done amazing with it. My second favorite product would be Skin Nova which makes your skin look like it’s had this gorgeous bath in sunshine!

Aarti Joshi hosts Out, Out! podcast with Laura Boyd (new episodes every Wednesday), presents Go Radio’s Sunday Sessions (6–8pm), and runs coaching and wellness company Freedom & Wellness.

shop talk

OTHERSIDE RECORDS

The words ‘Records. Books. Curios’ adorn the shopfront of Otherside Records. The Glasgow Southside staple is reminiscent of your nan’s jumble sale, stacked with an eclectic mix of midcentury furniture, vintage books, ceramic dogs, and second-hand records spanning disco, jungle and classic rock.

n 724 Pollokshaws Road, Glasgow, @othersideglasgow

CATEGORY IS BOOKS

The independently owned LGBTQIA+ bookshop with a wide range of second-hand queer books, magazines, graphic novels, zines, queer-inclusive greeting cards and gifts. The wusband and

Claire Stuart is back with another trio of charming independent retailers to check out

wusband team also run a pay-it-forward scheme to make books accessible for those who may not be able to afford them.

n 34 Allison Street, Glasgow, categoryisbooks.com, @categoryisbooks

PLANET.A BOUTIQUE

Eco-friendly, organic and handmade make up the stock of Planet.A Boutique, a design-led store with a selection of sustainable products curated from hand-selected artisans. Enjoy a mix of the everyday to more fanciful fare, from bamboo toothbrushes to some very vibrant and colourful macramé.

n 136 Easter Road, Edinburgh, planet-a-craft.com, @planet.a.craft

Presenter, podcaster and coach Aarti Joshi allows us to open up her bag to reveal a series of (literally) life-saving essentials

Planet.A Boutique

HANNA TUULIKKI

This time last year, the Finnish-British artistcomposer was creating art and music to make us think a little bit differently, and with much more empathy, about bats. Hanna Tuulikki’s new venture may be a slightly easier sell, highlighting the plight of endangered birds with a pair of dates at Glasgow Cathedral. Inspired by sacred music, ecology and myth, she will be joined by vocalist Mischa Macpherson and sound artist Lucy Duncombe. (Brian Donaldson)

 The bird that never ew, Glasgow Cathedral, Friday 8 & Saturday 9 September.

going out

Scotland’s

Edinburgh Futures Institute is all set to be a pioneering venture in science and technology, finance, architecture, neurology and the arts. Robin Hodge speaks to the man directing operations towards this brave new world

FAST

FORWARD

In the centre of Edinburgh, a magnificent old building is awakening from years of slumber. The main part of the former Royal Infirmary, with its distinctive Gothic clocktower and turrets, has lain empty for nearly 20 years, ever since the hospital moved to pastures new at Little France. While the south side of this huge site was gradually transformed into the flashy mixeduse Quartermile development, the old hospital’s

original core became derelict. But over the last few years, this category A-listed building has undergone an extensive facelift: original fabric has been restored with new glass-and-steel links created. And now its doors will soon be opened. It’s the home of Edinburgh Futures Institute, an ambitious new venture from Edinburgh University. Professor Chris Speed has been installed as director, a man who lives up to his surname when you meet

him in person. According to its website, EFI’s mission is ‘to make better futures possible’ and it will ‘confront uncomfortable questions’. Hoardings around the site declare that it will also include large new spaces for events and lectures, some of which have already started.

‘We’ve had four events so far,’ says Professor Speed. ‘The Future Of Health with Anthony Fauci [former chief medical advisor to the US president], and the Future Of The Economy, Climate Justice and Artificial Intelligence. We think with a great city and great minds and a great conscientious public, we can face those challenges down. I’m not intimidated by uncomfortable questions but we’re going in thinking we need all the best minds.’

Speed is keen to emphasise that it’s all about collaboration. ‘Increasingly, every complicated, wicked, gnarly, knotty problem is a place for multi-disciplines to address,’ he insists. The Institute will draw on staff and students from 21 specialist schools across the university and is due to open in three phases. ‘Phase one, what I call The West Wing, stretches from the Skyscanner end [the successful internet travel company based next door] all the way through to the clocktower. It will open in September. Phase two is from the clocktower to Middle Meadow Walk, and phase three involves landscaping the surrounding spaces, which will open next year.’

A sense of openness and that co-operation will drive this venture forward. ‘The doors here won’t be carded. We want Edinburgh to be the best place for the public, for the different sciences, for different academics from different disciplines, to come together and understand this technology that is round the corner.’

The Institute is also set to become the home of Edinburgh International Book Festival in August 2024, when it leaves its present site at Edinburgh College Of Art (where it moved in 2021 from a long-term base in Charlotte Square). ‘We think it’s a perfect fit,’ says Speed. ‘They have an interesting idea that while they’re all about books, they’re actually about conversations too, and they’re all about histories and futures. So I don’t think Charlotte Square or Edinburgh College Of Art will mind me saying that EFI might be the best home for them, as we both want to convene and hold conversations about ideas.’

But with the biggest auditorium in EFI due to have just under 400 seats, won’t that be a bit small for the Book Festival’s more ambitious needs? ‘That is the conversation we’re having right now. We’ve got a big open space at the back of the main clocktower and you can put marquees there. We’re discussing the types of spaces we have and the spaces they need. But the simple message is let’s hold conversations for the public, writers, academics and students to take part in.’

Future stars: (anti-clockwise) previous EFI event Between Two Waters; Professor Speed; an artist's impression of the new building

PICTURE: /WHITEDOG PHOTOGRAPHY

BETWEEN TWO WATERS PICTURES: CHRIS DONIA

The institute also aims to power Edinburgh’s creative industries through five innovation hubs: Public Sector, Fintech (emerging financial technology including blockchain and crypto currencies), Tourism, Festivals and Creative Tech. ‘The question is how can creative industries address the data-driven technologies which are emerging? We will do it in various ways. For example, Rockstar North [the Edinburgh-based games developers behind Grand Theft Auto] have gone with AI. We might also ask to what extent are the Fringe being left behind? Can we facilitate through research grants, collaborations, partnerships bringing everybody up to the same level of literacy, the same level of acumen, the same level of support, so that they are making the most of these technologies?’

Another point of focus is working in collaboration with medical research, especially in neurology. ‘We have the Neuropolitics Research Lab that is led by Laura Cram. It aims to understand and establish what is happening in people’s brains, minds and bodies when they are posting comments online, making policy, voting in elections or deciding whether to trust or share “fake” news. Edinburgh likes to visit the tricky troubled places, the wicked problems; we like challenges. If we can help understand how to spot

manipulation, we might be less manipulated.’ Professor Speed is also excited by Techscaler, a £50m programme for creating, developing and scaling tech start-ups in Scotland. ‘We connect you with the experts, teach you worldclass playbooks, and host spaces for fellow founders and start-up folk to work and hang out. I’ll be hosting this programme and we want to help create zebras: new companies that are both black and white, aiming to be profitable but also to improve society.’

Another more architectural feature of the new institute is also creating an anticipatory buzz for the professor. ‘I hope that the 140-metre-long corridor running through the centre of this building will be a place you are more likely to meet people from every walk of life, from scientists of every community, to the public, to entrepreneurs and leading business people.’ In Edinburgh during the 18th-century Enlightenment, an English tourist remarked that he could stand at Mercat Cross and shake the hands of 50 people of genius in just a few minutes. Perhaps one day that will also be said of EFI’s long corridor.

For more information on Edinburgh Futures Institute and upcoming events, go to efi.ed.ac.uk

ITCHY FEET BUT HARDLY ANY ANNUAL LEAVE LEFT? THE SUMMER MAY BE OVER, BUT THAT DOESN’T MEAN YOU NEED TO CALM YOUR WANDERLUST – JUST STICK TO SCOTLAND, SAYS JO LAIDLAW

INSPIRATION FOR AN AUTUMN

The Swedish probably have a word for that bittersweet moment when you shake the sand out of your suitcase and throw the empty sunscreen bottles into the recycling. But the adventures don’t have to stop when the nights start drawing in. There’s so much to explore in Scotland – and planning a micro-adventure has never been easier, thanks to ScotRail’s new Inspiration Hub.

Whether you have a destination in mind, plans to check out an exhibition, play or gig, or just want to go wherever the tracks take you, the Inspiration Hub is full of things to do, eating and drinking recs and fantastic offers and discounts to fuel your trip. So relax, kick back, forget the traffic and enjoy the journey: whether you’re playing games with the kids, chatting to your pals or simply finishing your book, with ScotRail it’s all part of the experience. Here are five ideas for train-tastic weekend trips (or even a sneaky wee midweek night away) to get you in the mood...

Step onto the platform in Ayr and you’re just minutes away from a stunning beach with views out towards Arran (or even Ireland if you’re very lucky). The area is known for golf (the Inspiration Hub has some great offers), but Ayr is also home to one of Scotland’s best horseracing courses, with year-round meets. September is the jewel in the crown, when The Ayr Gold Cup Festival will see the country’s biggest flat racing event.

Ness Islands

David Welch Winter Gardens

OF ADVENTURE, WITH SCOTRAIL

By the charmingly rural station at Dunkeld and Birnam, a cute wee footpath leads straight to a bustling market town. It’s a paradise for nature lovers with lots of great (and relatively easy) walks nearby. If you want to fuel up first, The Aran Bakery’s home-baking is highly recommended; when it’s time to rest your feet, Birnam Arts has an eclectic year-round programme of events.

Fancy some family fun? Don’t sit in traffic – pack up the snacks and the Uno and use the train journey to chill with the kids. Head to Balloch, which sits at the foot of Loch Lomond & The Trossachs National Park, where you’ll be spoiled for choice for aquatic adventures. Weatherproof the trip by bookmarking The Sea Life Aquarium and Loch Lomond Bird Of Prey Centre, both of which have lots of hands-on activities for wee ones.

The third-biggest city in Scotland, Aberdeen is another fine choice for a weekend break, with unique architecture,

culture a-plenty and a stunning train journey up the east coast to get you in the mood – there’s even a beach! Fans of Scottish gin should book a tasting at The House Of Botanicals; walk it off at the David Welch Winter Gardens, a beautiful, all-weather oasis.

Inverness is known as the gateway to the Highlands. And while it’s often seen as a jumping-off point for longer trips, there’s loads to keep any visitor happy. Arrive into Inverness Station to the heart of the old town, and just a short stroll from the river Ness. Get your bearings with a pleasant half-hour walk along the river to check out the pretty Ness Islands then refuel at the indoor Victorian Market, home to a quirky selection of local retailers with a strong emphasis on independent food and drink.

For more hints, tips and inspo, special offers and discounts, head to ScotRail’s Inspiration Hub at scotrail.co.uk/inspiration-hub

House of the Botanicals

Actress and writer Doon Mackichan has been a regular in several iconic TV comedy series (The Day Today, Knowing Me Knowing You With Alan Partridge, Brass Eye and Toast Of London) and co-created and starred in the hit all-female sketch show, Smack The Pony. She also featured in the first five series of Two Doors Down and has just returned for the seventh. Here she talks to Neil Cooper about her first book, My Lady Parts, and lays bare the misogyny she has faced in her career

Hi Doon, congratulations on My Lady Parts. You’ve just filmed the new series of Two Doors Down as well. How are you feeling about both? I am extremely excited. I took a year off Two Doors Down last year, and it was wonderful to be back and to realise how much I’ve been missed. They say pride before a fall, but I’m very proud of this book, which I never expected to get this far. It’s been carried around in my bag for three years (I write longhand).

My Lady Parts tells an at-times painful story, yet you stay true to your anger throughout. What made you want to get that story out there? My mother said to me in my twenties, ‘I’m so sorry you’re so angry.’ I’m not sorry. Anger changes things and makes you decide enough is enough. Even if it’s a can of spray paint on a sexist billboard, it can alter people’s perceptions in an incredible way. Living with inequality has made me want to seek radical change. I needed to share some of my story, and I hope it’s useful and can ignite change.

Your book lays bare your experiences of misogyny as a woman in comedy and theatre. Do you think this will ever change? If we are unashamedly telling our stories, then change can occur. Sadly, many women do not want to share their stories, particularly in the entertainment industry, in case they are seen as difficult and that will jeopardise future work. Men in the business also know some of these stories but they keep quiet. They (especially the ones in power) need to speak up. Also, those in power need to look at what they see as ‘entertainment’ and the damage that can do. The stories we tell are crucial to our culture and we are in something of a quagmire regarding empowering women’s stories. More female directors are needed, technicians are needed, equal pay, childcare costs taken into account, more women in writers’ rooms, more female DOPs, sound engineers and, obviously, more creative casting. We also need to address the tyranny women feel around their bodies and ageing. It is obscene that girls in their twenties are having surgery to their faces and bodies. We need to dismantle the self-hatred and that means educating the young as well as the older, giving women the hero stories and seeing more older faces on screen.

How much do you think things have changed for women performers and artists since Smack The Pony? There are simply not enough femaleled shows. When I saw Bridesmaids, I thought, ‘yes, at last.’ But did it spark a raft of similar things? No. I'm continuously asked about doing more Smack The Pony, because people are hungry for this. But it is mostly men who get the commissions, while many female stories are just not picked up. It’s a crime!

You funded your Edinburgh Fringe production of Jane Austen’s Emma by swimming the Channel. How do you top that? Hahaha, yes, that was a feat never to be repeated. But during training, I realised the joy of cold water, so I went off to swim in the Arctic in the World Ice Swimming Championships after that. So I suppose that topped it!

My Lady Parts opens quoting Jane Austen, Alice Walker and Rebecca Solnit. How much are these your maxims to live by? Those quotes make me want to be louder and messier and braver and fail more and keep creating and keep pushing. Believing passionately in something takes everyday work, and every encounter becomes important. A chance comment leads you to a book that

talk s sklat• k

We need to dismantle the self-hatred

a lks k

can change your outlook forever. A piece of music, a poem, the randomness of what life throws at you and the paths you can go down if you take a leap of faith and are curious enough, are just mind-blowing; plus resilience, mischief and rule breaking and, of course, dancing.

I could hear your voice in the book throughout. How much is it a one-woman show in waiting? I performed a one-woman show based on a heartbreaking time when my son had cancer aged nine. He’s now 27 and in full remission. It was something I needed to do, but it was a lonely if liberating time. I prefer the interaction of a cast, but never say never.

To ask you the question you asked at the end of My Lady Parts, what will you do now? I have just finished series seven of Two Doors Down, and I’m like a broken doll, drunk with exhaustion and from drinking fake wine for seven weeks. I will have a lovely holiday with my daughter India, who lives in Thailand. Then I’m performing in the West End in a fantastic new play by Penelope Skinner called Lyonesse, which has a #MeToo story at its heart. ONWARDS! And always take a Sharpie with you for those particularly annoying sexist adverts.

My Lady Parts is published by Canongate on Thursday 21 September; Doon Mackichan will read from the book at Assembly Roxy, Edinburgh, on the same date.

ARTS

GAELIC CULTURE

While Gaelic choirs begin to step up practice for the Royal National Mòd in Paisley this October, September in Gaeldom has a distinctly literary flavour, with The Gaelic Books Council’s Duaisean Litreachais (Gaelic Literature Awards) coming to Cottiers in Glasgow (14 September), hosted by Angela NicEachainn.

The Sgeul (Story) exhibition continues (until 20 April, 2024) at the National Library Of Scotland. Gaelic events there include Heroic Gaelic Tales In Modern Music (23 September) where composer Ned Bigham leads a day of song alongside singer Màiri MacMillan. Prior to that, Jordan Hunter will lead the Illustrating Myths And Folktales workshop (5 September) and there will be a Gaelic song workshop with Deirdre Graham (13 September).

Nairn Book And Arts Festival returns in September, with a screening of heritage film Dùthchas at the Nairn Community & Arts Centre (2 September) and Ruairidh MacIlleathain reads from his novel Tàcharan Mhealbhaigh there on the same date. Meanwhile, Angus Peter Campbell will talk about George Orwell, Gaelic and his latest book Electricity (9 September) at Ionad Chaluim Chille Ìle (Islay Gaelic Centre).

Having already stopped off in Dundee and Falkirk, The Saltire Society’s 40 Under 40 roadshow continues on its journey with a date at Ellisland Farm, just outside Dumfries, featuring Gaelic singer and academic Alasdair Whyte among others (12 September).

Lastly, for little ones in Bathgate, Carmondean and Linlithgow, Gaelic Bookbug sessions delivered by the Scottish Book Trust in partnership with West Lothian Council return in September: booking is essential. (Marcas Mac an Tuairneir)

Ned Bigham

PICTURE: CLIVE BARDA

Do we really need another version of Romeo and Juliet’s doomed relationship? Dance supremo Matthew Bourne didn’t think so, but a group of young dancers changed his mind. He talks to Kelly Apter about capturing the passion of young love and having a creative team around him who aren’t yes people

Tainted love

When you’ve depicted some of the world’s greatest love stories on stage, it’s only natural people assume you’ll keep going. So, having brought Swan Lake, Sleeping Beauty and Cinderella to vibrant life, the finger tapping began as audiences waited for Matthew Bourne to tackle Shakespeare’s infamous young lovers.

‘It was talked about quite a lot over the years,’ he admits. ‘People would ask me when I was going to do Romeo And Juliet, because I’d done a lot of the other famous ballets. But I wasn’t keen; I felt it had been done in so many different mediums, it would be really hard to come up with an idea that felt fresh and original. So I was put off it for a long time.’

The turning point came in 2019 when Bourne’s New Adventures company ran a project for young dancers. Participants helped him shape a modern-day take on Shakespeare’s tragic romance, while still retaining the essence of Romeo And Juliet. ‘I kept my mind and ears very open during that process,’ says Bourne. ‘And we were able to look at things that are important to young people and subject matters that are being talked about a lot. Like mental health, knife and gun crime, abuse: the sort of things that New Adventures isn’t really known for, but it was nice to do a show that felt very relevant. And, having originally said I didn’t want to do it, I loved it.’

So successful was the project, that Bourne decided to bring the show into his company’s repertory and re-stage it using his own dancers. Throughout, he’s worked closely with his usual creative team (set and costume designer Lez Brotherston, lighting designer Paule Constable and composer Terry Davies who created new orchestrations of Prokofiev’s score) and he wouldn’t have it any other way. ‘It could be seen as being unadventurous in some ways,’ he says. ‘But you can reach a point in your career where everyone says yes to

you all the time, and you’re treated like some sort of historical figure that couldn’t possibly be wrong. And I want friends around me who say “oh no, that’s a terrible idea!”’ So I’m never happier than when I’m getting my team together and saying “what are we going to do with this one?”’

For his Romeo + Juliet, that meant building a new world for the story to take place in. A harsh, sterile environment, The Verona Institute is a place where individuality of any kind is quashed. ‘We don’t actually specify what or where it is,’ explains Bourne, ‘so it’s for the audience to decide. Is it a social experiment? A prison? A hospital? A borstal? It’s a place where young men and women are kept separate and they’ve been sent there to be “normalised” and made all the same, very feminine or very masculine. So I’m not staying completely true to the Shakespeare, it’s not about warring families, but it is about the passion of young love. We tried to capture that feeling when you just can’t get enough of each other.’

The Montagues and the Capulets may not be throwing shade at each other in Bourne’s version, but Tybalt (the guard) is still a fearsome figure, and the star-crossed lovers do bring parental trauma to the table. ‘Juliet definitely has issues with abuse,’ explains Bourne. ‘And Romeo is a deserted child who’s been dumped here by cold parents who can barely look at him. So their love comes from a troubled place, then blossoms into something that makes them feel released. Of course it doesn’t end well, but I think I had to deliver that ending. Hopefully a lot of people will be reaching for their handkerchiefs.’

Matthew Bourne’s Romeo + Juliet, Festival Theatre, Edinburgh, Tuesday 19–Saturday 23 September; King’s Theatre, Glasgow, Tuesday 26–Saturday 30 September.

PICTURES: JOHAN

PERSSON

ART BILLIE ZANGEWA

Billie Zangewa is a Malawian artist based in South Africa whose specialist medium is textiles. Sewing from the heart, her figurative silk collages have gained her international acclaim. Telling autobiographical stories of transformation, her choice of material purposefully reflects this: silk is a by-product of animal transformation. She has exhibited widely across Europe and America (from Paris Art Fair to the National Museum Of African Art in Washington DC) but A Quiet Fire at Tramway marks the first time her art can be seen on display in Scotland.

Preoccupied with the domestic realm and the underappreciated labour which goes into its maintenance, Zangewa’s collage tapestries express what she describes as ‘daily feminism.’ Motherhood figures repeatedly in her practice as she depicts routines such as walking a child to school or assisting with homework at the kitchen table. Zangewa’s kitchen table transforms into her ‘kitchen studio’ where she assembles her hand-sewn silk fragments into tapestries. In interviews, she speaks tenderly about her soul-enriching relationship with her son and how his presence helped her pursue the ‘personal as political’ narrative of her art.

‘The ordinary Black woman needs support from society,’ Zangewa once declared. She depicts herself juggling tasks, reading, gardening, washing, drinking and meditating. Juxtaposing the ancient tradition of tapestry-making, she sews a woman surfing the internet on an Apple Mac (a repeated symbol in her practice). By creating artworks which depict Black women’s everyday experiences, she seeks to affirm their existence and ‘elevate [their] place in the world’. (Rachel Ashenden)

 Tramway, Glasgow, Friday 29 September–Monday 28 January.

FILM R.M.N.

It sounds like an event straight out of the Brexit playbook. In January 2020, in the Romanian village of Ditrau, in Transylvania, a largely ethnic Hungarian population numbering nearly 2000 people signed a petition. It was a protest against an influx of Sri Lankans joining the local workforce, a disturbing event that now inspires Cristian Mungiu’s new movie R.M.N

The director, famed for his Cannes-winning 2007 abortion drama 4 Months, 3 Weeks And 2 Days, felt the need to investigate. ‘R.M.N. speaks about love and fear, about our dual nature, partly human, partly animal, about truth and hypocrisy, about freedom and dialogue,’ he says. ‘Today too much of what people think stays hidden, as people became afraid to speak up because of political correctness.’

Casting Marin Grigore as Matthias, a father-of-one caught in the middle of this ugly business, the film culminates in a 17-minute unbroken take, as villagers unceremoniously debate the issues at hand. Translating a 27-page scene onto film, with over 20 cast speaking, is no mean feat. ‘I showed every actor what they needed to do and then we started working to determine the right rhythm, tone and intensity,’ says Mungiu. The result, like the film itself, is sublime. (James Mottram)

 In cinemas from Friday 22 September.

future sound

Our column celebrating new music to watch continues with Edinburgh-based Kohla, an artistic all-rounder who describes her music as ‘cinematic neo-soul.’ She talks to Fiona Shepherd about the crossover between art and music, and the importance of supporting other female, nonbinary and trans musicians

Where to begin with the many artistic talents of musician and producer Kohla? This creative maven has form in the worlds of poetry, fine art, dancing, public speaking and film editing; and all find an outlet in her music.

Born Rachel Alice Johnson, she adopted the stage name Kohla (inspired by charcoal) to match the dark R&B sound of her 2020 debut EP. She has now moved on to a brighter, poppier vibe for her debut album, Romance; moving on and developing is what she does.

‘I’m really precious about time and I always want to be working,’ she says. ‘I beat myself up a bit if I’m not seeing my work progress every day.’

As a child, she was caught up in ballet and street-dance classes, as well as clarinet lessons. ‘I became obsessed with it,’ she says. ‘It was probably the first time I felt I was really good at something.’ For a time she benefited from Edinburgh schools’ free music tuition, but that came to an end when she moved to a feepaying academy. With no extra money for music lessons, she took up painting instead, going on to graduate from Edinburgh College Of Art.

‘I don’t even have Standard Grade Music,’ she says. ‘I felt more confident doing art; I still paint now but it doesn’t hit me in my core the way that music does. Chords, melodies, lyrics; there’s so many ways that emotion can hit you through music. I find it really similar to painting; it’s about composition and light and dark and colour, but it’s just using my head in a different way.’

Johnson started writing songs in her late teens and even incorporated her own music into her degree show. As an adult, she returned to dance classes and added choreography to her only Kohla show to date, at Edinburgh club Sneaky Pete’s. ‘There’s not many small venues in Scotland that can supply that room to dance; they had to build out the stage.’

Like many artists, she used the pandemic shutdown as an opportunity to learn, teaching herself production skills and building a home studio. ‘I didn’t know when the pandemic was going to end but I knew when it did, I would have a completely new batch of skills and I’d be able to give back,’ she says. Johnson is already giving back as founder of Popgirlz, a 200-strong collective of female, non-binary and trans musicians in Scotland, who share support, advice and talents. ‘If one of us does well, we can bring the others along with us,’ she says. ‘I feel that making friendships is so important on the music scene.’

Fellow Popgirlz Siobhan Wilson and Louise Cameron contribute strings to her album and Johnson will be joined by a harpist and violinist when she returns to Sneaky Pete’s to launch Romance. ‘I had the name early on and I built everything around that word. The connections of treating someone well, of respect, is a big theme for the album.’ Unsurprisingly, she’s already made inroads to its follow-up: ‘I’m always trying to better myself and explore.’

Romance is self-released on Friday 8 September and launched at Sneaky Pete’s, Edinburgh, Saturday 9 September.

PICTURE: RHIANONNE STONE

Running up that hill

With a thrilling debut novel and a follow-up in the works, Chris Carse Wilson is marking himself out as one to watch on Scotland’s literary scene. Paul McLean talks to the author about letting go, taking risks and the impact of a late autism diagnosis

Written over a four-year period on 15-minute bus journeys to and from work in Dundee, Chris Carse Wilson’s ambitious and haunting debut novel Fray was never intended to see the light of day. ‘I genuinely had no intention of publishing it. In fact, it’s beyond that: I had no intention of ever showing it to anyone, full stop,’ admits the author. ‘My wife didn’t even know about the book until I finished the first draft. I wrote it because I needed to do it for myself.’

Fray follows a nameless narrator hunting for their lost father in the Highlands. The search leads to an abandoned cottage full of jumbled notes revealing the father’s mental disintegration. Consumed by trying to discover what has happened, the narrator too begins to struggle with reality.

Carse Wilson compares the discipline of writing to running, of which he’s a passionate advocate: he credits both as integral to his mental wellbeing. That love of running sparked the genesis of Fray in 2016, when he was caught on a route halfway up a mountain in Glencoe. ‘This storm came in, and that moment of feeling very powerless, very small against the landscape, kind of unlocked something about how to discuss mental health.’ At the same time, he let go of how he thought he should write and decided to follow ‘what really sets my heart alight.’

Just as he finished the novel, he also had to deal with the impact of an autism diagnosis, after watching a documentary on the subject by wildlife expert Chris Packham. ‘It genuinely was a light-bulb moment of “ok, this feels horribly familiar.” The way he’s talking about extreme anxiety, the way he’s talking about problems in social situations, fundamentally the way his brain works; it felt like he was describing how I feel.’

Carse Wilson has taken this new understanding and turned once more to the power of words. He’s nearly completed the first draft of his second novel (‘the characters have names this time,’ he laughs) which looks at how generations of one family are touched by autism over a century: ‘I want to use fiction to look at how little we understand about it.’

He’s also looking forward to his upcoming appearance at Wigtown Book Festival and is thrilled by Fray’s reception. ‘Obviously to reach an audience is glorious, but I do think there’s an appetite for brave, risk-taking writing. Look at Max Porter and other people like Jenni Fagan with Hex . . . books that are just so brilliantly and uniquely themselves. I think people want that. I don’t think people want more of the same.’

Chris Carse Wilson appears at Wigtown Book Festival, Friday 29 September; Fray is out now published by HarperNorth.

PICTURE: FRAME FOCUS CAPTURE PHOTOGRAPHY

MUSIC LAUDONIA

At a time when society is more aware than ever of international travel and its environmental impact, it’s interesting to look back at how it was done in days gone by. The 17th and 18th centuries were the age of The Grand Tour, a time when young men from well-off families completed their education with a trip around Europe, taking months or even years to do so. Recreating the music that Sir John Clerk of Penicuik is likely to have heard on his 1690s Grand Tour, recently formed baroque ensemble Laudonia embark on their first (rather more modest) tour this month.

Although their name instantly sounds musical, it is also, says artistic director, Susan Hamilton, ‘the Roman name for the Lothians and a Scottish hymn tune “Lucerna Laudoniae, Lamp Of The Lothians.” Lauda is also in the Monteverdi Vespers, meaning praise, so it’s a wonderful name for us.’ The six-date tour of Scotland and London is, says Hamilton, ‘a programme about a Scot, John Clerk, looking outwards. He did a law degree at Glasgow University but, as was common then, completed it at Leiden.’ Having way too much fun to obey his father’s wishes to return to Scotland, Clerk travelled through the Netherlands, Germany, along the Danube to Vienna, and then on to Rome. He met and heard a huge range of people on the way, including several musicians, but most particularly Corelli, who taught him violin and composition. ‘Music opened doors for him,’ says Hamilton, ‘and made his Grand Tour more enriching than others.’ All specialist baroque players, Laudonia perform some of Clerk’s own music too. His cantata ‘Leo Scotiae Irritatus’ is heard alongside Corelli’s passionate ‘La Follia’ violin sonata and ‘O Felicissimus Paradysi’ for soprano, trumpet and strings by German composer Johann Rosenmüller, a piece also influenced by Italian compositional styles. (Carol Main)  St Cecilia’s Hall, Edinburgh, Saturday 2 September.

DANCE TOTENTANZ

Shotput’s new dance-theatre production, Totentanz (meaning ‘dance of death’), wants to confront our oddly contemporary taboos around the subject. In this immersive and intimate duet, dark humour, music and dance are an attempt to engage with death. Instead of fearing it, Shotput ask, ‘what if we celebrated it?’

‘In recent years particularly, fear of death, fear of killing, has kept us boxed into our little squares,’ say creators and performers Lucy Ireland and Jim Manganello by email. ‘As a culture, we’ve become peculiarly bad at dealing with death. We fetishise youth. We tear down old things. Totentanz is our antidote to all that. Here we use death not as a moment of severance but of connection.’

The performance will also feature a photographic exhibition, displayed in the venue before and after this live show. Members of communities around Scotland were invited to create their own images of death and commemorations of those who are now gone: another way to connect with the living.

‘These past few years we’ve asked ourselves what really matters to us about dance, about theatre. The answer that returns again and again is sharing a space with people right now. It must be live; which is ironic for this “dance of death.”’ (Dom Czapski)

 Assembly Roxy, Edinburgh, Thursday 28–Saturday 30 September.

With its starry casting and gripping supernatural storyline, 2:22 A Ghost Story has become a bona fide West End phenomenon. Creator Danny Robins talks to Craig McLean about the hit play’s long gestation, how lockdown played into its success and the advantage of having celebrity names on your marquee

When he set out to create his first play, a show that would go on to become a worldwide theatrical sensation, Danny Robins’ aspirations were modest. ‘I wrote 2:22 A Ghost Story in my shed,’ the 47-year-old recalls, ‘and thought that the definition of success would be that we might not lose our money, and that it might get one or two reviews.’

This was around seven years ago. Subsequent to the initial drafts of that theatrical piece, the Newcastle-born writer, who’d cut his teeth on the stand-up circuit (Ross Noble and Marcus Brigstocke are peers and pals), children’s drama (CBBC’s Young Dracula) and TV comedy writing (BBC’s Comedy Playhouse, The Basil Brush Show), diverted into podcasts and audio drama. Hit productions Haunted, The Battersea Poltergeist and Uncanny all followed. But still no play.

‘The podcasts sprung out of [the writing of] the play because I was researching ghost stories and I asked around on social media if anybody I knew had seen a ghost,’ he explains. ‘I got all these amazing stories coming in, and so my first podcast series Haunted came out of that. Yeah, it took a long time to get to this stage,’ he adds, any ruefulness tempered by the fact that that lengthy gestation would, ultimately, be a boon.

‘And then The Battersea Poltergeist came out,’ he says of the BBC Radio 4 horror drama, ‘and created this platform for my work. It was kind of coincidental that 2:22 was [about to be staged] at that point. But something about the two of them coming out at the same time made for this explosion of interest in ghost stories in my writing.’

This was summer 2021. Theatregoers in London emerged from the last lockdown and into the chilling embrace of what would become an unexpected West End phenomenon. On 3 August that year, allegedly ‘for 11 weeks only,’ 2:22 A Ghost Story premiered at the Nöel Coward Theatre. The four-character play boasted a cast that included sometime-pop star Lily Allen in her first stage role and further celebrity sizzle in the shape of Jake Wood (EastEnders’ Max Branning). Ultimately, though, Robins’ play would do its own heavy lifting.

At a two-couple dinner-party in a gentrifying corner of East London, two old university pals and their partners do the usual dinner-party thing: fret over the sleepless newborn whose cries bleed from the baby monitor; listen to Massive Attack; bicker over property prices and renovations; joust over classism and careerism; drink too much wine. But there’s something going bump in the

night (at 2.22am, precisely) and a harried, sleep-deprived mum fears it’s the lingering spirits of the former tenants of this Victorian home that she and her partner have been busy ripping up.

Here was that old faithful, the haunted-house drama, rebooted and retooled for modern, post-covid audiences, with added jump scares. Quickly, 2:22 A Ghost Story became a critical and word-of-mouth sensation; and a transferrable, relatable one, too. The production is currently playing around the world, has its eyes on Broadway and a film adaptation and, now, for the first time, is touring the UK.

‘The interest in ghosts is evergreen,’ notes Robins. ‘But I do think that living through a period of time where you were trapped in your house, and you started to feel haunted by your house, meant we could really relate to ghost stories. So I think the play went on at precisely the right moment for it. It found its audience. You could argue “would the play have such a big impact if it had gone on at a different period?” I don’t know,’ he admits. ‘But it definitely felt like a case of the right place at the right time when it came out.’

Right place, right time, right casting: Robins’ creation would go on to make a virtue of featuring a rotating line-up, usually featuring at least one pop-culture figure, their appearance helping boost the play’s credentials among younger audiences less used to forking out for the theatre. Step forward ex-Girls Alouder Cheryl, Hogwarts alumni Tom Felton, Hollyoaks grad Mandip Gill, Matt Willis from Busted and, currently starring in the fifth London production, Frankie Bridge, once a member of S Club Juniors and The Saturdays. For the Scottish leg, Joe Absolom and Louisa Lytton are among the quartet.

‘Every time we get a different cast, it takes on a different life and shifts and changes a bit . . . but I say: you go in for Cheryl or Lily, you stay for the play. If the play was no good, you’d quickly go in there and feel a bit of anti-climax and disappointment.’ The casting, thinks Robins, catches the eye. But then once in your seat, ‘you love and connect with the play; then go away and tell your mates about it. That’s why I think that we're running two years later, because it’s not just about the names or gimmicks. There’s a real substance to this.’ Danny Robins would say that, of course. But he’s also correct. Scarily so.

2:22 A Ghost Story, Festival Theatre, Edinburgh, Tuesday 26–Saturday 30 September; Theatre Royal, Glasgow, Tuesday 21–Saturday 25 November.

PICTURES: HELEN MURRAY

GOING OUT FURTHER AFIELD

Get yourself away from the central belt and out into various parts of Scotland where the cultural landscape is just as rich and varied. Among the highlights this month are the retelling of a gothic classic and a spectacular magician tapping into his heritage, while tartan and whisky both get makeovers

ABERDEEN

DRACULA: MINA’S RECKONING

An all-female and non-binary cast upturn the traditional gothic tropes for this reimagining of Bram Stoker’s tale while still being faithful to the atmosphere and chills of that source material.

n His Majesty’s Theatre, Saturday 2–Saturday 9 September.

SCOTTISH NATIONAL WHISKY FESTIVAL

Beginners and experienced samplers of the country’s national drink should roll up as everything from peaty concoctions to smooth drams are on display with top producers exhibiting their wares.

Go trainby

Step into hundreds of destinations across Scotland. scotrail.co.uk/ inspiration-hub

n Music Hall, Saturday 9 September.

DUNDEE

THE GRAND OLD OPERA HOUSE HOTEL

A dull hotel once had a much more vibrant life as an opera house, and in Olivier Award-winning Isobel McArthur’s latest triumph, we find that powerful art

(and love) can bring us together.

n Dundee Rep, Wednesday 13–Saturday 16 September.

TARTAN

It’s not just a pattern but a cultural phenomenon which succeeds in being both trad and radical. This exhibition features various items of clothing plus posters, bedrooms, teapots and an Xbox controller.

n Dundee V&A, until Sunday 14 January.

DUNFERMLINE PEOPLE HUV TAE KNOW

A quintet of Still Game’s stellar cast gather up to celebrate the show which will surely remain Scotland’s most beloved sitcom for many years to come. Sanjeev Kohli, Paul Riley, Jane McCarry, Mark Cox and Gavin Mitchell have a good old reminisce.

n Carnegie Hall, Saturday 9 September.

INVERNESS BEN HART

The magic man who has worked in film with Tom Cruise and on stage with the

Royal Shakespeare Company brings us his most personal show to date as some typically jawdropping conjuring merges with a look at his Indian heritage. n Eden Court, Saturday 30 September.

PERTH SCOTTISH ENSEMBLE PLAY QUARTETS

A selection of the ensemble’s top players perform pieces by Beethoven and Dvorák as well as contemporary works by American composers Caroline Shaw and Jessie Montgomery.

n Perth Concert Hall, Monday 11 September.

STIRLING

BANFF MOUNTAIN FILM FESTIVAL WORLD TOUR

Dramatic documentaries of climbers, skiers and paddlers adventuring in the wilderness, with titles such as Walking On Clouds, Wild Waters and Do A Wheelie n Macrobert Arts Centre, Sunday 10 September.

Tartan (and bottom from left), Ben Hart, Dracula: Mina's Reckoning, The Grand Old Opera House Hotel

PICTURE: TOMMY GA-KEN WAN PICTURE: PETE DIBDIN

PICTURE: MATT CROCKETT

13–21 October 13–21 Dàmhair

Prìomh fhèill na h-Alba mu chànan is chultar na Gàidhlig, air a chumail ann am Pàislig.

Scotland’s premier celebration of Gaelic language and culture, hosted by Paisley.

www.modphaislig.com

film of the

Korean-Canadian playwright Celine Song makes an unforgettable entrance onto the filmmaking scene with a romantic drama about identity and human connection, culled from aspects of her own history. It’s a haunting film that sweeps you up in its exquisitely relayed emotional storm, transcending rom-dram cliches by adopting an intricate and unpredictable approach.

As proceedings open, things aren’t remotely what they seem. We find ourselves in a smart New York bar in the small hours, listening in on the conversation of an unseen couple. They’re observing the film’s central trio from afar and speculating about them, based purely on their body language. ‘Who do you think they are to each other?’ one of them asks. What follows attempts to unpick this apparently simple question.

The pieces of this puzzle are playwright Nora (Russian Doll’s Greta Lee), her childhood friend from South Korea, Hae-sung (Teo Yoo from Decision To Leave), and Nora’s American husband, Arthur (First Cow’s John Magaro). Before we return to the bar armed with more information about the evening in question, Song’s film rolls back 24 years to fill in some blanks about Nora and Hae-sung’s story. Back in Seoul, Hae-sung was Nora’s schoolyard crush (in the days when she was known as Na-young), with whom she went on a sweet, parent-chaperoned date aged 12, after which her family emigrated to Toronto, breaking both of their hearts. More than a decade passes before the pair reconnect. When the now New York-based Nora searches for Hae-sung on Facebook, she finds that he has been looking for her and a string of messages and videocalls ensue. However, the geographical distance between them,

Dashed young love, thwarted attempts to reconnect, and the impact of past choices on the course of our lives all come under the microscope in Past Lives. Emma Simmonds praises this directorial debut as profoundly moving

and a commitment to pursuing their respective careers (Nora is a fledgling playwright, Hae-sung is studying to be an engineer) thwarts anything further. Soon afterwards, they enter into relationships with others, Nora meeting Arthur, the man she will marry, at a writers’ retreat. Later, as we have glimpsed, Nora and Hae-sung reunite in her adoptive city.

This profoundly moving, perversely quiet film shares many fundamentals with Song’s own story. Digging deep within herself to ask some difficult questions, Song rejects the melodramatic cliches of a typical tug-of-love tale, considering instead how falling in love is impacted by who we are, who we once were, and what we share, and how choosing one life path inevitably leads to the loss of another. She explores the Korean idea of ‘in-yun’, a concept related to fate that attributes our relationships with loved ones to connections that can be traced back through our past lives, with these bonds drawing us back together time after time, century after century.

Song also considers the personality shifts that we undergo over time that might make us unrecognisable to those who knew us many years previously, or how the opposite might be true and how not knowing our former selves and history may render part of us forever off-limits to a current partner. It’s territory that’s further complicated by questions of cultural identity and language. Arthur tells Nora: ‘you dream in a language

I can’t understand. It’s like there’s a whole place inside you that I can’t go.’ And reconnecting with Hae-sung makes Nora feel both more and less Korean; he reminds her of what she has left behind and yet she’s also struck by how unlike him she has become.

Taking additional inspiration from the moment in Marina Abramović’s The Artist Is Present when she is unexpectedly confronted by Ulay, her expartner and former collaborator (whom she hadn’t seen in two decades), and the ensuing emotional response, Past Lives is intensely engaging and stimulating. It’s handsomely and fascinatingly handled by Song and performed with striking subtlety by Lee, Yoo and Magaro, who keep you guessing in a film that gradually illuminates but doesn’t overexplain the trio’s internal lives. Moon Seung-ah and Leem Seung-min are adorable and credible as Nora and Hae-sung’s younger selves.

Past Lives combines captivating spirituality with a more cooly rational approach to interrogating relationships, blending Eastern and Western ways of thinking. And, as it dwells on romantic and cultural loss, this thematically ambitious film broadens its scope beautifully to ponder the very nature of existence.

Past Lives is in cinemas from Friday 8 September.

Competition

Skimming helps to keep the head bitter and the beer sweet, meaning you enjoy that crisp, refreshing Heverlee taste, every pint, every time. Discover it for yourself next time you’re at the bar.

IT’S GOT THE EDGE.

WIN IT TO SKIM IT!

Fancy winning your own exclusive Heverlee Premium Pilsner kit and impressing your pals with the perfect serve every time? Enter now for your chance to win a pair of Heverlee chalice glasses, a skim set and some beers to allow you to get practicing. T&Cs apply. To enter, just log onto list.co.uk/competitions

DISCOVER WHAT FOLLOWS

MARKÉTA LUSKAČOVÁ 

Tranquillity always radiates through Stills; this is especially the case with their current exhibition. From Czech-born photographer Markéta Luskacová’s impressive decade-spanning portfolio, Stills presents an arresting body of black and white works with a thematic focus on childhood. Dated from 1964–2009 and taken across the UK, Ireland, Slovakia and Czech Republic, these photographs evoke a special kind of nostalgia within the onlooker; a nostalgia which encourages us to dream of the lives those subjects might be leading now, as adults.

As a social photographer, Luskacová depicts everyday reality in all its harshness and beauty. A selection of her photographs capture children frozen in time as they eat candy floss, play dress-up and run in the playground; quintessential activities we associate with a carefree childhood. Alongside these portrayals of innocence, the striking photographs taken at carnivals show a wildness and euphoria to youth, especially evident in ‘Carnival Procession, Roztoky, Czech Republic’ (2008).

A few sweet epithets about childhood embellish the curation, although curiosity surrounding the subjects and their circumstances gets the better of me; I wish we could find out more about their stories through text on the gallery walls. (Rachel Ashenden)

 Stills, Edinburgh, until Saturday 7 October.

FILM BROTHER

(Directed by Clement Virgo) 

Sorrow hangs heavily in the latest from Canadian writer-director Clement Virgo, based on the novel by David Chariandy. Brother is a Toronto-set drama exploring the bond between two mismatched siblings, the sons of Caribbean immigrants.

Beginning with an ominous incident involving an electricity pylon, and skipping back and forth in time, the film introduces us to brothers Francis (London-born actor Aaron Pierre, who positively radiates star quality) and Michael (lovely work from Lamar Johnson). The pair live in a warm, vibrantly painted home on a suburban housing estate with their hard-grafting single mother Ruth (a searing Marsha Stephanie Blake).

Francis is bigger, fairer-skinned and more conventionally attractive than the quiet, geeky Michael, who hangs on his popular sibling’s every word. ‘Carry yourself better,’ Francis instructs him. ‘There’s always a way to show the world you’re not a nobody.’ But Francis is far from perfect himself, with the film highlighting the growing disaffection and anger bubbling beneath his toocool-for-school demeanour.

The meat of the story unfolds in the early 90s, against a backdrop of Toronto’s burgeoning hip-hop scene, something which Francis longs to be part of and perhaps more could have been made of that. Virgo’s patient, emotionally loaded style adds huge weight to proceedings; characters say little but what they do say resonates, while Guy Godfree’s painterly visuals and Todor Kobakov’s melancholic score add elegance.

The film takes a solemn yet loving look at the shadow that can be cast by charismatic characters and what it’s like to trail in their wake. Francis is a big fish in a small pond with no easy way out, as Virgo illustrates the systemic prejudice this young Black man is up against. Quiet and careful it may be, yet Brother rages against a world in which even those that burn the brightest sometimes stand no chance. (Emma Simmonds)

 In cinemas from Friday 15 September.

of the month

Emma Hart’s colourful sculptures confront the subjects of class and erosion of our free time. Greg Thomas praises the artist's spirit of dissent that will leave visitors wanting more

Emma Hart’s sculptures are known for making a racket; or rather, for seeming like they ought to. Bringing the surreal, cartoonish style of Philip Guston into threedimensional space, she often creates works that jut out into galleries at head height, their bold, simple, colourful forms suggesting mouths, loudspeakers, speech bubbles or other graphic markers of vocal noise.

All this hullabaloo is to do with class for Hart, who last year co-curated group show Poor Things at Edinburgh’s Fruitmarket, exploring themes of working-class identity in contemporary art. In a recent artist’s statement she notes, ‘if you come from a working-class background and are trying to be somebody in this middle-class artworld . . . your speech acts to produce yourself, and probably gives you away.’ Unbowed, her sculptures seek out confrontations with the viewer, opting them into awkward interactions, making them complicit in uneven power dynamics, or sometimes just inviting them to join in the din.

Hart’s current exhibition at Hospitalfield arts centre in Arbroath consists of four gurning, cheering and crying faces dispersed across the neat back lawn. Establishing a nicely irreverent contrast with the Scots-baronial pile before them, they nonetheless pay homage to their built environment, in particular to the four sundials protruding from the red sandstone tower above. Hart’s faces are sundials too: big,

shiny, bowl-shaped ceramic ones, their shadow-casting gnomons repurposed as pointy noses that jut upwards at the viewer from waist-height plinths.

The four works (‘Out Of Time’, ‘Borrowed Time’, ‘No Time’ and ‘Nice Time’) pass wry comment on the compartmentalisation and incremental chipping away of free time in modern consumer culture, and the ways in which we try to steal it back. ‘Out Of Time’ holds its fingers to its O-shaped mouth in panic, while for ‘No Time’, the hours and minutes around the clockface’s edge are replaced by a long, circular litany of noes: wherever the shadow points, time is up. ‘Borrowed Time’ is two-faced, the opposing sides of its visages competing to soak up the sunlight, like ego-ridden artworld aficionados. ‘Nice Time’, meanwhile, consists of an acid-house smiley face surrounded by a psychedelic mane of multi-coloured tongues. Speaking to Hart’s interest in rave culture, it alludes to both the liberatory potential and drab escapism of drug use and nightlife.

Class is the great taboo of our current, identity-obsessed arts scene. Hart confronts the subject here with humour and a jostling spirit of dissent. The visitor might only wish there were more to see, more faces to read.

Emma Hart: Big Time, Hospital eld, Arbroath, until Thursday 31 October.

COMEDY LYNN FERGUSON Storyland lllll

We all have our own ‘storyland’, according to Lynn Ferguson. Different stories can ignite other people’s storylands, urging us to share experiences with each other. This is why our punchy performer believes the swapping of stories will prolong the survival of humanity. The award-winning writer, and sometimes voice-actor (see Chicken Run and its sequel), brings us a quietly funny (but not quite laugh-out-loud hilarious) confessional in a poignant reflection on her life.

The 58-year-old is like a chatty Scottish agony aunt. Her delivery takes us through each of her stories with the ease of a professional, while her conversational tone and welcoming aura ensures everyone in the room feels at home. A wholesome interaction between Ferguson and an audience member (her longlost friend from college) sets up the relaxed structure of this show straight away. Speaking to us rather than at us, Ferguson creates a comfortable atmosphere where she can share her tender tales to an invested crowd.

Having moved from Scotland to Los Angeles (which she claims is not too different from Grangemouth), Ferguson describes how her family has coped with the helplessness of world affairs in the past few years. When covid hit, they decided to build a chicken coop, because who isn’t happy around chickens? When Russia invaded Ukraine, their feelings of helplessness drove them to erect a beehive in their garden (because everyone knows bees are saving the world). Reflecting on her struggle with breast cancer (which she refers to as ‘the Piers Morgan’) and consequent mastectomy, she reveals an achingly positive outlook on life. She swears she may not be here today had she not learned (through other stories) the risk of undetected cancer in people with dense breast tissue. Her life motto is that ‘no matter what happens to you, you can always choose what story you’re in.’ Although her comedy doesn’t leave the crowd in tears, many are so touched by her wise and warm way of seeing the world that they shed a few anyway. (Rachel Cronin) n Òran Mór, Glasgow, Sunday 3 September; see gildedballoon. co.uk for full Scottish tour dates; reviewed at Gilded Balloon Teviot, Edinburgh.

FILM APOCALYPSE CLOWN (Directed by George Kane) lllll

‘The world doesn’t need clowns anymore. We’re fax machines. We’re travel agents. We’re obsolete!’ wails Bobo (David Earl) in this unashamedly abrasive comedy which pitches a group of fragile, bad-tempered children’s entertainers into end times. When Ireland suffers widespread electrical blackouts and apocalyptic chaos takes hold, Bobo joins forces with fellow buffoons Pepe (Fionn Foley), The Great Alphonso (Ivan Kaye) and Funzo (Natalie Palamides, stealing the show as a street clown said to have ‘gone scary’). Along for the ride is journalist Jenny (Amy De Bhrún), another pretty desperate character, who is on the scrounge for a scoop.

Director George Kane is known for his work in TV (including Brassic and Inside No 9) and, if he knows how to stage comedy, he doesn’t bring a whole lot of cinematic imagination to the table. Meanwhile, the surfeit of screenwriters (four are listed in the credits, including Kane) might explain a hit and miss nature of the gags, which range from surreal and ingeniously deranged to more obvious and cringeworthy. But the plot itself is inspired and it’s a decently paced, admirably daft adventure featuring a cracking cast, who milk the material for every last ounce of laughter. (Emma Simmonds)

n In cinemas from Friday 1 September.

PICTURE: RICH MARCHEWKA

Go trainby

OTHER THINGS WORTH GOING OUT FOR

ART ART WALK PORTY FESTIVAL

Artists, communities and audiences collaborate to create projects and residencies in and around the capital’s north-eastern coast and this festival is the fruits of those labours.

n Various venues, Edinburgh, Friday 1–Sunday 10 September.

COMEDY AUNTY DONNA

Once a small Fringe act, this Australian trio are now playing two nights at esteemed theatres. Some 75 minutes of new sketches and old bits under the umbrella of The Magical Dead Cat Tour. Nice.

n King’s Theatre, Glasgow, Monday 11 & Tuesday 12 September.

FILM PASSAGES

Ira Sachs directs Ben Whishaw, Adèle Exarchopoulos and Franz Rogowski in a drama about a gay couple whose lives are upturned when one of them starts an affair with a woman.

n In cinemas from Friday 1 September.

MUSIC MARIO BIONDI

The Italian with the sonorous vocals and a proud CV that features collaborations with Chaka Khan and the late Burt Bacharach brings his platinumselling tunes to Scotland.

n Queen’s Hall, Edinburgh, Tuesday 5 September; Old Fruitmarket, Glasgow, Wednesday 6 September.

LAMMERMUIR

East Lothian is alive with the sound of classical music and another impressive Lammermuir programme. Among the upcoming delights are Mahan Esfahani’s interpretation of Bach, the NYCOS Chamber Choir, and Secret Byrd.

n Various venues, East Lothian, Thursday 7–Monday 18 September.

THE TENEMENTALS

As part of the city’s Doors Open Day celebrations, this collective of academics, artists and musicians bring us A History Of Glasgow In Song featuring (as well as song and history) some storytelling.

n St Luke’s, Glasgow, Friday 15 September.

TALKS ZADIE SMITH

The author of White Teeth launches her new book, The Fraud, in conversation with Chitra Ramaswamy. This is Smith’s first historical novel and revolves around a contentious trial in Victorian England.

n Gordon Aikman Lecture Theatre, Edinburgh University, Friday 8 September.

THEATRE PICKLED REPUBLIC

Created and performed by Ruxy Cantir, this work has been dubbed a cross between Eugene Ionesco and David Lynch, an absurdist mystery that explores despair.

n Civic House, Glasgow, Thursday 21 September.

BATTERY PARK

This play with live music is about a band who were set to be the next big thing in Britpop but then disappeared without a trace. Some 30 years later, the truth behind this mystery starts to unravel.

n Beacon Arts Centre, Greenock, Friday 22 & Saturday 23 September; Tron Theatre, Glasgow, Thursday 28–Saturday 30 September.

If you fancy getting out and about this month, you won’t be stuck for choice: there’s a musical play about Britpop, a madcap Australian sketch group, and an appearance from one of Britain’s most lauded writers

PICTURE: ANDY CAITLIN

Aunty Donna (and bottom from left), Battery Park, Passages, Pickled Republic

staying in

JOSEPH MALIK

Joseph Malik has been a major figure in and around the Edinburgh underground scene since the early 90s when he coformed trailblazing Scottish hip-hop group, Blacka’nized. Having brought his Diverse trilogy to an end last year, Malik is back brandishing a new direction for Proxima Ebony with fresh soundscapes and collaborations hooking him up to New Jersey rap artist Kameelah Waheed and Digital Liquid aka Daniel Walls. (Brian Donaldson) n Proxima Ebony is released on Ramrock Red Records, Friday 8 September.

FAMILY FORTUNES

Allan Radcliffe’s debut novel, The Old Haunts, confronts grief, sexuality and parental bonds. He chats to Lynsey May about growing up in the shadow of Section 28 and happy ever afters

In his compact yet powerful debut novel, Allan Radcliffe draws a tender portrait of a young man grieving his parents and the relationship he did and didn’t have with them. While a background in journalism may have installed a joy of ruthless editing in the author, The Old Haunts’ concise nature isn’t due to a desire to pare back. Instead, Radcliffe began with a fairytale-inspired motif, not unlike the one now gracing the book’s cover, which quickly grew arms and legs.

‘I was interested in the common theme of children falling back on their own resources and learning to survive without their parents, with a promise of recovery and redemption,’ explains Radcliffe. And so, we join Jamie, recently bereaved and journeying in the Highlands to come to terms with his role in the world as a son (and now orphan), accompanied by new boyfriend, Alex.

Jamie’s relationship with his parents was multi-faceted and further complicated by the pressure to hide his sexuality, having grown up during the Section 28 era. ‘You can’t underestimate how much of an impact it had on young people’s lives at the time, how few cultural reference points existed and just how homophobic press coverage and attitudes were,’ says Radcliffe.

Jamie has almost no role models, no language to describe his own experiences. ‘At 15, I was made of secrets,’ Jamie says, suggesting a mixture of guilt and resentment. But what teenager isn’t quietly fermenting in the dark, unsure which parts of themselves can be revealed to their parents and the world at large? His escape to college is the chance to ‘shuck off his disguised life and unleash his secret identity.’

The expansion of Jamie’s world view can’t help but distance him from his parents, though, and Radcliffe explores the fracturing of this intense parental bond. ‘I wanted to show how other factors start to creep into life and drive a wedge between the way parents and children relate. In London, Jamie changes, but his parents have changed in his eyes too. They’ve grown vulnerable.’

Jamie’s quest is to resolve and embrace love in all its imperfections, and the burgeoning relationship between himself and Alex offers a thread of tenderness and reclamation. ‘While I don’t necessarily feel a pressure to write a happy ending, it was really important to me to write warmly about queer love,’ says Radcliffe. One of this book’s most bittersweet lessons is the realisation that not all happy endings can be shared with the people we care about most.  The Old Haunts is published by Fairlight Books on Thursday 14 September.

BINGE FEST

Our alphabetical column on viewing marathons reaches S

If you have a phobia for the letter S, bad news: this is going to be at least a two-issue affair as the number of landmark series beginning with said letter is quite extensive. May as well kick off with the Shakesperean behemoth of them all, The Sopranos (NOW), a drama ostensibly about New Jersey mobsters that was really about family, loyalty, hypocrisy and the great American nightmare coming home to roost. And it was also funny as hell, with a number of amazing secondary characters who could easily have warranted their own spin-off. Compelling in a different way is Song Exploder (Netflix), the podcast turned TV show helmed by Hrishikesh Hirway, which analyses a single classic tune and chats to its writer about how it all came about. Memorable episodes include Trent Reznor on ‘Hurt’ and Alicia Keys talking about ‘3 Hour Drive’. (Brian Donaldson)

 Other S binges: Sherlock (BBC iPlayer/NOW), Stath Lets Flats (Channel 4), Sally4Ever (NOW).

Late one morning, not long ago, Devendra Banhart is on the line from his home in California. The subject for discussion is his new music, which means talking about art and insects and death. But first the preliminaries:

‘Where are you?’ he asks.

‘Glasgow, Scotland. Where are you?’

‘I’m in Los Angeles, wherever that is.’

The Zoom meeting, at his request, is audio only. My laptop screen is dark. It’s like interviewing Malevich’s ‘Black Square’ painting, if Malevich’s ‘Black Square’ spoke with goofball sincerity.

Case in point, here he is on the firefly, a creature that gives its name, and the idea of fleeting beauty, to one of his excellent new songs: ‘I can’t believe that it exists. If I wasn’t a musician, I would be an entomologist. I’m so into insects. I’ve just always wanted to be in their world, checking them out. I’ll sit in the garden and stare at an ant and just be blown the fuck away.’

Banhart, now 42, came to public attention in the early noughties as part of the so-called ‘freak folk’ scene that included the likes of Joanna Newsom. His forthcoming album, Flying Wig, hardly sounds like the same person. There is no trace of naïf psychedelia. It’s a gentle drift of melancholy synthwashed neon that brings to mind Avalon-era Roxy Music, late-period Talk Talk, and Leonard Cohen around the time of Death Of A Ladies Man. It also sounds quite a lot like Cate Le Bon, the Welsh artist who is its producer.

‘If you’re gonna make a record, it’s daunting, but it helps to ask somebody who’s a better singer and songwriter and musician than yourself,’ Banhart says. ‘Cate is just beyond.’

What did Le Bon bring? Artisanal feel for the nutsand-bolts of writing combined with a poetic shorthand that helped Banhart to shape his songs. At one point, while he was struggling with an overcrowded arrangement, she advised: ‘try to find the stone that sings amongst it all.’ He still marvels at those words: ‘that’s using poetry like a spell, like a tool.’

Singer-songwriter Devendra Banhart’s latest album finds the Venezuelan American experimenting once more in pastures new. He talks to Peter Ross about working with Welsh alt-popster Cate Le Bon, seeking comfort in safe spaces and dragging himself out of a creative black hole

Le Bon also gave Banhart a specific gift: her blue Issey Miyake dress. He wore this hand-me-down during the recording sessions. Why? It goes back to his childhood. ‘I started singing in a dress. When I was nine.’ At home in Caracas, Venezuela, he would put on his mother’s dresses and sing. ‘It’s a safe space for me. It gives me strength.’ He is in awe of the world, but sometimes struggles to be happy in it, and what can seem like gestures of performative oddness are strategies to help him find comfort and pleasure.

This relates, he said, to a line from one of the new songs, ‘Sight Seer’: ‘I’m singing no longer for fun/ but as a form of protection.’ Can he elaborate? ‘It’s an expression of gratitude to art; when we turn to it for solace or to protect ourselves from a world that is increasingly cruel and insane.’

Flying Wig is inspired, in part, by ‘This Dewdrop World’, a 19th-century haiku by Kobayashi Issa. The Japanese poet wrote it in response to the death of his daughter from smallpox, and it spoke to Banhart in his own time of loss. ‘My friend Hal Wilner died of covid. And my friend Connie died and Diego died and Jamie died. It’s a lot of friends. That became a chasm in my heart.’

The dewdrop, like the firefly, is an image of transience. But the poem’s refrain (‘and yet, and yet . . . ’) speaks to the way that we carry on despite our knowledge that all things must pass. For Banhart who, during lockdown, found himself artistically paralysed, unable to sing or even to reach out a hand and lift his guitar, this tension between nihilism and creativity was his reality.

Eventually, though, the songs came and he found himself able to ‘transmute grief into something that makes the world more beautiful’. His singing, throughout the album, has a generous tenderness; it feels as though he is trying to comfort, even heal, both himself and the listener.

‘Yes, the whole record,’ he says, ‘as doom-laden as it may be, there’s this light always. That’s the andyetness of everything.’

Flying Wig is released by Mexican Summer on Friday 22 September.

“ “

first writes

In this Q&A, we throw some questions about ‘firsts’ at debut authors. For September, we feature Megan Kamalei Kakimoto, author of Every Drop Is A Man’s Nightmare, a short-story collection exploring contemporary Haiwaiian identity and womanhood

What’s the first book you remember reading as a child? Anne Of Green Gables by Lucy Maud Montgomery.

What was the book you read that made you decide to be a writer? Ditto Anne Of Green Gables; I couldn’t believe a collection of words could move me so profoundly. Since then, I’ve always hoped my words might move someone in the same way.

What’s your favourite first line in a book? ‘Sth, I know that woman,’ from Jazz by Toni Morrison. The confidence and clarity required to begin a book with such a sonic direct address: I’ve always been in awe.

Which debut publication had the most profound effect on you? Sabrina & Corina by Kali Fajardo-Anstine. These stories are breathlessly beautiful and gave me permission to write my own women-centered tales rooted in my indigenous cultural upbringing.

What’s the first thing you do when you wake up on a writing day? I love to make coffee then read a short story to ground my work for the day. At the time of this writing, I’m rereading stories from Black Tickets by Jayne Anne Phillips.

What’s the first thing you do when you’ve stopped writing for the day? Hug my dog and cat (if she’ll let me).

In a parallel universe where you’re the tyrant leader of a dystopian civilisation, what’s the first book you’d burn? Honestly don’t know if I can bring myself to burn a book!

What’s the first piece of advice you’d offer to an aspiring novelist? First and foremost, take pleasure in your work. Criticism and rejection are inevitable parts of the publication process, so it’s crucial to find joy in the work and in the writing process so as to persevere and write the story only you can write.

Every Drop Is A Man’s Nightmare is out now published by Bloomsbury.

GAMES BALDUR’S GATE 3

Just 21 months separated the first two main games in the Baldur’s Gate fantasy role-playing series, so fans might have expected a third entry in no time at all. But it was another 23 years before Larian Studios finally released Baldur’s Gate 3 on PC in August (it’s not even made by the original studio which was the once-legendary, now somewhat-tainted Bioware). The game was initially released in early access in 2020 and the past three years have given the developer ample time to hone its myriad systems. Its PC launch has been a spectacular success with many critics claiming it to be the greatest game ever made. PS5 players are about to get in on the action but, due to technical issues, Xbox owners will likely have to wait until next year.

The game is based on the fifth-edition Dungeons & Dragons rule set and it plays just like a tabletop game. Whether navigating the enormous environment or engaging in its tricksy combat, players have an extraordinary range of options available. Astonishingly, practically every conceivable outcome has been catered for, and the game’s superb script constantly adapts to embrace all contingencies.

Although veterans of D&D will feel right at home, newcomers may find it all a bit overwhelming. While it contains a tutorial of sorts, the game is enormously complex and its vast assortment of spells, tools and other systems are ineffectively explained. Fortunately, countless fans have produced a swathe of helpful tutorials on sites such as YouTube. Best start studying now. (Murray Robertson)

 Out now on PC and released on PS5, Wednesday 6 September.

Show your support for the Scotland Women’s National Team in the upcoming UEFA Women’s Nations League

The final whistle may have blown on the FIFA Women’s World Cup 2023, but Scotland fans can look forward to a thrilling trio of games in the inaugural UEFA Women’s Nations League as Scotland take on some of Europe’s top teams.

Pedro Martinez Losa’s side will face England, the Netherlands and Belgium from September to December this year as they compete for a spot in the Nations League Finals.

Head along to Hampden Park to get behind the team and witness history in the making as the Scotland Women’s National Team return to competitive action. It really is all to play for.

SCOTLAND vs BELGIUM

Hampden Park, Glasgow, Tuesday 26 September, 7.45pm

SCOTLAND vs NETHERLANDS

Hampden Park, Glasgow, Tuesday 31 October, 7.45pm

SCOTLAND vs ENGLAND

Hampden Park, Glasgow, Tuesday 5 December, 7.45pm

UEFA Women’s Nations League Finals take place between 21–28 February 2024.

Head Coach, Pedro Martinez Losa says: ‘This is an exciting draw which has given us some tough opponents but these are the teams we want to play and compete against. The squad is ready to continue growing and giving the best version of ourselves in every match. The format of the competition means we can look forward to playing these great matches in front of our dedicated home support.’

Mark your calendars and show your support for the Scotland Women’s National Team.

Adult tickets cost £15, while senior and junior concessions are £10. Three match packages are available for £40 (adults) and £25 (concession), or get a 25% group discount when you purchase ten tickets. Book at tickets.scottishfa.co.uk

TV

THE SUPER MODELS

Naomi, Cindy, Christy and Linda. Four powerhouses in the world of elite modelling, with careers so starry that they were given a special label: supermodel. This four-part documentary series will travel back to the 1980s, following their individual careers as they blossomed. Finding themselves together in New York, these young women from South London, Illinois, California and Ontario, respectively, were suddenly snapping up bigger and more prestigious campaigns, then harnessed their feminine powers and began working together as a group.

Sadly the quieter but once-ubiquitous and statuesque supermodel Tatjana Patitz died this year, but her colleagues (all five were famously featured on the cover of British Vogue in 1990, then went on to appear in George Michael’s iconic ‘Freedom’ music video) will be talking to camera about the fashion industry in those days. Between them, the mighty Campbell, Crawford, Turlington Burns and Evangelista have gone on to branch out into activism, fundraising and business ventures, featuring various run-ins with the media or controversies along the way. But this series focuses on their legacy.

Though Claudia Schiffer and Kate Moss were later added to the list of supermodels (with Heidi, Tyra, Gisele and others following in their impossibly glamorous footsteps soon after), this TV show will explore the original catwalk queens who paved the way. (Claire Sawers)

 Starts on Apple TV+, Wednesday 20 September.

my perfect podcast •stsacdop podcasts•

In this column, we ask a pod person about the ‘casts that mean a lot to them. This issue, it’s Lydia Laws, founder at music, eco and lifestyle PR agency, LLPR, and presenter of Lifting The Lyd, a podcast where she chats to inspiring people who follow their passions

Which podcast educates you? Belta with electronic music journalist Niamh Ingram. Unfiltered interviews with northern (whether city/country/region) musicians, DJs, producers etc. As a northerner, I love that Niamh highlights that talent. Also on electronic music, Katie Knight’s Can U Put Me On Guestlist? rocks too.

Which podcast makes you laugh? My Dad Wrote A Porno had me howling with laughter in public, even during a bad lockdown break-up. I still go back to it for a real belly laugh; it never gets old.

Which podcast makes you sad or angry? Steven Bartlett’s The Diary Of A CEO I was a fan but now he often features misogynists, with no attempt at balance or critique.

Which podcast is your guilty pleasure? As a massive Jurassic Park nerd, it’s got to be Stuck On Sorna, focusing on cult fave, Jurassic Park 3. Daniel Stephen interviews guests, from William H Macy to producers and crew, for juicy stories and outspoken opinions.

Tell us someone who currently doesn’t have a podcast but totally should Robert E Fuller is a wildlife filmmaker/photographer/artist living on the Yorkshire Moors. His nest-cams capture heartwarming, never-seen-before films of wild owls, hawks, stoats, hares . . . animals are far smarter than we think. I’d love to hear his stories in a podcast format.

Pitch us a new podcast idea in exactly 25 words Wild Wees: women caught short in bizarre/hazardous places (from redbacks in the Australian outback to a crowded loo-free boat) and how they coped.

All episodes of Lifting The Lyd are available on Spotify and Apple Podcasts.

PICTURE: ELEANOR WEITZER

album of the month

On their third album, Kevin Fullerton finds synth pop trio Nation Of Language exploring a looser groove and blending their influences into a big sexy musical marriage that sparks with joy

Nation Of Language perfected the pose of 80s synth legends with their debut album Introduction, Presence in 2020. Their band name sounded like it was plucked from a tatty vinyl in a charity shop, their chunky synth pop veering from madly impassioned to distant and cold, and the sumptuous basslines of their catchiest tracks recalling the chirpier end of New Order. Teeming with confidence right out of the gate, it’s perhaps inevitable that their third outing, Strange Disciple, finds this trio digging their heels into their established sound, pushing forwards tentatively without compromising a delicate balance between plonking Moogs and forceful pop.

Tracks like ‘Stumbling Still’ or ‘Sole Obsession’ showcase a band still crafting earworm choruses, but Strange Disciple shifts away from classic pop structures into something looser, focusing on grooves more than singalong hooks. Album opener ‘Weak In Your Light’ feels representative of the whole, with its gradual expansion from a few notes to a bracing complexity, this single ingredient becoming a delicious meal through the careful addition of different textures, buttressed by Ian Devaney’s soaring

vocals. The welcome looseness opens plenty of new doors; relaxed climbs and descents in ‘Sightseers’; sudden synth breakdowns in ‘A New Goodbye’; and a renewed focus on abstraction in Devaney’s lyrics (‘swimming in sweat, television set,’ he bellows during the jittery, anxiety-ridden ‘Too Much Enough’, more in love with the strangeness of his rhyming couplet than any traditional idea of sense). Even in the most eccentrically structured songs, there’s seldom a hint of self-indulgence, each new direction in service to the track at hand rather than an arbitrary whim. Perhaps that’s apt as Devaney’s words aren’t simply about love, but hint at being overwhelmingly obsessed with another person or in thrall to a transcendent experience. ‘Something so bright and blessed I’m almost crushed,’ he sings on ‘Weak In Your Light’, allowing himself to be consumed by his feelings to the point of religious ecstasy, a motif which surfaces regularly throughout this album.

Though iterative rather than revolutionary, the strong material here shows Nation Of Language writing their way out of a potential creative cul-de-sac, turning a love affair with OMD and The Human League into a big sexy marriage sparking with joy. The album brims with fresh ideas, inviting new sounds into the partnership to keep things interesting, and testing the limits of what makes them unique. If you’re yet to listen to Nation Of Language, now’s the time to catch up with their phenomenally impressive pop artistry.

Strange Disciple is released by PIAS on Friday 15 September.

ALBUMS PROTECTION SEEDS II (Saint Lucky Records) 

Iain Cook of Chvrches fame and revered Glasgow musician Scott Paterson are back with SEEDS II, their second EP under the Protection alias, an ambitious, well-rounded 20 minutes of experimental electric sounds. Come for expertly structured breakbeat sound and piercing synths, and stay for the endearing, melancholy vocal samples, in what is a musical endeavour beginning to feel less like a side project and more like a venture bound to result in headlines slots and the filling of big rooms.

‘Thirst Shine’ sets the pace from the off, an endearing high-tempo opener that preceeds ‘On Love’, an insightful rework of DJ and producer TSHA’s 2022 single, ‘Giving Up’. Those who have enjoyed the recent output of Two Shell and Overmono will likely enjoy SEEDS II and, at the risk of drawing a lazy comparison, the vocal sampling on the final two tracks (‘Something Real’ and ‘Back There’) feels reminiscent of the more upbeat offerings in Burial’s discography in recent times.

The EP’s high point derives from halfway marker ‘THX’, a truly transcendent number capable of soundtracking a Tuesday afternoon daydream, which transports the listener from an office to a packed-out, strobe-lit dancefloor. Having seemingly evaded the mainstream thus far, you can only hope that Protection are given the nod from the relevant industry bigwigs sooner rather than later. (Danny Munro)

 Released on Friday 1 September.

BOOKS SUSANNAH DICKEY ISDAL (Picador) 

This debut poetry collection from acclaimed novelist Susannah Dickey experiments with form to examine our obsession with the dead female body. True-crime stories have come to dominate podcasts and documentaries, with many of them focusing (as does fictional crime) on murdered women. The case Dickey homes in on is that of the ‘Isdal Woman’, whose body was discovered in a valley in Norway in 1970 and who remains unidentified to this day.

In Part 1, Dickey creates a blunt satire of a podcast (with echoes of an existing BBC one) in which the case is salaciously discussed by two presenters: one male, one female. She ventriloquises the glee of the podcast’s creators and, in styles from free verse to couplets, conjures surreal and disjointed moments from Isdal Woman’s final days. There are scenes involving talking armchairs, and flights of imagination inspired by the woman’s fingerbones. The male presenter is crassly fixated on his female co-host, and the producers prioritise ratings over a victim’s dignity. However the expressions of misogyny here feel over-simplified, and in such an experimental, feminist work, Dickey is surely preaching to the choir.

Part 2 tilts the lens to provide psychoanalytical commentary on our obsession with women and true crime. Once in prose, Dickey’s ideas breathe more freely as she engages with theorists from George Bataille to Judith Butler: you can feel her grappling for answers to a problem that goes deeper than boycotting Spotify. In Part 3, we return to nebulous poetic territory as Dickey asks us to consider the view of the woman from a different angle. Her determination to stick to a creative vision (sometimes at the expense of communication), will be admirable to some, irritating to others. What no one can deny is that Dickey is dazzlingly ambitious, unafraid to make up her own rules of structure and concept. ISDAL may divide opinion but it will start conversations. (Lucy Ribchester)

Published on Thursday 14 September.

new subgenre has emerged in recent years. The ‘online asymmetric multiplayer survival horror game’ doesn’t exactly trip off the tongue but it’s certainly popular. It pits two teams against one another and affords one group a marked aggressive advantage. It has inspired adaptations of Evil Dead and Friday The 13th but by far the most successful entry is 2016’s Dead By Daylight. Now it’s the turn of Tobe Hooper’s 1974 classic horror film.

Players are split into two teams comprising four victims and three family members. There are five characters to choose from on each side and they all have their own strengths and weaknesses which can be improved over time by spending XP in a rather cumbersome process. The family members are the most distinct, particularly Leatherface whose towering presence is a requirement for any game to begin.

Victims start locked in a basement in one of three locations. They must search for tools to make their escape, first by reaching the ground floor and then by venturing outside. But that’s not the end of it as the final exits are likely to be trapped, and it requires a mixture of stealth, courage and luck to safely disarm them. All the while, the family members must hunt down and kill their victims, and they’re passively aided by Grandpa who periodically awakens in his rocking chair to alert his clan to the victims’ movements.

Playing as a victim is a deeply unsettling experience and the odds are firmly stacked against you. Picking locks involves a tense minigame which will fail if it’s rushed, and at all times you must scan the environment and pay attention to every sound. Often, you’ll be crouching in the shadows or hiding in the long grass, desperately hoping the killers can’t see you. It works particularly well in multiplayer, where mind games and erratic behaviour trump the predictability of computer AI. Playing as a family member is an invigorating challenge and, despite the inherent advantages, it takes real skill and teamwork to locate, trap and kill your prey.

It’s a shame there isn’t an interactive tutorial. Instead the game asks you to sit through a surfeit of text-heavy videos. But then nothing beats actually playing the game to learn its intersecting systems. It really looks the part: the family members all resemble their on-screen counterparts (including the hitchhiker and the cook) and the locations and discordant soundtrack are highly evocative of the source material. These particular games rely on solid postlaunch support so time will tell if it will survive and what will be left of it.

The Texas Chain Saw Massacre is out now on PC, PS4, PS5, Xbox One and Xbox Series X/S.

game of the month

AInspired by the seminal horror movie, victims and killers are locked in a brutal struggle in The Texas Chain Saw Massacre. Murray Robertson rates this multiplayer game a deeply unsettling and invigorating challenge

PODCASTS WHO SHAT ON THE FLOOR AT MY WEDDING?

(whoshatontheflooratmywedding.com) 

This viral podcast hit is based, almost unbelievably, on a true story. Married couple Karen Whitehouse and Helen McLaughlin were troubled by the grubby mystery of a poo that appeared on the floor of the ladies’ toilets during their wedding onboard an Amsterdam boat. Eventually they decided to try and get to the bottom of it (so to speak) by enlisting a friend, fledgling ‘private detective’ Lauren Kilby with her recently issued online certificate in crime-busting. And so the trio sets out to find the culprit.

Satirising true crime while simultaneously leaning on the genre’s suspense structure creates the kind of alchemical podcast magic that could never be confected. Kilby throws herself into the role of poo detective with the gusto of DCI Jane Tennison. She purchases lie detector hardware from Amazon, interrogates wedding guests with increasing aggression, and at one point even schleps to the zoo to try to establish if the poo could have been left by a rogue Japanese macaque.

Experts in forensics are called and no one escapes suspicion; not even the brides’ families. By taking its ridiculous task so seriously, this 13-part series results in a listen that is weirdly fascinating as well as hilarious.

(Lucy Ribchester)

 Episodes available at whoshatontheflooratmywedding.com

ALBUMS ROISIN MURPHY

Hit Parade (Ninja Tune) 

Roisin Murphy’s sixth studio album Hit Parade is an experimental collaboration with German techno and house producer DJ Koze. Although it was created remotely over a six-year period, this 13 track record feels best suited to a loud, packed club with its deep, bouncy bass lines and building techno loops. But despite its escapist feeling, Murphy considers heavy themes throughout, referencing dystopian stories by JG Ballard and the idea of free will.

Track one, ‘What Not To Do’, tempts us into the fun house with its hypnotic beat and repeated hooks that seem to circle around at a dizzying frequency. The depth of sound in this track, and throughout the album, is a testament to DJ Koze’s production, which elevates the sometimes-diluted melodies to cinematic heights. Next we burst into the fuzzy, soul-tinged ‘CooCool’ (the album’s biggest single). It’s no surprise this track has racked up millions of streams already, with its catchy eponymous chorus line and movement-inducing groove. By far the most pop-influenced in the mix, we hear safe harmonies and sunny horns shine through in this track, unlike in the following ‘Fader’ and ‘Hurtz So Bad’, which feature topline melodies in slightly different keys that create the illusion of something being off kilter.

Into the album’s more forgettable half, housey drums swell in track nine ‘You Knew’ while ‘Can’t Replicate’ gradually builds into a satisfying beat drop and memorable hook. The trap-influenced ‘Two Ways’ provides an interesting gear shift with its unwound melodies and frenetic sampling that fade into the brain-cooling introduction of the album’s final track ‘Eureka’.

Although made from a place of admirable creative freedom, Hit Parade veers into self-indulgence and exploration rather than innovation. Parts of this record’s sonic palette match its otherworldly themes, but as a whole, it trips over its far-reaching ideas and becomes a patchwork of sounds we’ve heard before. (Megan Merino)

 Released on Friday 8 September.

OTHER THINGS WORTH STAYING IN FOR

A packed month of things to do indoors include a new podcast about earliest memories, a performance artist under the microscope, a game that solves some big mysteries, and the reissue of an acclaimed debut solo release

ALBUMS

JIMMY SOMERVILLE

Read My Lips was the Bronski Beat/ Communards frontman’s debut solo album, with this protest record getting the deluxe-edition reissue treatment some 34 years later. Collected B-sides and some rarities are included. n London Records, Friday 1 September.

RACHEL SERMANNI

Taking a dip into the subconscious, this Highlands singer-songwriter has been dubbed a ‘folk noir gem’. Her new album looks set to carry on that vibe, not least via its title, Dreamer Awake

n Navigator Records, Friday 15 September.

BOOKS

JAMES ELLROY

America’s great 20th-century chronicler returns to 1962 and the tragedy of Marilyn Monroe for The Enchanters, a psychodrama which features a freewheeling ex-cop determined to join the dots between the blonde legend’s demise and a kidnapped B-movie actress.

n Hutchinson Heinemann, Thursday 21 September.

MARINA ABRAMOVIĆ & KATYA TYLEVICH

The world’s most famous living performance artist reveals all (or as much as is reasonable) about her personal and artistic life in a book which features more than 600 photographs, with no doubt not a dull one among them.

n Laurence King, Thursday 21 September.

GAMES STARFIELD

Humanity’s greatest mysteries are all set to be answered in this RPG from the people who brought you Elder Scrolls V and Fallout 4. Set among the stars, you can explore this world with unparalleled freedom.

n Bethesda Softworks, Wednesday 6 September.

PODCASTS

ROSEBUD

Gyles Brandreth, the Tory it’s ok to like, launches a new pod in which he chats to people about their earliest memories. Among those dropping in during the first episode batch are Judi Dench, Nicola Sturgeon, Adjoa Andoh, Miriam Margolyes, and Richard Dawkins.

n Friday 1 September.

TV

MURDER TRIAL: THE DISAPPEARANCE OF RENEE AND ANDREW MACRAE

One of Scotland’s longest-running unsolved mysteries finally had its day in court almost 50 years later, as the man suspected of killing Renee MacRae and her young son Andrew faced a jury in 2022. This two-part documentary tracks the trial.

n BBC Two, Monday 4 September.

THE LOVERS

This six-part comedy-drama stars Roisin Gallagher and Johnny Flynn as an unlikely couple: she’s a potty-mouthed supermarket worker, he’s a starchy political correspondent on the telly. Conleth Hill and Alice Eve also star.

n Sky Atlantic, Thursday 7 September.

STILL UP

Antonia Thomas and Craig Roberts are a pair of insomniacs (she’s an illustrator, he’s a journalist) who start up an acquaintance while the rest of the world snoozes, based on their shared sleeplessness. Also in this are Blake Harrison, Lois Chimimba and Samantha Spiro.

n Apple TV+, Friday 22 September.

Rachel Sermanni (and bottom from left), Jimmy Somerville, The Lovers, James Ellroy

back

THE Q& A WITH TIM VINE

Punmaster Tim Vine is taking his latest madcap show on the road, no doubt armed with a barrage of one-liners and a bagful of daft props. In our Q&A, he talks hooters, silent tin openers and weeping at Undercover Boss USA

Who would you like to see playing you in the movie about your life? Who do you think the casting people would choose? I’d say Nicolas Cage but I think they’d choose Stephen Merchant. In both cases they would turn the job down.

What’s the punchline to your favourite joke? Number 91, are you in trouble?

If you were to return in a future life as an animal, what would it be? A butterfly (but not a caterpillar).

If you were playing in an escape room name two other people (well-known or otherwise) you’d recruit to help you get out? 1) Noel Britten. A friend of mine who loves escape rooms and has designed them too. He is an expert; 2) Glen Campbell. He has a nice singing voice.

When was the last time you were mistaken for someone else and what were the circumstances? Today I hooted at someone I didn’t know and they waved at me because they assumed I was a friend. I don’t have a car. I just have a hooter.

What’s the best cover version ever? ‘Let Her Down Easy’ by George Michael.

Whose speaking voice soothes your ears? I’m soothed by words more than voices, so anyone who says the words ‘lozenge’ or ‘specific’.

Tell us something you wish you had discovered sooner in life? Life actually is short.

Describe your perfect Saturday evening? A light breeze, about 24 degrees, low humidity.

If you were a ghost, who would you haunt? That sounds a bit mean. I would refuse to haunt anyone. Go ahead and fire me.

If you could relive any day of your life, which one would it be? I was about ten and at a campsite with my family. We discovered that a mouse had given birth to lots of baby mice in the bag that our tent was kept in.

What’s your earliest recollection of winning something? The egg and spoon race, although I was subsequently disqualified because apparently you’re not allowed to use scrambled egg and a ladle.

Did you have a nickname at school that you were ok with? And can you tell us a nickname you hated? At one time I was called Rebel which I loved. The nickname I hated was Worzel because I thought it meant I had a pointy nose. Both were true. I was a rebel with a pointy nose.

If you were to start a tribute act to a band or singer, who would it be in tribute to and what would it be called? This is an area I’m very interested in. I have done tribute acts to Elvis and Jim Reeves. I have been thinking about doing a Human League tribute act where I just sing to backing tracks and I’m called Phil Karaoakey.

When were you most recently astonished by something? Just now. The number of people who say to Judge Judy ‘she gave it to me as a gift’ is astonishing. Have they never watched the show?

Tell us one thing about yourself that would surprise people? I don’t think about jokes all the time.

What tune do you find it impossible not to get up and dance to, whether in public or private? I’m good at resisting that urge. As the old saying goes, ‘never dance like nobody is watching.’

Which famous person would be your ideal holiday companion? Marie Osmond. My first love.

As an adult, what has a child said to you that made a powerful impact?

‘Every nontrivial zero of the Riemann Zeta function has real part 1/2.’

When did you last cry? Yesterday. The last ten minutes of Undercover Boss USA

What’s the most hi-tech item in your home? A tin opener with a silencer.

What’s a skill you’d love to learn but never got round to? Lip-reading Mandarin. By decree of your local council, you’ve been ordered to destroy one room in your house and all of its contents. Which room do you choose? The kitchen. It’s the only room without any props in it.

If you were selected as the next 007, where would you pick as your first luxury destination for espionage? I had no idea Bond chose where he wanted to go. I thought he was sent on missions. I would choose anywhere in this country on the condition that the weather is sunny and warm.

Tim Vine: Breeeep!, Theatre Royal, Glasgow, Wednesday 6 September; Tivoli Theatre, Aberdeen, Tuesday 12 & Wednesday 13 September.

Andwho’sshewhenshe’sathome?

A collaborative multimedia poetry installation exploring heritage, home, and class by Ellen Renton and Megan Rudden

18th August - 17th September Craigmillar Castle, Edinburgh, EH16 4SY

MARK LIDDELL PHOTOGRAPHY

1 2 3

hot shots

Statues have been quite the hot-button topic over recent times. But no one is likely to complain as six stone figures (four Greek goddesses plus Burns and Shakespeare) are returned to the Citizens Theatre roof with this iconic Glasgow venue continuing its progress towards reopening in 2024.

Ahead of the Scottish Mental Health Arts Festival in October, artists and activists have announced Manifesto, a day-long event which asks what a mental-health revolution would look like. Among those taking part are Heather Marshall (her work is pictured) and Traumascapes, with the full programme announced on 4 September.

IT’S GOT THE EDGE.

DISCOVER WHAT FOLLOWS

Student Guide

Glasgow p88 | Edinburgh p97

STUDENT GUIDE CO-EDITORS: Megan Merino, Rachel Cronin with contributions from Jessica Matthewson

DESIGN: Seonaid Rafferty

Are you an aspiring film critic, the country’s next big investigative journalist, or just keen for some campus gossip? Rachel Cronin gets to know some of Glasgow’s top student editors breaking stories across the city’s many campuses

DANNY MUNRO | Editor-In-Chief | Strathclyde Telegraph

What makes Glasgow a good student city? Glasgow boasts the country’s best nightlife and live music scene. And of course, a pint is always cheaper than it would be in Edinburgh.

Is ‘Freshers flu’ fake news or a real-life risk? When I was in first year, all pubs and clubs were shut, and parties were illegal (our ‘Freshers flu’ was covid). But I have it

on good authority that it is in fact a real thing. Take care of yourself during Freshers Week, drink plenty of water and don’t feel like you have to say ‘yes’ to every night out. Do you have to study journalism to work for a student publication? Of course not! Our paper is open to all. If you have an idea for a story, or you’ve seen a pitch that takes your fancy, then we are happy to have you onboard.

JEEVAN FARTHING | Co-Editor-In-Chief | The Glasgow Guardian

Why did you choose to get involved in the student press? I was the slightly over-keen Fresher, insistent on involving myself in anything and everything possible. Student journalism is the one I stuck with, because everyone was super friendly and encouraging at socials.

What’s the wackiest on-campus news story you’ve reported? We broke the news that Glasgow University

staff were misusing their expenses scheme. The claims included £130 for a porterhouse steak at The Butchershop restaurant in Glasgow!

Why is your publication important to you? The Glasgow Guardian is important because, without it, the university would not be sufficiently held to account, and a whole demographic would risk losing their voice.

NIAMH FLANAGAN | Co-Editor-In-Chief | The Glasgow Guardian

How do you balance working for a media outlet alongside your studies? We’re all students, and so we all understand the unique challenges that student life can present. There are welfare systems in place to help support everyone and we’re all able to rely on each other.

Why is student journalism important? Student journalism offers equal opportunities for us to get a head start in an industry that is infamously inaccessible to people

Discover your next adventure with The List’s Student Guide for 2023. From food and drink, to music, art and culture, this guide contains all the inspiration you need to experience something new, whether you’re just arriving in the city or know it like the back of your hand.

At Heverlee, we’re all about the joy of curiosity and sharing your new finds with friends, creating unforgettable memories and experiences and this guide will help you to do just that.

Our premium pilsner lager is skimmed to perfection which helps keep the head bitter and the beer sweet, meaning you can enjoy that crisp, refreshing Heverlee taste, every pint, every time.

Discover it for yourself at the bar and cheers to the start of a great new term.

from state-educated, working-class backgrounds (or young people based outside of London, even).

What’s your all-time favourite story from your publication? We once revealed that a CIA spy was working in the Politics department of the university. But what’s more was that during his time working for the CIA, he had recruited his undergraduate class to produce data reports on suspected Soviet actors!

Meet The Student Press: Glasgow a message from our sponsor

Top gear

Sick of drop-shipped Depop scams and overpriced corduroy jeans? Our canny guide to Glasgow’s best charity shop hotspots will not only save you pennies but make you the best-dressed at your 9am lecture (if you make it in on time)

WEST END Partick

A stone’s throw from Glasgow University’s campus and a simple subway trip from the centre of town, the Partick area and its neighbour Byres Road are charity-shop hotspots. From classic ‘dad’ shops (think Oxfam and British Heart Foundation) to artsy high-end vintage stores, the West End never misses.

The Barrowlands is more than an iconic gig venue with a fancy light-up sign. On weekends from 10am–4pm, it’s home to one of the oldest flea markets in the UK. Hundreds of traders flog anything from cardigans to cowboy boots. One time there was even an alpaca spotted (probably not for sale).

EAST END Barras Market

CITY CENTRE Kings Court

A saunter down the hill from Strathclyde and Glasgow Caledonian’s campuses, just to the edge of Merchant City, lies Kings Court. Mr Ben is a real 90s time capsule that’s sure to set you up with an out-there outfit. Potentially pricier than our other picks.

The other side of the Clyde offers a range of undiscovered (and therefore cheaper) charity shops. A scenic stroll up Southside’s Victoria Road reveals a range of the classics to get more clothes for your coin.

SOUTHSIDE Victoria Road

Culture club: o the beaten track

Some culture fiends might find themselves ticking off Glasgow’s top sights in their first few weeks after Freshers. Here are some more niche artsy picks for those who’ve been there, done that, got the t-shirt

GROSVENOR

PICTURE THEATRE

Tucked away on Ashton Lane lies Glasgow’s only fully licensed cinema. With just two screens, complete with comfy chairs and sofas, the Grosvenor is perfect for a pint and a movie after a long day of seminars. Enjoy a discounted meal and ticket with the Student Recommended app.

SHARMANKA KINETIC THEATRE

So, when we said niche, we meant Russian steampunk animatronic theatre. Nestled away in Trongate, the Sharmanka is very much overlooked by locals and is perhaps not to everyone’s taste. The Marmite of Glasgow museums, student tickets are £10.

A PLAY, A PIE AND A PINT AT ÒRAN MÓR

No, it’s not just for West End mums and middle-aged men in Barbour jackets! A Play, A Pie And A Pint offers great weekday theatre at studentfriendly prices (including 2-for-1 on Tuesdays). A pork pie (or vegan sausage roll), a show and a pint of Tennent’s all before your 2pm lecture? Sorted.

SAINT LUKE’S

This spot is simply a grossly underrated live music and arts venue. Renovated from a 19th-century church in the East End, a Saint Luke’s gig is unmatched when it comes to atmosphere. Hydro, eat your heart out!

PICTURE:ROBIN MITCHELL

THE BEST EVENTS HAPPENING AT GLASGOW SCIENCE CENTRE THIS AUTUMN

FROM STARGAZING TO PROG-ROCK, THERE’S A WEALTH OF GREAT EVENTS AND ENTERTAINMENT ON OFFER

We’ve rooted around the Glasgow Science Centre (GSC) schedule to find some of the best events happening this autumn, whether you’re into great music, thoughtful discussion on climate change, or simply want to gape at the wonders of the world at the full-dome planetarium.

SCIENCE LATES

Head on a night out with a difference at one of the centre’s Science Lates, an after-hours experience, with no kids allowed, featuring great tunes, delicious street food, fun facts from astronomy experts and activities to give you an evening out of the ordinary. These themed nights will start with Superstitious Space on Friday

13 October, then Prehistoric, Fire & Fossils on Friday

17 November and Winter Wonderland on Saturday

9 December. Grab a ticket for a packed evening of excellent fun and tasty brain food.

CLIMATE CONVERSATIONS LIVE

The shifting climate is one of the most important issues facing the world today, and GSC will expand the conversation when they invite prominent speakers to give you more insight into how you can do your bit for the planet, starting Monday 9 October. Whether you want to learn more about our climate history or how to get involved in the fight for climate justice, pop along and enjoy engaging discussions from great minds.

PLANETARIUM EXPERIENCES

Fans of the legendary rock acts Queen and Pink Floyd will be well-catered for this autumn with immersive planetarium experiences charting each bands’ impressive back catalogues. Queen Heaven will feature tracks from Freddie Mercury’s incomparable band and Dark Side Of The Moon will feature songs from Pink Floyd’s critically lauded album, both with arresting and hypnotic visuals. The night will also include a tour of the cosmos from one of GSC’s expert astronomers. Happening on various dates throughout September and beyond.

IMAX BLOCKBUSTERS

The science centre’s immense IMAX cinema screen, the biggest in Scotland, is playing host to some amazing, truly epic films this autumn. Sandworm lovers can rejoice when Dune: Part One returns to screens, alongside Stanley Kubrick’s peerless classic 2001: A Space Odyssey (honestly, a massive screen is the only way to watch this one), and following Oppenheimers recordbreaking run, Christopher Nolan fans are sure to enjoy the sci-fi spectacle Interstellar. The line up also includes 30th anniversary screenings of Jurassic Park and Hocus Pocus, the powerful true life tale Hidden Figures, and plenty more celluloid greats.

Spendtheday

Student life in the cost-of-living crisis (or cozzie livs) is tough. There’s only so much pesto pasta you can batch cook while watching the electric meter go up 50p every time you boil the kettle. Follow Strathclyde student Rachel Cronin around Glasgow as she takes on our Spend The Day challenge, creating as much fun with as little funds as possible

10.30am

A coffee and breakfast roll at Rose & Grant’s, £4.50

I kick things off with a coffee and vegan morning roll (served until 11am) at my staple snack spot in Trongate. This is my favourite mid-morning pick-me-up during term time. They also do vegan macaroni pies, which is important to share.

11.30am

A scenic walk around Queen’s Park, free

After scoffing my tasty vegan Lorne on a roll, I skip down from Trongate, over the Clyde and head to Queen’s Park. The park’s highest point overlooks all of Glasgow, from the West End to High Street, and I spent a lot of time here during lockdown. It’s worth the walk if you get tired of staring at Glasgow Green and the Botanics.

1pm

Vegan ice-cream cone from Ginesi’s Artisan Gelato, £2

Back down the hill for a cheap sweet treat on Victoria Road. They make everything themselves on-site and serve mostly dairy ice-cream with a few tasty vegan options on rotation. I went for the salted caramel (I was torn between that or coffee flavour).

1.30pm

Browsing around Category Is Books, Glasgow’s most popular queer bookshop, free

For my next low-cost activity, I wander deeper into Southside for a much-needed dose of queer culture. One of G-town’s most iconic LGBTQ+ owned businesses, I prefer buying from them than the big name bookstores. However, I manage to restrain myself from splashing the cash today. When money is tight, there’s a second-hand section that guarantees more book for your buck. They also have cute pin badges and stickers.

3pm

Another culture fix: Glasgow’s Gallery Of Modern Art, free Disclaimer! It did not take me an hour and a half to walk back from Southside; I just spent ages in the bookshop. I stroll over to explore GoMA’s free exhibitions. My favourite this time was Glasgow-based artists Helen de Main and Mandy McIntosh’s Repeat Patterns (until 15 October), a collection of printworks focusing on class and feminism in the city.

5pm

Vegan sausage supper from The Kent Chippy, £8 Peckish after all that squinting and nodding, I head along to Finnieston to finish off my day. This wee place has been my long-time favourite since going vegan. I’m pretty sure this supper is just Linda McCartney’s veggie sausages deep-fried, but it remains unmatched for flavour and value.

TOTAL: £14.50

all-day ticket for £4.20, follow our map and prepare for a messy one

underground trains and (sometimes, politically incorrect) costumes. Grab an

Take a normal pub crawl. Now, add in the threat of dysfunctional escalators,

Sub Crawl

PARTICK Bag O’ Nails

We’re starting off our night of mayhem with a West End staple that’s good for kicking off a crawl. Bag O’Nails is definitely the most sensible and least student-y establishment of the evening (which is why it’s an obligatory first stop). Although it’s not the cheapest, they do good bites if you need to carb up before more drinks.

KELVINHALL Record Factory

Another classic, this bar is near the bottom of Byres Road, just off the GU campus, and might become your new West End regular. There’s a cutesy beer garden out the back and they do a cheap pint of Pravha: what’s not to like? Sure, the floor is slightly sticky and you may lose your sub crawl buddies among the sea of shit shirts (Wednesday night is societies night) but it’s all fun.

HILLHEAD Hillhead Bookclub

Next up is every Glasgow University student’s second home. Further up Byres Road from our last stop, Bookclub is a beautifully converted vintage cinema from the early 1900s. Its grand and sophisticated interior now plays host to an array of music events (and herds of drunk students playing ping pong). Ask what cocktails are on offer!

KELVINBRIDGE Inn Deep

Serving up big IPA hipster vibes, Inn Deep is host to weekly poetry nights and serves a range of fancy draught lagers (just a heads up, there’s no Tennent’s). If that’s not your thing, head across Great Western Road to Kitty O’Shea’s (an Irish bar with live music).

ST GEORGE’S CROSS The Hug And Pint

Famous for live music and local bands, The Hug And Pint is a well-known stepping stone for new bands to score their first gigs. You’ll no doubt come across a couple of fellow students hoping to get up on that stage one day. Great vegan food also!

COWCADDENS Jackson’s

Congrats! You made it out of the West End. Come back down to earth with a pint at Jackson’s. Or, if you’re ready to boogie, bail on the sub crawl and skip down Sauchiehall Street to a club. Firewater is ideal for indie fans, or you can hop over to The Garage for classic club tunes.

BUCHANAN STREET Waxy O’Connor’s

Another Irish pub. Be ready to get lost (multiple floors, everything looks the same, we’ve already had six drinks, help!) Or head down to Bamboo on West Regent Street for a dance. Students get £1.50 vodka and free entry before 11.30pm on Wednesdays.

ST ENOCH Sub Club

If you’re still on the subway by now (it shuts around 11.30pm), you’re a trooper. Techno fans, reward yourself with a dance at Sub Club (only open at weekends) at the Four Corners, or if your taste is more alternative, head to Cathouse

There I was, sun-tanned and sleepy-eyed. I was sat on my suitcase at gate G40 of Barcelona airport, after a frantic journey that involved my overnight bus from France leaving me on the kerbside (don’t ask). Here was where I rediscovered the unmistakeable Scottish twang and colourful vocabulary that only comes from a group of Scots after a lads’ holiday: I’d never been so happy to see a group of reversable emoji-print bucket hats in my life. Home time! Blasting The Proclaimers: Greatest Hits on shuffle as the plane took off (yes, I’m dramatic: it’s my Aries moon), I was ready to reconnect with my Scottish roots and leave the ooh la la’s and baguettes behind.

Returning to the motherland (well, Glasgow city centre) was like going back to a parallel universe where everything’s the same but slightly off. It was like everything was as it had been, but three inches to the left (and 30% more expensive). Refamiliarising myself with Glasgow street-etiquette (aka being NICE) was a brain-zap and a half. The thing I love about Glasgow is that everyone is friendly to such a degree that it can be perceived as threatening. So, if someone says ‘hiya’ to you on the street, you’d better respond. Now, stereotypes are wrong, and no hate to my fave Frenchies (ça va, vous?), but being generally friendly out in public is pretty much unheard of over the Channel.

A ritualistic walk around the drizzly and dreich wonderland of Glasgow saw my next dose of reverse culture shock. Three words. Meal Deals £4: catastrophic. Equally disheartening, my favourite falafel place (Falafel2Go on Sauchiehall Street) had put their wraps up from £3 to a fiver. And don’t get me started on the rent increase. As tough as times are, however,

let’s not forget that our SAAS payments have gone up. So, you know, it’s all relative, I guess. Kind of.

A plant-based diet in the land of meat and cheese was not the easiest element of my time away. But Glasgow has an inexhaustible supply of vegan restaurants and cafés. Coming back was like the end of I’m A Celeb when they leave the smelly jungle and go to the five-star hotel. You mean I can eat something other than plain chips and carrot salad? Unheard of. I’ve developed a new appreciation for Mono, Suissi Vegan Café and Lotus Vegetarian Restaurant, my favourite plantbased dinner spots in the city.

Keen to catch my old friend the 900 bus to my hometown of Edinburgh, I encountered perhaps my most painful realisation in this post-year-abroad parallel universe. No more free buses. Coming back from a place where a three-hour journey on the bus cost a euro, to an expired Young Scot card (I turned 22 while I was away), was a tough fact to face. Freshers, please utilise your free buses for those of us who cannot.

In France, as soon as you tell someone you’re from Scotland they are guaranteed to say two things: ‘Il pleut’ and ‘c’est vert.’ ‘It rains’ and ‘it’s green.’ Both of these things are true. I didn’t realise how much I’d missed the verdant shades of Kelvingrove Park and Glasgow Green until I got back. As much as I enjoyed frying in the sunny south of France for a while, the dry heat and lack of public parks where I lived in Perpignan, grew wearying. I don’t mind the rain and the tasty crisp air so much anymore, and sitting on a bit of luscious grass with a wee tinnie is fully underrated to me now. Going abroad for a year is an amazing experience of self-discovery

Home and away

Going on a year abroad is one of the most anticipated aspects of the whole uni experience. But what happens when you get back? Rachel Cronin, who has just spent a year in Perpignan in the south of France, shares some of her biggest reverse culture shocks on returning to Glasgow

STUDENT-FRIENDLY DAY TRIPS OUT OF EDINBURGH AND GLASGOW

Whether you’re a bona fide foodie, culture vulture or outdoor adventurer, Claire Stuart recommends six Scottish destinations to discover, all just a short ScotRail journey from Edinburgh and Glasgow

ScotRail’s new Inspiration Hub is a one stop shop to discover Scotland by train. From picking your next destination to planning what to do and see along the way, this new platform is designed to spark a little wanderlust while giving ScotRail customers access to exclusive offers and tips. To highlight the kind of content available on ScotRail’s Inspiration Hub, we’ve roundedup six stunning Scottish spots serviced by ScotRail trains.

FROM EDINBURGH

Just half an hour east of Edinburgh is the coastal foodie paradise of North Berwick. Start your culinary tour with pastries at Bostock Bakery before stopping off at the legendary Lobster Shack for a lobster and crab roll. If you have any room, Alandas’ award-winning gelato is never far away.

The V&A Dundee is always worth the quick hour and a half journey from Edinburgh, its current special exhibition on the history of Tartan featuring pieces by Alexander McQueen and Vivenne Westwood. A short walk will get you to the DCA, a thriving community hub with exhibition spaces, cinema screens and a restaurant. It’s home to the annual Dundead horror film festival, among many other events. For more fascinating artefacts, head to The McManus Gallery, where RuPaul Drag alumni

Ellie Diamond’s Dennis The Menace Costume is proudly displayed.

Just 35 minutes outside of Edinburgh is Dunfermline, home to the resting place of

Robert The Bruce, Dunfermline Abbey. Stop off at Dunfermline Carnegie Library & Galleries to delve further into some local history, or take a more contemporary look at the town with Fire Station Creative gallery.

FROM GLASGOW

If in need of a city escape, two hours on the train will take you straight to the heart of hillwalking country, Tyndrum. Step out of Tyndrum Lower station right onto the West Highland Way, walk to the Falls Of Falloch or just spend hours drinking in the dramatic landscapes.

Scotland is spoiled when it comes to beaches, but the small village of Stevenston is home to a particularly picturesque coastline. The beach makes for an ideal starting point for seafront walks to neighbouring Firth Of Clyde towns Saltcoats and Ardrossan.

Oban is three hours from Glasgow and makes for the perfect island-hopping base, as well as being a great destination in its own right. The Green Shack offers locally-sourced seafood, from oysters to mussels, while Hinba Coffee offers some of the best roasted beans in Scotland. Finally, EE-USK’s enviable seafood platters should certainly make it on any self-respecting food lovers hit list.

Make a saving on tickets by utilising ScotRail’s Off-Peak prices, Group Travel discounts, Kids for a quid and Advance tickets. For more tips like these, head to ScotRail’s Inspiration Hub at scotrail.co.uk/inspiration-hub

Meet The Student Press: Edinburgh

Who knows the ins and outs of university life more than student journalists? Turning our attention to Edinburgh’s varied university media, Jessica Matthewson speaks to a mix of writers, broadcasters and YouTubers as they impart their knowledge on everything from best campus locations to tastiest spots to grab a study snack

PATTERSON | Editor | Radio ENRG, Edinburgh Napier University

What advice would you give to a Fresher? Get involved. It’s easy to think that everyone already knows everyone, that you’re an outsider, but you’re not. The whole point of university is to meet new people, expose yourself to new ideas, and to step outside of your comfort zone. Get in the mix as early as possible.

What is the craziest story you’ve reported on from your university? Nicola Sturgeon’s resignation. I was able to snap a few photos of her at Bute House on the day she resigned. It was my first taste of chasing breaking news.

What is one thing you would change about your time at university? Covid took away a lot of uni. This, coupled with a cost-of-living crisis, means the social aspect of uni has suffered. Either that, or I just don’t have any friends.

INNES MACNEIL | Editor | The Tab, University Of Edinburgh

What is your favourite place on campus? The university’s Old Medical School. The perfect place to study when it rains; you’ll hear the droplets patter on the glass dome that tops the rooms.

What advice would you give to a Fresher? Balance is key; in work, social life and personal time. While cramming with friends on the fourth floor at 4am may be a necessity every now and again, it’s essential to set a distinct time to get your work done so you can relax and let go at the end of the day.

Why has university been an important experience to you? The chance to connect with people from across the globe not only allowed me to form new friendships with countless people, but to widen my global perspective and understanding of different cultures.

What makes Edinburgh a great student city? I love how walkable and compact the city is. We’ve got plenty of beaches just a bus ride away, lots of interesting (and free!) museums and cute indie cafes.

What advice would you give to a Fresher? Don’t put too much pressure on yourself, there is no ‘ideal Freshers experience’. Freshers Week most likely won’t be the best week of your life; and that’s okay.

What’s your favourite food/drink spot near your campus? I’m probably very biased in this opinion, but I love the ECA café. Their bagels: *chefs kiss*. Vegan raspberry croissant: to die for. Chai latte: essential part of any study sesh.

Do you have a favourite place on campus? I adore the upstairs library! It’s so quiet up there, you’re just surrounded by books. I can’t work in busy spots.

What makes Edinburgh a great student city? It’s quite small so it’s easy to get around and you quickly get to know a lot of people. You start seeing the same faces everywhere, though that can be comforting or annoying!

If you could change one thing about your university experience, what would it be? I do wish I’d joined a society in my first year. I remember regretting it when I saw how communitylike all the societies became. They seem fun!

ROSS

JULIA TWARDZISZ | YouTuber | Edinburgh College Of Art

ZARA MCINTOSH | Blogger | Edinburgh Napier University

Your time at uni can create pretty special memories. But for one Edinburgh University student, 2022 proved remarkable on a whole other level. Megan Merino caught up with singer-songwriter Katie Gregson-MacLeod who became an overnight star on TikTok last year, snaring a major label record deal along the way

Three years into studying History at the University Of Edinburgh, singer-songwriter Katie Gregson-MacLeod was living a relatively normal life. ‘I was putting my foot in every door, trying to get open mics, pub gigs and support slots’ recalls the 22-year-old. When term time ended in 2022, MacLeod’s single ‘17 Again’ started building traction on streaming platforms and radio airwaves.

‘Things were going really well. I got my first Radio 1 play with that single, a BBC Scotland session and my first playlist on Spotify. These are big landmark moments for a Scottish artist,’ she says. Little did she know, just a few weeks later, her success would reach unfathomable new heights.

MacLeod grew up in the middle of Inverness with her parents (a piano teacher/ civil servant and an English teacher). ‘My mum’s musical but my dad . . . not so much. Although he’s in a real Gregorian chant phase at the moment,’ she laughs.

‘He joined a whole ass Gregorian chant choir. Anyway, with my dad being an English teacher, he’s super into theatre and film and obviously literature. That’s definitely something that was instilled upon me. Or instilled in me. Sorry dad.’

While playing competitive squash for Scotland and being ‘a massive nerd’ at school, MacLeod was writing original songs from a young age, dreaming of pursuing music in one form or another. ‘I didn’t know what the first steps were.

I didn’t know what it entailed. No one is there to tell you that kind of stuff when you’re living in Inverness.’ Paving her own way, MacLeod used Instagram and TikTok to build an online presence alongside gigging. ‘I would post parts of an original song just to have some material on there as a back catalogue, even if it wasn’t reaching anyone. I literally had like 1000 followers,’ she explains. It was one such song, posted in August last year, that would change everything.

‘I recorded a video of me singing the chorus of “Complex”, put it in my drafts and posted it a few days later. Then I woke up the next morning and it was already at 150,000 views or something. Not only that, there were all these comments from very famous people.’ Camila Cabello was among the celebrity names to duet ‘Complex’, which had now racked up millions of views. ‘It was just getting crazier and crazier. It was very clear to me that this was life-changing.’ With no manager or team in place to prepare for the onslaught of attention, MacLeod called upon a few close contacts for help. ‘We had to think about getting a PR and lawyers and stuff straight away. Record labels were phoning within the day. The speed of it cannot be overemphasised. The word overnight is no exaggeration.’

After releasing ‘Complex’ in its entirety, MacLeod made it onto the NME 100, was nominated for an Ivor Novello award (alongside Harry Styles and Wet Leg) and got signed to Columbia Records. A year later, MacLeod is living in London, with her final year at uni deferred, and working on new music that she hopes will showcase different facets of her writing and artistry. ‘I don’t write a tonne of piano ballads, which sounds wrong, but having this piano soundscape moment exist was nice. I just wanted to put a full stop on that.’ MacLeod’s latest single ‘Your Ex’ leans more into pop and indie rock; perhaps a sign of what’s to come in a debut album? ‘“Your Ex” is part of something different,’ insists MacLeod, with a wink. ‘I just want to write as though nothing ever happened, but with the benefit of having these extra resources that I now have access to. If I can just write with nothing else in mind, like I did with “Complex”, that’s a win for me.’

Katie Gregson-MacLeod’s new single ‘Your Ex’ is out now on Columbia Records.

And just like that

Centre stage

Feeling inspired by Katie GregsonMacLeod’s story? Why not nurture your creativity alongside your studies at one of these Edinburgh-based open mics

HUMP-DAY HOOTENANNY

Taking place at Leith Arches every Wednesday, this is the perfect way to liven up a mid-week slump. All forms of creative expression are welcome, from singing and spoken word to drag and sketch comedy. n leitharches.com

SAD SONG CLUB

Down at Sketchy Beats Café in Leith, this open mic night puts sombre songs, poems and art under the spotlight. Wear your heart on your sleeve or ‘just come hang out’, as their event blurb states. n sadsong.club

FOLK MUSIC AT THE ANTIQUARY

If a folk tune or two is more up your alley, head along to this charming Stockbridge pub on Thursday evenings from 8.30pm. Beginners are welcome. n theantiquarybar.co.uk

OPEN COMEDY

If laughter is your preferred method of applause, check out this comedy-specific event at Artisan Roast on Leith Walk. Give clowning, sketch, stand-up and more a go every Tuesday evening. n @artisanroastcoffeeroasters

PICTURE: MEGAN HENDERSON

A day in the life

Tell us a bit about yourself I’m an artist, painter, boyfriend, barista and now graduate from the BA Honours Painting course at ECA. I’ve lived, studied and worked in Edinburgh for nearly seven years, after moving from Zielona Góra in Poland. Love first brought me to Edinburgh. I joined my partner here and we now live happily with our cat in the quiet area of Morningside.

What does a typical day look like at ECA? Painting is a unique and personal discipline which has individual routines, patterns and ways of working. I tend to work best in the mornings, so I’d start my day early, with a pre-studio coffee at my local, POP Coffee (where I also work). They have a constantly changing batch brew and a stunning plant collection. I’d hop on the bus with my flat white and get to the studio between 9am–10am. When I arrive, I always start with making filter coffee. I’d then either begin developing paintings, or head to the range of workshop facilities ECA provides. The Painting course allows for a lot of freedom and flexibility in materiality and making. It prompted me to work with metal and experiment with sculptural techniques. I discovered the joy of working in the foundry, developing aluminium sculptures.

Lunchtime happens in ECA when workshops and the art shop close between 12.30pm and 1.30pm. Being near the Old Town and Meadows offers great lunch options. There are also incredible specialty coffee shops nearby; The Source Coffee Roasters, Lovecrumbs and Beatnik are some of my highlights. Tasty Buns is another gem, with tasty bakes and focaccia sandwiches.

Edinburgh is home to four universities and being a student at each of them is an entirely unique experience. Megan Merino asks recent Edinburgh College Of Art (ECA) graduate Remi Jablecki what a typical day during term time looked like for him

If you’re lucky to get one of their Vietnamese coffee buns, your day will be happier. I’d catch up with friends which often led to gorgeous discussions and crits (critiques). There are many friendly and open people around ECA, whether it’s in the studio, café or library. You never know who you’ll bump into.

I also liked to walk around Edinburgh’s gardens, parks, or go down to Leith for inspiration.

After lunch, I’d stay in the studio until 4 or 5pm, either working on paintings, planning for the degree show or taking part in group crits, talks and tutorials. Some days I’d have the urge to paint until 9 or 10 pm. It feels like a trance; if you put your mind to it, the painting takes over and becomes an inseparable element of life.

What characteristics do you think define an ECA student? Individuality, uniqueness, bravery, sensitivity on a human and emotional level. People ignore the norms [and] hierarchy, and live free lives. It was liberating to be surrounded by such fighters.

What was the highlight of your ECA experience? The freedom to be able to study painting, yet engage with the wider issues; viewpoints beyond the canvas. I am thankful for the open-minded environment that tutors and staff created for us.

Discover Remi Jablecki’s art on Instagram at @remi_jablecki

PICTURE (AND ABOVE): JIAYI CHEN

Turning up the heat

People & Planet is the largest student network in the UK campaigning for social and environmental justice. In this Q&A, the University Of Edinburgh branch tell Megan Merino how to get involved in holding power to account

What specific causes do People & Planet focus on? We work at the local level, focusing on resisting and highlighting the University Of Edinburgh (UOE)’s contributions to the climate crisis, and the oppression of vulnerable groups. Our primary climate campaign surrounds the university careers service. Through our Fossil Free Careers campaign, we urge UOE to stop inviting fossil fuel companies to promote themselves via careers fairs and services. This campaign comes following a successful Fossil Free campaign, which led to the university eventually being free of direct fossil fuel investments as of February 2021.

That perfectly encapsulates your focus on the ‘Planet’. In what ways do you focus on ‘People’? Justice for migrants and refugees is deeply intertwined with the climate crisis, as the numbers of climate refugees in the UK will undoubtedly increase. Our campaign, Undoing Borders, fights the advance of the UK’s hostile environment policy onto our campus as we urge the university to adopt its own policy of minimal compliance.

What makes Edinburgh student campuses thriving hubs for activism and change? Edinburgh has a massively diverse and international population of students. Plus, as the capital of Scotland, a lot of political debate and change happens here. Such a large educated and politically active student body will of course gravitate to activism to tackle the problems of a tenuous future.

How should students get involved in local initiatives? There are plenty of ways a student can get involved. Join student advocacy and activism groups such as Greenpeace Edinburgh, individually go to events and protests, and contact local MPs about political issues that are important to you.

Find out more about all People & Planet branches at peopleandplanet.org

Worried about where to spend your Freshers Week or simply want to impress your new mates with local knowledge? Jessica Matthewson lets you in on the secrets of Edinburgh’s best nightclubs

Night moves

Navigating Edinburgh’s nightlife might seem as daunting a task as avoiding your flatmate’s dirty dishes. The colossal pressure to pick a club that has it all while providing a costfriendly drinks list is a stress that no Fresher should be faced with. So no matter where your pre-drinks may be, here’s our starter guide to Edinburgh’s best clubs for students.

Over in the West End, disguised as a phone box, lies Please Don’t Tell (PDT), which relies on cheesy hits and wacky decor. The signature £5 PDT Specials promise increased confidence and improved dance skills: just don’t ask what’s in it!

Moving into the centre of town, we arrive at George Street. Get ready for a night of chart music, eager PR teams and the best-dressed clubbers in spots like Why Not (start your week right at Flare Monday) and Shanghai (check out their Frat Wednesday).

Whether you’re a Ru Paul fan or you simply want to immerse yourself in Edinburgh’s queer scene, head down to CC Blooms. This LGBTQ+ nightclub provides camp anthems, welcoming crowds and live drag performances.

Or perhaps you want to get a bit down and dirty on the infamous clubbing street of Cowgate (no seriously, don’t wear your best shoes). From Subway and Sneaky Pete’s to Cabaret Voltaire, this cobbled road just off Grassmarket has clubs to suit all tastes. We recommend Tamogotchi Tuesday at Subway or Broke Friday at The Liquid Room. Top money saving tip: head down early for free entry before 11pm to clubs like Hype and Subway. The Hive also offers free entry to students from Sunday to Thursday every week. If that all sounds like a lot, luckily you have four years to try them all!

Why Not